Polarity Dispenser

In this video, I walk you through how to create sounds for genres like cyberpunk, dark techno, and dubstep, using a basic subtractive synthesizer in Bitwig.
I start with a simple setup using Polymer, focusing on raw, distorted sounds that are common in these styles. I cover how to build rhythmic patterns using chromatic scales, add distortion, and layer drums effectively.
By the end, you’ll have a solid foundation for producing these gritty, futuristic sounds.

Key Points:

• I use Polymer with a saw wave in monophonic mode and set low bass notes like F, E, or F#.
• For rhythms, I stick to a chromatic scale, using simple, repetitive patterns with half steps.
• I add distortion with a diode model and apply a low-pass filter (LP2) to shape the sound.
• I enhance the sound with bit reduction for that extra crunchy, distorted feel.
• I layer the drums by sidechaining kicks, using a note filter to isolate the kick pattern.
• I tweak unison and resonance to widen and enrich the sound.

In this video, I walk you through creating interesting harmonic ideas using Bitwig's Note Grid, building on the minimal techno/EDM sound I covered earlier.
We start by crafting a simple chord progression using a pedal tone and some transpositions, which lets you generate complex chords without too much effort. I also show how to add an arpeggiator, reverb, delay, and how to manipulate octaves to create dynamic sound textures.
The focus is on keeping things simple, moving quickly, and maintaining a solid groove throughout the track.
Key Points:

• Use the Note Grid to create chords with a pedal tone as the root.
• Transpose notes to create interesting harmonies with minimal effort.
• Add effects like arpeggiator, reverb, and delay to enhance the sound.
• Manipulate octaves for a fuller sound and introduce variations.
• Keep the workflow simple and fast to maintain creative flow in the early stages of track building.

After uploading this video, I got already a copyright claim. I guess the track is too generic.
In this video, I’m diving straight into Bitwig Studio to make some music, no frills, just a straightforward session. I start with a BPM of 127 and lay down some basic chords. Then, I tweak the sound with unison, detuning, and a bit of low-pass filtering. After that, I bring in an arpeggiator and set up note channels to build a chord progression, adding some variation with step modulation. I move on to designing a bassline, using a note receiver, transposing it, and adding some distortion for grit. Next, I build up the drums, adding a kick, hi-hats, and clap, adjusting them with reverb and EQ. Finally, I mix everything, using compression and limiting on the master track to make it sound polished.

Key points:

• Started with BPM 127 and laid down chords in Bitwig.
• Used arpeggiators, note channels, and step modulation for variety.
• Designed a bassline with note receiver, transposition, and distortion.
• Built drum patterns with a kick, hi-hats, and clap, enhanced with reverb.
• Finalized the mix with EQ, compression, and a limiter for mastering.

Download Project: 

In this video, I show you how to split audio signals into multiple frequency ranges while keeping phase issues to a minimum. I start by explaining the problem with traditional analog-modeled zero-latency EQs, which introduce phase shifts when adjusting frequencies. Then, I explore some alternatives like using Ozone 8’s digital mode, Bitwig’s FX3, and a custom-made EQ split using impulse responses. Throughout the video, I talk about the trade-offs between phase accuracy and latency, sharing some presets to experiment with.

Key Points:

• Analog EQs naturally cause phase shifts, especially with low cuts.
• Ozone 8 has a digital mode that preserves phase but adds latency.
• Bitwig’s FX3 can split frequencies but introduces phase inversions at crossover points.
• The Spectral Splitter keeps phase accurate but requires latency.
• I created an impulse response splitter to maintain phase integrity, but it comes with fixed crossover points and latency.

Download XSplit & XCut:

In this video, I recreated the classic CamelCrusher plugin inside Bitwig Studio. CamelCrusher was a super popular plugin back in the early 2000s, often used in techno and drum and bass tracks for creating dirty overtones. Some of you asked me to replicate it, and I focused mainly on the two distortion algorithms—Tube and Mac. I tried my best to replicate these using Bitwig's tools, although I left out the compressor and preset-saving features for simplicity. I’ll walk you through how I did it and compare my preset to the original plugin.

