One the best things I ever purchased was the Galbanum 10000 single waveforms and wave tables package. They have LOADS of mathematically beautiful waveforms that can be used to create amazing modulations. I can't stress just how useful this package has been! I'm surprised so few people know about them
@@PolarityMusic I'm making your additive synth right now, I'm using the sine formant group of waves from Galbanum in 8 samplers, set up like a wave table to power the synth. You explain things very well. I look forward to contributing to your patreon soon :)
In the organic synthesis there is a burst of noise and some sort of feedback circuit and resonator bank. Could be splited up into 2 modules exciter and enhancer. exciter is initialy the cause of the sound in physical world like the pick up of a string, enhancer is the change of the sound in space, like a reverb for example attenuating the really high frequencies it is modelled after some physical space. That is why something like shimmer reverb is anything but out of this world, because the focus here is shifted away from modelling a natural physical space. The most inconvenient thing is that bitwig comes with all the basic effects like chorus, reverb, eq, dynamics and so on but not all modules are actually modelled by the grid. Not possible yet creating a sub module using a scripting language. This makes the grid kind of a middle thing just powerful enough to create your own synth. One could write a controller script, but the internal api changes significantly with every version, where it is one line of code, possibly not that much of a change. We are usually not doing that separation thing of exciter and enhancer class in the grid, still it is possible by using kind of a helper by using grid and fx grid. Otherwise all the test scetches remain 'containerized' later on with the advantage to leave the character of an instrument as it was intended, but disadvantage creating same effects over and over without interchanging them quickly. Literally stacking up a container, making it complex. I guess the initial transient transparency of the sound depends on the type of feedback modulation and how much phase distortion is applied because of the feedback it is possible to clip or distort. A comb filter is basically a group of notch filters, what it actually does is filtering 'the beats' of clashing frequencies, which are moving back and forth. It is doing its job inperfectly, because it filters the beats occasionaly eg. not aware of the intersample peaks or phase or some sort of lookahead a peak could move over time. By increasing the feedback of a comb filter it is applied either on one side, not both sides. Type of an allpass filter can be created, by using two comb filters one tuned to negative feedback and one to positive. That is doing almost the opposite of a comb filter: letting all frequencies pass, but changing the phase, in other words it spreads the formants over a time axis. Some very different aspect as used in terms of phase distortion on an oscillator. Because here it is more of a width and timbre parameter than shifting formants over time thing. I guess it depends where phase distortion is applied to it could be on the exciter part, the osc or the enhancer part, the filter. If there is only the exciter, there also some interesting thing happens. If it is a burst of noise the perception of it is more of a pulse than a pluck.
Great tips for the Grid here. Thanks again for sharing your knowledge! With the Karplus patch, if you slot another filter in between the noise and comb, you'll open up a lot of tonal shaping possibilities.
So this is the way to learn more and more of the Grid, love this stuff. Could it be your buffer size is quite low, some sounds are starting to crackle? Thanks again for this awesome video.
Wow, Polarity you're getting so good at The Grid! I wonder how much you've looked into doing advanced additive synthesis with advanced per voice (range?) modulation? Like with, lots and lots of partials, but all are still effectively controlled. Like the Harmor synthesizer
You're an International Treasure-Thanks!
I needed this since I'm trying to learn how to make sounds with in the grid.
One the best things I ever purchased was the Galbanum 10000 single waveforms and wave tables package. They have LOADS of mathematically beautiful waveforms that can be used to create amazing modulations. I can't stress just how useful this package has been! I'm surprised so few people know about them
Thanks for sharing!
@@PolarityMusic I'm making your additive synth right now, I'm using the sine formant group of waves from Galbanum in 8 samplers, set up like a wave table to power the synth.
You explain things very well. I look forward to contributing to your patreon soon :)
22:20
you can create a lot of atmospheric stuff with that only.. Amazing.. Swoosh-alike noise, buildups etc.. Thanks once again!
In the organic synthesis there is a burst of noise and some sort of feedback circuit and resonator bank.
Could be splited up into 2 modules exciter and enhancer.
exciter is initialy the cause of the sound in physical world like the pick up of a string, enhancer is the change of the sound in space, like a reverb for example attenuating the really high frequencies it is modelled after some physical space. That is why something like shimmer reverb is anything but out of this world, because the focus here is shifted away from modelling a natural physical space.
The most inconvenient thing is that bitwig comes with all the basic effects like chorus, reverb, eq, dynamics and so on but not all modules are actually modelled by the grid. Not possible yet creating a sub module using a scripting language. This makes the grid kind of a middle thing just powerful enough to create your own synth. One could write a controller script, but the internal api changes significantly with every version, where it is one line of code, possibly not that much of a change.
We are usually not doing that separation thing of exciter and enhancer class in the grid, still it is possible by using kind of a helper by using grid and fx grid. Otherwise all the test scetches remain 'containerized' later on with the advantage to leave the character of an instrument as it was intended, but disadvantage creating same effects over and over without interchanging them quickly. Literally stacking up a container, making it complex.
I guess the initial transient transparency of the sound depends on the type of feedback modulation and how much phase distortion is applied because of the feedback it is possible to clip or distort. A comb filter is basically a group of notch filters, what it actually does is filtering 'the beats' of clashing frequencies, which are moving back and forth. It is doing its job inperfectly, because it filters the beats occasionaly eg. not aware of the intersample peaks or phase or some sort of lookahead a peak could move over time. By increasing the feedback of a comb filter it is applied either on one side, not both sides. Type of an allpass filter can be created, by using two comb filters one tuned to negative feedback and one to positive. That is doing almost the opposite of a comb filter: letting all frequencies pass, but changing the phase, in other words it spreads the formants over a time axis. Some very different aspect as used in terms of phase distortion on an oscillator. Because here it is more of a width and timbre parameter than shifting formants over time thing. I guess it depends where phase distortion is applied to it could be on the exciter part, the osc or the enhancer part, the filter. If there is only the exciter, there also some interesting thing happens. If it is a burst of noise the perception of it is more of a pulse than a pluck.
Great tips for the Grid here. Thanks again for sharing your knowledge! With the Karplus patch, if you slot another filter in between the noise and comb, you'll open up a lot of tonal shaping possibilities.
Thank you very much for this methods! Very interesting and informative.
Brilliant! As always!
Thanks Polarity! Great job
So this is the way to learn more and more of the Grid, love this stuff. Could it be your buffer size is quite low, some sounds are starting to crackle? Thanks again for this awesome video.
Very valuable tutorial thanks so much :)
Wow, Polarity you're getting so good at The Grid!
I wonder how much you've looked into doing advanced additive synthesis with advanced per voice (range?) modulation? Like with, lots and lots of partials, but all are still effectively controlled.
Like the Harmor synthesizer
And I'm glad you're doing a Griz revisit video. I've been using Bw for 1.5 years now but I'm waiting to get into the Grid. I will get lost :)
🔥🔥🔥🔥🔥🔥 as always
Wow.
Nice Tutorial like all your Tutorials. Thank you for the Code....BWS 3.2 income
Is it possible to make a live arrangement from the clip view???
Is there an equally easy way to implement Modal synthesis in BW?
Do you know any good book to learn synthesis and/or sound design through?
wooooooh