No April Fools content, just Knowledge
Added 2024-04-01 13:52:57 +0000 UTCIn the video, two main questions were addressed regarding music production techniques, specifically within the context of using the drum machine XO preset in Bitwig Studio and creating bass sounds with a wave table in Poly-Grid. Here's a summary of the solutions provided:
1. Drum Machine XO Preset Issue and Solution:
Problem: In the initial setup, the XO sampler is placed in the return channel of the drum machine, necessitating muting to avoid sound leakage from the cells and bus outputs. This setup muted the sample preview in the XO, making sample selection tedious.
Solution: Instead of muting the global return channel, mute all individual buses while leaving the master channel active for sample previews. Change the audio receiver on each cell to receive from the XO's bus channel pre-fader, ensuring no sound leakage and allowing for previewing without muting the return channel.
2. Creating Bass Sounds with Wave Tables:
Problem: How to utilize wave tables for bass sounds, requiring a monophonic or mono bass sound or fundamental, while maintaining stereo spread and detuning for richness.
Solutions:
Basic Approach: Use a high-pass filter (HP 48dB per octave) set one octave higher than the fundamental to suppress it, then introduce a stable mono sine wave for the fundamental. This allows for a mono bass sound with a stereo top end.
Advanced Wave Table Editing: Using a wave table editor (like Serum), create a wave table with indexes for just a saw wave, another without the fundamental, and a third without the first harmonic. Morph these to smoothly transition from a full saw to one lacking the fundamental or first harmonic. This technique provides a clean base for mono sub-bass and a stereo spread for the upper frequencies.
Both segments focus on practical solutions to common production challenges, offering clear steps to enhance sound design and workflow efficiency. The first part simplifies the routing within a drum machine setup to streamline sample previewing. The second part presents both a straightforward and a sophisticated approach to achieving a powerful bass sound that balances mono and stereo elements for depth and presence in mixes.
Download Wavetable from the Video: https://bit.ly/43CbyPz
Comments
Ha! That wavetable trick might be wellknown… I recently bought Phase Plant and there are new features in the WT editor. So I thought about trying this trick in PP. Turns out, the WT I wanted to use to create the f0-less WT, “Fundamental Saw”, was already based on bringing the fundamental in. So, that trick already works. To make it complete, with the first harmonic, I create frame 1 as a saw, I used the “Direct Harmonic Editing” to delete the f0 and f1. Then created frame 128 as a saw without f0 (leaving f1 intact). Finally created frame 256 as a saw. That DHE also has phase for every partial, and a DC offset (originally thought it was the f0, so bringing that in was offsetting the wave…). I then used the “Frame crossfading” to create the full WT and save that as a .wav that I dragged onto the WT module in the Poly Grid. Added sines for the fundamental and first harmonic. Turned on unison mode. The result is quite similar to what you created, of course. And I now get how Phase Plant's wavetable editor works. And there are neat tricks, there. Next off might be Zebralette 3, as it sounds like it has something about editing partials as well.
Alexandre Enkerli
2024-04-02 01:37:33 +0000 UTC