Key Points:

• CamelCrusher Plugin: Popular in the early 2000s for adding dirty overtones in techno and basslines.
• Distortion Focus: I focused on replicating the Tube and Mac distortion using crossfades in Bitwig.
• Filter Placement: I believe the filter comes before the distortion, based on how it interacts with different waveforms.
• Compressor Skipped: I left out the compressor, suggesting you add your own in the effects chain if needed.
• Hard Clipper Added: I included a hard clipper to limit the signal at 0 dB and create extra distortion.
• Sound Comparison: My preset gets close to the original CamelCrusher, though not a perfect phase-cancel.

This video covers recreating the stereo widening effect of the "Wider 2.0" plugin by Infected Mushroom inside Bitwig Studio. The original plugin creates a stereo effect by manipulating peaks and dips on opposite channels, which cancel out when summed back to mono. The tutorial explains how to replicate this using all-pass filters and additional controls in Bitwig, offering more customization than the plugin itself.

Key points:

• Wider 2.0 Overview: A free stereo widener for mono signals, making them appear stereo.
• Recreation in Bitwig: Uses all-pass filters to create peaks and dips, canceling out when summed to mono.
• Customization in Bitwig: Extra controls for mid/side gain, center frequency, and low-pass filtering.
• Convolution Reverb: Added to the side channel to give a more natural room effect.
• Phaser-like Effect: Excessive widening can create a phaser or flanger sound due to frequency manipulation.

I created a Bitwig preset called "Bass Sound Generator," which generates a new bass sound every time a key is pressed. I showcased how this preset works, the setup involved, and how to use it creatively in your tracks. The idea is to record the generated sounds, select parts you like, and create patterns for more musicality and groove.

I worked on a music project today using Bitwig Studio, starting with creating a rich chord progression and layering it with various effects and modulators. I incorporated some nostalgic sounds using the SYXG MIDI emulator and experimented with sampling techniques to add depth to the track. To enhance the overall feel, I introduced percussion elements and finalized the piece with some distortion and random modulation for texture.

In this video, I'm showcasing a custom Bitwig preset called "Multipressor." It's not a recreation of an existing plugin, but rather a unique tool I've developed to use an EQ as a multi-band compressor.
This approach helps avoid phase issues that often occur with crossover frequencies. I'll demonstrate how I use this preset on the Addictive Drums plugin, showing off the detailed control it offers over different frequency bands, including both compression and expansion.
Key Points:

• I created the "Multipressor" to avoid phase issues by using EQ5 as a multi-band compressor.
• I applied it to the Addictive Drums plugin, adjusting threshold, ratio, attack, and release controls.
• The preset allows me to control the reaction speed differently for high and low frequencies, ideal for tasks like glue compression on the low-end and faster compression for high-end elements like hi-hats.
• It includes a tilt knob for skewing gain reduction, makeup clip gain, and the option to switch between EQ5 and EQ+.
• The preset offers both compression and expansion, with a global scale knob to adjust the overall effect intensity.

Update: Exchanged the IR-EQ for an EQ5 to remove phasing when your mix wet and dry. The "mix" remote is exchanged for the "damp" control.
In this video, I talk about how to replicate Ableton Live's Drum Buss device in Bitwig Studio. Since Bitwig doesn’t have a native Drum Buss, I’ve created a free preset that mimics its functionality using Bitwig’s built-in devices. I walk through how the Drum Buss works in Ableton Live, explaining features like the drive, crunch, and boom knobs, and then show how my preset in Bitwig comes close to achieving the same results. I’m also asking for your feedback on this preset so I can make improvements.

Key Points:

• Drum Buss in Ableton Live: I explain features like the drive, crunch, damping, and boom knobs.
• Bitwig Studio Preset: I created a free preset that replicates the Drum Buss using Bitwig’s native tools.
• User Feedback Request: I’m looking for your feedback to help improve the preset.
• Creative Process: I discuss my approach to replicating popular Ableton devices in Bitwig.

In this video, I dive into what the "Sausage Fattener" plugin actually does. This plugin, which has become famous (and infamous) in the music production community, mainly functions as a soft clipper with some specific features. I also show you how to replicate its effect in Bitwig Studio using a custom preset that I’ve created. This preset closely mimics the behavior of the Sausage Fattener, so you can get the same results without needing the actual plugin.

