Polarity Dispenser

Slow Refraction is a self-running generative chord patch built from randomized pitch and trigger streams. It begins in a defined scale, but the harmony does not remain inside a single key.

Each step moves the root up a perfect fourth "five semitones" rotating around the circle of fifths and creating a modal chord progression without a fixed tonal center.

Multiple oscillator and noise paths move through cascaded all-pass delays, chorus, filtering and modulated delay, producing a slowly shifting, diffuse stereo field.

Compared with my larger Grid patches, this one is deliberately more minimal: fewer modules, but still enough internal complexity to create a rich atmosphere.

Self-running generative Poly Grid soundscape built around a sustained drone and pad layer. Eleven audio branches combine sine and noise sources with probability-driven triggers, scale-aware pitch movement, filtered wind and rain textures, small percussive events, and extensive all-pass-delay diffusion.

The patch is heavily randomized, slow-moving, and deliberately homogeneous, designed as an evolving background environment rather than a melodic track. Created in Bitwig Studio 6.0.6.

This preset generates a new four-frame wavetable every time you press Generate, then uses it to phase-modulate a sine oscillator, creating a fresh, evolving bass sound with each generation. Send me money.

In this modular Bitwig patch, I tried to imagine a cold, dark place somewhere inside a wide asteroid field: a small spaceship drifting between the rocks while a tired asteroid miner takes a break and tries to sleep. 😅

The whole patch feels weightless and distant, but not completely peaceful. Long reverbs, delays, and echoes create the open space, while obscure sounds keep appearing and disappearing like signals, machinery, or something moving outside the ship.

In this modular Bitwig patch, I tried to create the feeling of floating at the edge of the universe, far away from everything. It’s built from soft noise, slow-moving oscillators, long reverb tails, pitch shifting, random notes, and tiny details that drift in and out like distant signals.

The patch keeps evolving on its own, never quite looping the same way twice. It’s calm, spacious, sleepy, and a little mysterious, somewhere between deep space ambience and a generative dream machine.

This one feels less like a track and more like a quiet place you can disappear into for a while.

In this patch I created a slow-moving ambient soundscape for sleeping, built around a looping chord progression that unfolds very gently over time. It feels a bit like an interstellar journey, with soft watery textures, drifting noise layers, and little details that appear and disappear in the distance.

I’m using a lot of arpeggiators feeding into big reverbs, plus plenty of layered textures and evolving sounds to turn it all into one large patch that keeps changing slowly. It’s calm, atmospheric, and meant to be something you can just sink into. Free download as always.

In this Bitwig Grid patch, I tried to create the feeling of drifting somewhere between galaxies. It’s built from noise, long reverb tails, all-pass delays, pitch shifting, and randomized notes on sine and pulse oscillators, all slowly blending into a deep generative soundscape.

The patch keeps moving on its own, never repeating in quite the same way twice. It’s calm, spacious, a little dreamy, and full of small details that appear and disappear in the background. Definitely one of those patches that feels more like a place than a song.

Tries to re-create the Serum-FX Hyper micro-delay chorus inside Bitwig, with some small changes to leave the sub untouched and add more parameters for tweaking the sound.

This patch is obviously inspired by Blade Runner.

Especially the scene where Deckard uses the ESPER image computer to analyze stuff. All the sounds are generated. I do sprinkle in a few samples from the movie here and there, but it’s mostly limited to the computer sounds and Deckard’s voice talking to the machine. Everything else comes from the synth.

For the weird sound effects, I used a feedback system that’s constantly clipping and overdriving itself, creating all kinds of strange artifacts. It kind of sounds like distant city noise... aircraft, traffic, that sort of thing. On top of that there are drones and pads running through a massive reverb. The FM bass also randomly plays a few notes from the current scale every now and then.

Polarity-RES is a free spectral resonator plugin for shaping sound with up to 32 tunable resonator bands. Place resonator dots directly on a live spectrum display, tune them musically with note or harmonic snapping, let them follow MIDI input, or generate resonant tones using the built-in pink-noise excitation.

Use it for tuned resonances, spectral filtering, drones, metallic textures, vocal/formant effects, experimental sound design, and harmonic enhancement.

This time we’re heading to the beach. Waves are pretty easy, but getting that bubbly water sound just right isn’t so simple. On top of that there’s a seagull and some wind / a light breeze. Pretty much everything is based on noise and randomized filters.

I tried using simple sequences based on probabilities or “chance” modules to create little melodies and chords. The melodies in the “pitches” modules play differently too, since I randomize the phase every 32 bars. On top of that, there’s a random noise generator.

All of that goes into a big reverb diffuser, like the one I showed in my last tutorial. After that, I use delays to pitch everything down an octave, which makes it sound deeper and fluffier.

On the master, I use Polarity-SC and MMatcher to keep the frequencies under control.

