Bitwig Phase Synthesis Workshop
Вставка
- Опубліковано 25 сер 2024
- Writer and educator Dave Linnenbank gave a synthesis workshop for Bitwig at Superbooth18, looking at modular, analog hardware beside digital phase-manipulation techniques.
www.bitwig.com
![Modular Concepts: Phase, a Matter of Timing [Bitwig Studio | The Grid]](http://i.ytimg.com/vi/rIGcOpf59_g/mqdefault.jpg)
![Modular Concepts: Phase, a Matter of Timing [Bitwig Studio | The Grid]](/img/tr.png)
![Modular Concepts: Synthesis World Tour feat. Polymer [Bitwig Studio]](/img/n.gif)
Dave is an absolute gun, kept me engaged the entire time and I'm impressed at his ability to translate complex topics into layman terms.
I could totally listen to Dave teach about synths, software, music, etc for hour. So easy to learn from him. Great video!
That was loads of fun - thanks for the workshop!
Thanks very much for posting this lecture and making it available for those not lucky enough to have made it to Superbooth 2018!
This is an absolutely fantastic demonstration. These concepts can be applied across all types of synthesis.
Finally some more classes on Bitwig. More of this will be fantastic if it is monthly. :)
The Bitwig community has been very good about sharing information, and techniques from what I can tell. I have only been using it for about 7 months, but for every question I have thought of I have found an answer for very quickly.
Great presentation/explanation! Very interesting to follow along. ✨🌟
Thanks for the masterclass! It's given me a better perspective off phase4 and phase synthesis in general...
Wooow this is exactly the video I wanted!!!
And what sort of music do you make?
mainly just messing around currently and trying to better understand Bitwig, especially the Phase4! These videos are really helpful and I hope they make more of them.
Cool! Phase 4 is awesome and i've used it quite a bit on my new songs! Im mostly in to Deep house Berlin techno and chilled...
Fantastic! All principles of sound synthesis are connected because they are take thier own pick out of the box of the general building blocks of sound. It is very difficult to find information on synthesis in which not the gadget is the message (to paraphrase Marshal Mcluhan) but the principles of sound as a whole, thus taking the gadget back to it's proper place; that of a tool. This make sthis masterclass to a real gem. What I for intance learned hereis that Casio style Phase Distortion was basically equal to dynamic reading of static wavetables which builds a bridge between the very first digital "static" oscillators (for instance in Yamaha's E-series Electones) and the first digital music computersynths. That small realisation isin itsef is already an important insight to me because creates a some dots in my holistic concept of sound and the further one gets the more difficult it becoes to get to such Eureka moments. So thank you Mr. Linnenbank for this great workshop full of such wonderfull notions. I wish I could have been there.
Thank you for the video.
53:00 This is an interesting phenomenon I read about, and experienced myself. Although not stated explicitly it seems that when you present a certain series of harmonics, the ear (= rather our brain) creates a 'phantom' fundamental: you hear (experience) a ' sound' that isn't there. With headphones I regularly experience very low frequencies that my headphones never could produce.
On a deeper level I wonder whether this ' skill' is something we are born with ('wired'), or that we develop it during childhood, hearing 'natural' sounds (harmonics) every day. I guess FM sounds are not that natural and on an even deeper level of thinking I start wondering what the effects might be on our hearing and brain of experiencing 'unnatural' sounds on a large scale. Just speculating.
I had organ lessons at school, and one thing I learned was that if you want to produce a very low pedal note you play a fifth. For example, the lowest C and the G above it, both pedals together... and the listener hears a phantom C that's an octave lower. Effectively the same phenomenon, I think!
@@macronencer Glad you understand waht I mean. Your comment made me look it up. I had read about it in a book. It is (a.o.) called 'virtual pitch' ;-)
great explanation of the new device and synthesis :)
This was a knowledge bomb. Dope.
THANKS for bitwig
Thank you... much appreciated
Thank you
I love my LPK25, but this video shows one thing it would benefit from, there's no 'hold' function.
Yes, but daws do have it. In bitwig it's called Latch. He could use it, but didn't bother.
I just hit and twist shit.....I should probably watch this....
37:50 was this before bitwig had the curves modulator
I'd really like to know why the harmonics were in pairs with higher ratios. Was it something to do with aliasing?
By the way I recognised those PD wave diagrams because I used to have a CZ101 and I still have the manual somewhere...
Hi! Been using BW since 1.0! Quick question - can you explain if there’s a way to generate a trigger signal using the Steps modulator? Maybe a combination of modulators? I would love to be able to sequence eurorack style instead of in clips. Thank you!
You can sample a trigger from one of your eurorack modules and use that. It will have to be played at high volume from one of your audio interface outputs
Cocker I want to be able to produce triggers from the steps modulator to sequence the bitwig drum machine, that way I can use the output of the steps modulators in two ways, if any of the steps is on then it sends a midi trigger and the level of each step in the modulator can be a cv signal for modulation purposes. What do you think? I could sample a trigger, already have one actually, but not sure how you mean I could use that. Thanks!
Alex Senf stay tuned for bitwig three. I believe all of your problems will be solved then! It will be extremely easy to create gate and trigger signals. Looks like it’s going to be amazing!
The reason I came here is because i wanted to know some more about FM synthesis. After watching videos and tinkering around with some plugins, watching the behavior and profile of the sounds in spectrum analyzers and oscilloscopes it turned out that what you think you'd see is not what you do see, because what is called FM actually is PM. Like it is said in the video, I understand it does not matter for the resulting sounds, but it feels weird that your imaging tools can't show/match by what you're supposed you are doing. I hoped I would see the difference between FM and PM in the scopes (no criticism, but now it stays a bit obscure to me).
Interesting
But what I need to know is - will it help me to communicate with the ants?
Very long explanation of why old Casio synths sounded so tinny.
what hardware is that???
That's a small eurorack system, various modules in a PulpLogic case. The audio interface module is an ES-8 from Expert Sleepers.
+bitwig where ican get that eurorack?
Time Stamps please. he tends to talk extra.
thankful faraday made it off the island.
lost me at the very beginning of the video when he said phase modulation is the same as frequency modulation to the user.... You gotta be deaf to not hear the obvious differences between the sound of pm vs fm
cool....but does he reslly have to leave it droning on while he speaks hehe