Key Points:

• Sausage Fattener Overview: It’s essentially a soft clipper with a built-in compressor and a low-cut filter.
• Main Features: - Fatness Knob: Works as a gain knob to control input loudness. - Color Knob: Functions as a peak EQ, pushing specific frequencies into the clipper. - Compressor: Positioned before the clipper to prevent excessive clipping.
• Custom Bitwig Preset: I created this to replicate the Sausage Fattener’s effects using Bitwig’s tools, including an FX Grid, EQ, and a time shift to counter latency.
• Free Preset: You can download it and use it to get the same results in your projects.

Improvised Grid I did today to have something in the background for my daily nap 🤣 You can listen to the 26min video or download the patch from my Github repo as always. No special technique used this time, besides a long sample from my "Endless Drone" collection i post later on. Please leave a like or stupid comment on youtube for the algo. 👍

In this video, I show you how to replicate the functionality of the Oxford Inflator plugin using Bitwig Studio. The Oxford Inflator is a sonic enhancer and exciter plugin that adds clarity and power to mixes. I’ll guide you step-by-step on how to mimic its soft clipper and saturation effects in Bitwig, and I’ve even created a preset called Bitwig Inflator to help you get started.

Key Points:

• Oxford Inflator Overview: It's a sonic enhancer that acts as a soft clipper or saturator.
• Replication in Bitwig: I cloned the curve of the Inflator using Bitwig tools.
• Demonstration: I used a track with bass, drone, piano, and vocals to test the replication.
• Preset Details: I created a preset called Bitwig Inflator to match the Inflator's curve.
• Phase and Band Split Issues: I discussed challenges with zero-phase band splitting in Bitwig.
• Alternatives: I suggested similar effects using Bitwig’s native tools like FX filter plus and saturator.
• Availability: The preset is available for free download for Bitwig Studio 5.2 users.

If you need more details on any aspect, just let me know!
Download (5.2):

In this video, I demonstrate how I recreated the Moog Subharmonicon inside of Bitwig Studio. I'll walk you through the layout and functionality of the preset, highlighting the key features and how they mimic the real synthesizer. This includes the oscillators, sub-ratios, sequencers, and polyrhythms.

Key Points

• Oscillators and Sub-Ratios: - Two main oscillators, each with sub-ratio knobs to divide the main oscillator frequency. - Changes to the main frequency also affect sub-frequencies.
• Mixing and Routing: - Volume control for each oscillator. - Routing panel for directing sequencers to oscillators.
• Sequencers: - Sequencer 1 is always connected to Oscillator 1, and Sequencer 2 to Oscillator 2. - Ability to step through sequences and adjust positions.
• Polyrhythms: - Mix and match multiple clocks to create complex rhythms. - Route rhythms to sequencers for varied timing.
• Output Effects: - Includes low-pass filter, resonance, and two envelopes (VCA for amplitude, VCF for frequency).
• Play and Trigger Functions: - Play knob to start the sequencer. - Next button for stepping through sequences. - Keyboard can trigger gates without changing pitch.
• Additional Features: - Pitch quantizer for C major scale. - Option to turn off quantization. - Sequencer reset function.
• Support and Availability: - Preset available on Patreon, possibly for free. - Encouragement to support via Patreon for future projects.

Download:
earlier: Moog Labyrinth, Moog Spectravox, Moog DFAM

Premiere running! Finally managed to drop a new Drum & Bass Mix. It's got lots of minimal wobbles, a few liquid vocal tunes, some deep stuff, and minimal neurofunk. I'm really enjoying it right now – as long as it grooves, it's all good. Here's the full tracklist with timestamps!

