Polarity Music Crazy EQ Modulation Made Easy Synth Presets
FANTASTiC | 06 April 2024 | 5 KB
In this Bitwig Studio tutorial, I explored creative EQ modulation techniques using the Polymer synthesizer with a saw wave, the EQ+ device, FX grid, and voice stacking. Here's a concise overview:
Setup: I started with a Polymer synthesizer playing a saw wave and added the EQ+ (a monophonic FX device) into the FX grid. I then enabled voice stacking with eight voices and introduced an LFO set to Per-Voice mode, resulting in polyphonic modulation capabilities.
LFO Configuration: Each of the eight voices received its own LFO modulation. I configured the LFOs to modulate a value knob, which was set to bipolar mode, and used a device called voice talk to enable specific voices within the grid.
EQ+ Modulation: I created eight EQ parameters on the EQ+ and chose frequencies corresponding to the D sharp scale across multiple octaves. A stack spread modulator adjusted the phase of each LFO to create a dynamic modulation effect.
Enhancing Modulation: I added more complexity by duplicating the setup for a total of 16 voices, adjusting EQ settings, and employing various modulators to influence the EQ+ parameters differently across voices. This setup allowed for nuanced control over the EQ's frequency and Q settings, creating a rich, evolving sound texture.
Advanced Techniques: I further experimented with dual EQ settings, step modulators for precise control over EQ parameters, and mix modulators for transitioning between modulation settings. This approach enabled a highly musical and dynamic modulation effect, applicable to different EQ models and effects within Bitwig.
Conclusion: The tutorial demonstrated innovative ways to use monophonic devices in a polyphonic context through voice stacking and modulation in Bitwig Studio, showcasing the platform's flexibility for creative sound design.
This session highlighted the potential of Bitwig's modulation system to create complex, evolving sounds using relatively simple tools and techniques.
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