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Polyphonic Effects - Bitwig 5.1b1 (Patreon)

Published:
2023-10-23 15:11:20
Imported:
2024-02
Tags:

Content

Hey everyone, welcome back! Today we dived deep into Bitwig Studio 5.1's beta version, particularly focusing on its sweep device. Let's quickly recap what we covered in the video:

Sweep Device in Bitwig Studio 5.1

  1. Wet Gain & Interface: I shared my thoughts on how the wet gain should be part of the main interface rather than in the inspector panel.
  2. Grid Device: The sweep device is fundamentally a grid device with an intricate chain interface.
  3. Polyphonic Audio Effects: We explored how the sweep device can handle up to 64 polyphonic voices, a first in audio effects.
  4. Voice Stacking: Another groundbreaking feature that allows you to virtually duplicate the effect device and put different automations for different voices.
  5. Note Source: You can select a different track as a note source, meaning you can manipulate modulators based on notes from a different channel.

Creative Applications

  1. Resonator Bank Replacement: The sweep device can also serve as a polyphonic resonator, where you can play melodies just by tweaking the filter settings.
  2. Sound Shaping: Discussed how you can use the ADSR and key track to shape the incoming pulse signal, allowing more musical applications.
  3. Voice Stacking for Textures: By using voice stacking, you can create interesting textures and sounds, especially when used with recorded foley or real-world sounds.

Potential Improvements & Observations

  1. Need for ADSR: The sweep device lacks an ADSR for sustaining polyphonic voices.
  2. CPU Limitations: The current beta is a bit heavy on CPU, especially when stacking voices.
  3. Intricate Filtering Options: While you can't switch filters dynamically, the ability to have multiple filters and modulate their parameters gives you a wealth of creative possibilities.
  4. Interface Adaptability: Noticed some inconsistencies in the SVF filter's interface compared to the grid, hinting at possible upcoming features.

So there you have it folks, the sweep device in Bitwig Studio 5.1 is incredibly versatile, offering far more than initially meets the eye. Whether you're shaping sounds or creating entirely new textures, the possibilities are practically endless. Thanks for watching and I'll see you in the next video!

Files

this gets better and better! - Bitwig 5.1

So, after the last video I went and tried some different Ideas with the Sweep and Filter+ device of @bitwig studio and made some nice discoveries. Actually with the new findings, the new devices are probably my new favourite devices. -- 💕 Support me on Patreon: https://bit.ly/3PgbxZz 💰 or donate via Paypal: https://bit.ly/3cae9t8 🎧 Buy my Music: https://polarity.bandcamp.com/ 💾 Download my Tools / Github / Resources: https://polarity-dnb.de/blog/polarity-music-tools-samples-and-bitwig-presets-update-2019.html 💻 Check out my gear on Kit: https://kit.co/polarity/polarity-music-kit -- DEALZ: 🛒 Buy Bitwig Studio & Support me https://bit.ly/3yQEyDU 🛒 Upgrade Bitwig Studio & Support me https://bit.ly/3OimEjc 🛒 VST/AU Plugin Deals https://bit.ly/3zcvo66 -- SOCIAL MEDIA Discord: https://discord.gg/eWwFBww Blog: https://polarity-dnb.de/blog/ Twitter: https://twitter.com/polarity Reddit: https://www.reddit.com/user/polarity-berlin/ Business Inquiries: robert@polarity-dnb.de Paypal Donations: donate@polarity-dnb.de

Comments

Alexandre Enkerli

Ha! Hadn’t realized that the normal FX are monophonic. Makes sense, since they typically don’t get MIDI in. With chain devices based on the Grid, though, it can be quite powerful. And what you demonstrate, once again, is that though the Grid itself has all that power, we want/need more chain devices which let us access this power. Some might say that these new devices are “syntactic sugar”. After all, you could do the exact same things through Grid patches and macros. Yet, despite your work in the Grid, setting things up in this way isn’t something which came up. Speaking of the Grid, thanks for letting us know about the “Pitch Buss” module. Something I keep recreating as note effect is rotating chords. Using Pitch Buss will simply things, especially in terms of sending the correct intervals without having to calculate the pitches. Strangely enough, though, the attenuators only go to 36st and what is sent from the Steps module is in 10¢ increments. So, the best way I’ve found to make it work is to set the attenuation to 12st and multiply by 10. As for additions to Voice Stacking, this video does open our ears to the possibilities. Harmonic relationships should prove really useful for fans of the overtone series (myself included). What we’ve heard when you switched to the “Golden” was rather pleasing (giving weight to something my musical aesthetics prof kept harping on; she used a nautilus on the cover of our coursepack, so enamoured she was with the “Golden Ratio”). And I’m sure there’ll be brilliant experiments with all the other options. Something to note (mentioned in the release notes): as voice stacking works with “compatible plugins”, it’s an additional perk of using the CLAP format. At least with certain plugins. Surge XT and Nakst CLAP plugins (Apricot, Fluctus…) do support voice stacking. FBM (PECS, NY, Bucket One…) and u-he plugins (Hive…) don’t. Still, it can prove useful in a number of situations. If it were added to Cardinal or VCV Rack, it’d bring another level of integration with the modules they contain. Agreed that updates to BWS are quite special. Maybe not in scope, as some other DAWs add significant features in point releases as well (there was a discussion about that for Reaper, which just got to 7.0). And, clearly, updates rarely hit the “most Bitwished features”. Nobody had “Golden Ratio voice stacking” on their bingo cards. What does happen, though, is an execution of the overall strategy. We got a lot of clarity in 5.0 (“it’s modulation curves all the way down!”). What we get in 5.1 is a glimpse at a certain level of abstraction (new chain devices are Polymer-style Grid devices with a frontend GUI). It’s a good time to be an active user of BWS. (Since it’s my first actual DAW, after a 20 year hiatus from electronic music, I didn’t have to switch from something else. I do feel like I’ve been “betting on the right horse”.)

Alexandre Enkerli

As for the demands on the CPU when you go past 6 voices… It’s probably the reason we were limited to 5, before. And it’s the kind of thing which might possibly benefit from some optimization before official release. At least, I hope so. Typically, on my lowly M1 MacBook Air, there isn’t anything I do with a single track in Bitwig which is too taxing on the CPU, even at a high sample rate (192kHz) and a relatively low buffer size (256 samples). In this case, however, I can saturate my CPU with about 8 voices. At 96kHz, I can’t go much higher than 64 voices. It’s only at 48kHz that I can get the full 128 voices. https://www.dropbox.com/s/4rtatgqym7rvh4p/Capture%20d%E2%80%99%C3%A9cran%2C%20le%202023-10-23%20%C3%A0%2021.12.35.png?dl=0