• 0:00 Utopia - Polarity
• 3:04 Minor Forms - Them Days
• 5:38 Forum - Sonar
• 8:30 Rinse It - RISE
• 10:47 All You Gotta Do - Break
• 12:14 Footprint (Fre4knc Remix) - KRÆK
• 14:04 96 Naughty Windbreaker - RISE
• 15:33 Dee - Massive
• 18:12 Broma - Depths
• 19:42 Nothing Is Forever (Dub Mix) - Crook & Sydney Bryce
• 21:31 Unwind - Stauder & Su3-ject
• 22:59 Special Ingredient - Amoss & Revan
• 25:18 Wingz - Street Echoes - Wingz
• 27:24 Enei - Freeze ft. MadRush MC
• 28:53 Room Service - Dizrupt & MKJay
• 30:20 Codebreaker - SMG
• 32:11 See You (feat. Azrah) - Koax
• 34:48 Let You Down - Sydney Bryce & QZB
• 36:17 Pillow Scream - Koax
• 38:29 Extortion - Polarity
• 40:41 Searching (feat. Ruby Letitia) - Ferice
• 42:53 Side Hustle - Phentix
• 44:00 Vex - Locked In
• 45:29 Villem & Phase - Cut Em Loose (DLR Remix)

Download mp3:

Here's a small reverb idea that I sometimes use. It’s a flexible technique that doesn't need to be applied every time. I'll walk you through how to create it using a polymer patch, some modulation, and the FX grid.

• Patch Setup: Start with a simple saw wave in a polymer patch.
• Mod Delay: Instead of adding a reverb, use an FX grid with a mod delay set to milliseconds.
• Voice Stacking: Implement voice stacking with 16 voices and adjust the volume using an amplifier.
• Value Modification: Use a value modifier to adjust the pitch or delay modulation amount to 99%.
• Panning: Add a pen knob to change values differently between the left and right channels.
• Stack Spread Modulator: Utilize this to assign different values to each stack.
• Delay Timing and Feedback: Modulate the delay timing and feedback amount, adding a low pass filter for masking.
• Additional Effects: Add a phase with chorus (eight voices) and tweak settings for variation.
• LFO Modulation: Include an LFO without synchronization to BPM, adjusting the frequency for each stack.
• Filtering: Use an SVF or Sallen-Key band pass filter with resonance adjustments, optionally quantizing frequencies to a scale.
• Custom Adjustments: You can add various effects within this chain for unique reverb outcomes.

Try out these steps and experiment with different effects to see what works best for your sound!

Today, I'm creating a Generative Patch using Bitwig's Poly-Grid. I'll walk through setting it up, focusing on pitch generation using feedback and modulation techniques. Here's a brief overview and the main steps:

Overview:

• Creating a monophonic Poly-Grid.
• Using feedback for pitch generation.
• Implementing pitch modulation and smoothing transitions.
• Adding effects for a dynamic sound.

Steps:

• Setup: - Create a new Poly-Grid in monophonic mode. - Add a sine oscillator set to D#3.
• Pitch Down Effect: - Use a long delay set to a quarter note. - Apply an LFO to modulate the delay, creating a pitch-down effect. - Blend the original and the pitch-down signals.
• Volume Fade: - Use a ramp signal to create volume fades, reducing crackling sounds. - Apply a sine window to smooth the ramp signal.
• Extended Delays: - Implement longer delays for richer textures. - Add another delay to create an octave pitch-down effect.
• Triggering Envelopes: - Use disrupted pitch signals to trigger envelopes. - Quantize the pitch signal to fit within a scale.
• Rhythm and Feedback: - Create a rhythm by combining different delay times. - Use a stereo split to add slight variations between channels.
• Effects: - Apply filters to manage overtones. - Add a phaser and all-pass delay for texture. - Use convolution reverb for space and depth.
• Final Adjustments: - Tweak phase modulation and add pitch wobble using an LFO. - Apply EQ to balance the final sound.

The preset can be downloaded from the description. I'll let this patch run on my music channel with added piano layers for an extended performance.

Update: I changed some of the default settings and inner ratio correlations, so it matches more with the OTT VST at 50% depth, 100% up/down, 100% time and 0 in and out gain. It doesnt sound exactly the same, but it comes close.
In this video, Dave Linnenbank demonstrates how to create a simple compressor in Bitwig's Grid. After watching his tutorial, I created my own preset called D-OTT, a multi-band compressor/expander, and in this video, I showcase its features and functionality.