An all-pass filter built out of state-variable filters (SVFs), where you can pinch or change the resonance of the effect. If you want something like the Serum Diffuser Filter in Bitwig natively, Bitwig only offers an all-pass filter without resonance. But you can build your own all-pass filter with three State Variable Filters (SVFs) in the Grid. Here’s the setup.

The patch sounds like you're sitting on a rooftop in a futuristic city, listening to the rain, the wind, the roar of engines, and some undefined banging and hammering.

It has this futuristic vibe but also feels super chill. That's why I'm calling the patch "Rooftops." I'm also using a really long delay here; I even made a tutorial on how I set up the delay and reverb. For the reverb, I randomly play notes that are based on probabilities, using different note levels or scales like 3rd, minor, 5th, or 4th, and so on. So, it’s not totally random; it’s influenced by probabilities to create a certain atmosphere.

Plus, I've added some noise generators for wind and sounds like thunder rumbling. I think it turned out pretty well and really sets the mood!

Very long and clean reverb only using all-pass delay without additional feedback! Nice for ambient and shimmer reverbs.

Calculate all-pass delay times for smooth reverb tails. Pick a preset for plate, hall, shimmer, or metallic reverb, set the first and last delay in ms, and the calculator spaces each diffuser stage to avoid clustering and comb filtering.

Just nature. So in this patch I tried to recreate animals or like a meadow vibe. Basically I’m building a little stream, a bunch of bees and birds, some distant car noises, and of course crickets chirping and stuff.

So yeah, it’s a whole nature scene synthesized entirely from oscillators, no samples at all... and it’s generative. That means it never really repeats, it’s all based on randomness like most of my patches.

I think it turned out pretty decent, and I’ll probably keep tweaking it... especially the binaural stereo side of things so it sounds even more realistic. But for a first attempt, I’m pretty happy with how it came out.

Gotta admit, I kinda lost control here. Some modules don’t really make sense, and in a few spots I’ve got no clue what’s going on. But hey, it sounds good :D I think to create pads in the Grid you really only need one oscillator and then shape the rest with all-pass delays as reverb.

Once you play in different notes, it ends up sounding pretty solid. This time there are also a few effect sounds coming from modulated delays, plus some little “bubble” sounds for a more organic vibe.

In the end, the Grid patch isn’t as complex as some of my previous ones, but it’s nice to listen to and does exactly what it’s supposed to. As always, you can download the patch for Bitwig for free from me!

A darker, Polarity-modified version of Robbert van der Helm's Spectral Compressor: per-bin upward and downward compression, pink-noise shaping, sidechain spectral matching, freeze, and IR export. Download VST3 and CLAP for Windows, macOS, and Linux.

Alright, here I made another static pad using multiple sine oscillators. of course, everything’s heavily modulated. The rest are sound effects that play sporadically and based on chance. You always have to balance how dense you make the atmosphere, though. It can get annoying or overwhelming pretty fast if there’s constantly some sound popping up everywhere or if it’s chirping and ringing on every corner. This time I also messed around a lot with all-pass delays and even got an idea for a tutorial out of it. I think there’s a lot to learn there about which parameters actually do what. Delay and feedback are such a great topic... there’s really a ton hidden in those values. Anyway, I think it turned out to be a pretty cool patch that creates a nice “alone in the city at night” cyberpunk vibe. It also responds to Bitwig 6’s global scale features, so you can just set whatever scale you want and the patch will follow it.

I took the old idea from the previous video and pushed it a bit further. The raindrops and wind sounds create a really nice vibe, and they’re made entirely from noise and filter movements, they actually make up most of the patch. The rest I filled out with some drones and a random noise generator. One part of the patch generates raindrops, but when the resonance goes up, it almost starts sounding like a melody since I’m quantizing the frequencies to the current global scale. Anyway, it’s a total CPU killer, but it ends up being super chill to listen to... kind of feels like a rainy night in some futuristic city.

Rainy city at night! This time I’m using different oscillators again for pads & lead sounds. On top of that there’s a lot of generated synth rain with droplets and noise. For one synth I even built your random step sequencer that re-randomizes itself every few beats. It turned out more like an atmosphere than a full track again, but it works great as an backdrop.

Press the "Generate" Button twice to generate new percussions in all cells. Uses the Poly Grid to randomly fill cells with synth percussion sounds. Great for filling out drum patterns. For more information, watch the video.

Many all-pass delays create maximum reverb on all sounds. This should create a nice atmosphere with some random sounds. The Markov Generator creates notes in specific sequences, and this is used for a sine bleep. The big all-pass delay chain does the heavy lifting, creating a big, lush ambience. There is also a bunch of saw oscillators creating a root + 4th + 5th chord drone. I also recycled an old FX generator and fed it into an additional all-pass delay network, then randomized the buffer size on a mod delay for crazy artifacts. Everything then goes through all-pass and mod delays again to glue it together with the rest of the sounds. A soundtrack for a future of endless self-management. Dedicated to modern work ethics, where freedom becomes pressure and even stillness feels like labor.