Key Points:

• Dave's Tutorial: Demonstrates creating a basic compressor in Bitwig's Grid.
• My Creation: Inspired by Dave, I created the D-OTT preset, a multi-band compressor/expander.
• D-OTT Features: - Band Splitter: Uses Crossover 3 module to split frequencies at 88.3 Hz and 2.5 kHz. - Components: Each band has a compressor, expander, threshold, output gain, and makeup controls. - VU Meters: Gain reduction meters for visual feedback. - Sculpt EQ: Includes boosts at 60 Hz and 5 kHz, plus tube saturation for warmth.
• Demonstration: Applied to an Addictive Drums preset to showcase its impact.
• Free Download: The D-OTT preset is available for free download and customization.

Update 0.5:

• SEQ1 and SEQ2 spit out notes for external synths & devices. Or use it to record some sequences to a note clip.
• Additional Note Grid Preset (download below) with only one sequencer, when you don't need the whole synth and just want to generate sequences.

Update 0.4:

• EG1 and EG2 behave more like real voltage-controlled EGs. The "trig mix" knob now scales the triggers from each sequencer.

Update 0.3

• Added new sequencers with the corrupt system. 0-50% changes the pitches, 50-100% changes the triggers.

Update 0.2:

• Can be triggered with a key now (so you can play it like a synth).
• Added a quantizer for each sequencer (to keep stuff in tune, use SEQ1 AMT 100% because it's post-quantizer and use SEQ1 Range for the pitch range).
• only plays when transport plays

About

I've recreated the MOOC synthesizer called Labyrinth inside Bitwig Studio. You can download the preset for free from the description. Make sure you have Bitwig Studio beta 11. Here’s a quick rundown of its features and how to use it:

• Two sequences with bits to shift and flip.
• Two oscillators: main and modulator, allowing frequency modulation.
• Mixing section for combining oscillators, ring oscillation, and noise.
• Wave folder and low pass/band pass filter with customizable routing.
• VCA with a voltage-controlled envelope.
• High pass filter to remove DC offset artifacts.
• Sequencer controls for pitch values, sequence length, and modulation.
• Various modulation options including bias, phase shift, and triggering envelopes with sequencers.

Feel free to try it out and leave feedback!

• Download Labyrinth:
• Download Labyrinth SEQ:

Update 0.5:

• SEQ1 and SEQ2 spit out notes for external synths & devices. Or use it to record some sequences to a note clip.
• Additional Note Grid Preset (download below) with only one sequencer, when you don't need the whole synth and just want to generate sequences.

Update 0.4:

• EG1 and EG2 behave more like real voltage-controlled EGs. The "trig mix" knob now scales the triggers from each sequencer.

Update 0.3

• Added new sequencers with the corrupt system. 0-50% changes the pitches, 50-100% changes the triggers.

Update 0.2:

• Can be triggered with a key now (so you can play it like a synth).
• Added a quantizer for each sequencer (to keep stuff in tune, use SEQ1 AMT 100% because it's post-quantizer and use SEQ1 Range for the pitch range).
• only plays when transport plays

About

I've recreated the MOOC synthesizer called Labyrinth inside Bitwig Studio. You can download the preset for free from the description. Make sure you have Bitwig Studio beta 11. Here’s a quick rundown of its features and how to use it:

• Two sequences with bits to shift and flip.
• Two oscillators: main and modulator, allowing frequency modulation.
• Mixing section for combining oscillators, ring oscillation, and noise.
• Wave folder and low pass/band pass filter with customizable routing.
• VCA with a voltage-controlled envelope.
• High pass filter to remove DC offset artifacts.
• Sequencer controls for pitch values, sequence length, and modulation.
• Various modulation options including bias, phase shift, and triggering envelopes with sequencers.

Feel free to try it out and leave feedback!

• Download Labyrinth:
• Download Labyrinth SEQ:

Yesterday, I rebuilt an Ableton Live sequencer called "Driv" inside Bitwig Studio. Driv allows you to play a melody pattern with multiple playheads that manipulate the playback speed and direction. I recreated this in Bitwig, demonstrating how it works.

Key Points:

• Driv Functionality: One main melody pattern with multiple playheads altering playback (reverse, slower, faster).
• Bitwig Implementation: Built using the Grid with four voices, each having modifiable playback characteristics.
• Playhead Controls: Adjust playback speed, direction, starting offset, and MIDI channel routing for each playhead.
• Customization Options: Change melody, step size, velocity, and other parameters for each voice.
• MIDI Routing: Output each voice to different MIDI channels for further manipulation in Bitwig.
• Expression Modulation: Use set pressure and tumbler for additional modulation control.
• Download Available: Free preset download provided.

This summary should help you quickly grasp the content and key functionalities demonstrated in the video.

• Download:
• Fugue Machine: https://www.patreon.com/posts/fugue-machine-52838413
• Original Website: https://k-devices.com/products/driv/

In AU5's recent video, he introduces the Ultra Comp, a filter combination in Ableton Live using devices like a flanger, phaser, and frequency shifter. This summary will show how to recreate this in Bitwig Studio. The Ultra Comp creates a spectral filtering sound and a moiré pattern in the spectrum analyzer.

Overview

• Device Creation: Starts with a flanger using two delays, then uses phase-inverted flangers for an All-Pass effect, ending with a frequency shifter for a Shepard tone effect.
• Bitwig Implementation: Uses Bitwig's All-Pass modules to replace phase-inverted flangers, analyzes with EQ curve analyzer, and creates custom filters.

Key Points

• Flanger Creation: - Uses two delays to split the signal, achieving minimal delay for flanging. - Combines the delayed signal with the dry signal.
• All-Pass Filters: - Create notches in the frequency spectrum. - Mixed with the dry signal, they act like low-pass filters. - Increasing poles adds more notches, creating complex filters.
• Frequency Shifter: - Adds a Shepard tone effect by shifting frequencies. - Can create stereo effects by shifting left and right channels differently.
• Bitwig FX Grid: - Utilizes 50 All-Pass modules for extensive filtering. - Adjusts phase relationships with a frequency knob. - Blends dry, delayed, and dispersal signals for the final output.
• CPU Considerations: - More All-Pass modules increase CPU usage. - Duplicating the effect amplifies it but also increases CPU load.
• Alternative Method: - Uses Bitwig’s frequency split for spectral filtering, less CPU intensive. - Can add effects like flangers, phase shifters, or frequency shifters in FX boxes.
• Sound Characteristics: - Different methods produce distinct sounds. - All-Pass method offers unique audio qualities.
• Practical Use: - Suitable for color-based producers. - Allows for extensive sound modulation and customization.

The video includes detailed steps and analysis for recreating and understanding the Ultra Comp effect in Bitwig Studio.

• Download:
• Au5 Video: https://www.youtube.com/watch?v=_SyB2WqKwP4

In this video, I walk through using Bitwig's Node Grid to create random notes for the Polymer synthesizer without using a MIDI keyboard. Instead, I use various modules within the Grid to generate, scale, and quantize these notes, ultimately producing a more musical and controlled sequence.

Key Points:

• Polymer Synthesizer Setup: - Monophonic mode with voice-circuit off. - Remove the node input and generate random notes using the Dice module. - Generate eight equally spaced triggers within one bar using the Triggers module.
• Scaling and Quantizing Notes: - Use an Attenuate module to scale down the range of notes to within one octave. - Quantize the notes to the C major scale using a Quantizer.
• Creating Repetition: - Implement a Shift Register to store and recall the sequence of notes. - Use a Trigger module to shift and record values in the Shift Register.
• Playback Control: - Use a Select module and a button to control recording. - Merge module to connect outputs to inputs for sequence playback. - Use a Counter module to step through the sequence, creating a stepped ramp signal.
• Sequence Modification: - Implement playback direction changes with a Curve module. - Adjust playback length and add randomization to sequence repetition using a Dice module. - Ensure the root note is included for clear scale identification.
• Extended Features: - Generate additional random values for velocity and pressure/timbre using separate Dice modules. - Record these values into the sequence and use them to modulate aspects like filter modulation.

This setup demonstrates a flexible way to create a recordable, random note generator within Bitwig's Grid, allowing for dynamic and controlled musical outputs.

• Download Preset:
• Video transcribed, summarized and Q&A on my Blog (no ads): https://bit.ly/3RFC05S

Most of the Tracks, as always, are bounced to audio and the source tracks are disabled and hidden. I used Bitwig 5.2b8 to save the files.