Making The Sound “Overwhelming”

When the sound is off the beaten path the most imperative occupation is carried out.

Be that as it may now we get to view blending as an imaginative medium.

While a voice recording studio will never have the force and effect of a live execution, the genuine sound execution can do things that can’t happen in nature. Furthermore that is a phenomenal thing.

Records, in the same way as film, have developed into their craft due to the control that can happen. We can make a sound that is “overwhelming”.

This comes in numerous structures: giving the sound a more noteworthy space, components that are more vivid than we would hear them even in the best of sound frameworks, forming sounds to have a stronger saw sway than they typically would, and so forth.

Create Morphing Instruments in Bitwig Studio

Bitwig Studio has introduced some interesting and functional effects, such as container devices. These can really help streamline some of your workflow production techniques. The XY Instrument is a great tool to build up complex instruments. The beauty of this container is that you can combine 4 instruments together plus morph between the 4 with the XY interface of the device. Let’s take a look at how to build up a multi-instrument with this container and how to morph between them to create interesting soundscapes.

Using the XY InstrumentPic 1

Bitwig Studio’s devices are broken into 3 categories: Audio FX, Instruments, and Containers. On the Browser panel on the right you can see these three types of devices. Expand the Container folder, and then drag the XY Instrument onto a blank area on the tracks panel. This will create an Instrument with the XY Instrument container loaded into it. Double-click this instrument to open up the XY Instrument. You’ll see on the interface that it has four quadrants: A, B, C, D. An instrument can be loaded into each of these.

Select the A quadrant by clicking on it. Now click on the plus sign column that appears once the A quadrant is selected. I’m going to add a PolySynth instrument. You could also drag and drop the instrument directly on the A box, as Bitwig supports drag and drop functionality throughout the application.

How about choosing a preset for the Polysynth? To do this select the Polysynth under the Browser – Devices and Presets tab on the right and then underneath it, it’ll show the presets. Select the Astropad preset and drag it onto either the Polysynth instrument or the A quadrant. Now load up another instrument into the B quadrant. This time let’s use the FM4. Do the same by dragging an FM4 preset to the B quadrant. I’m going to use the Airhorn preset. Go through and add an extra two instruments of your choice to the C and D quadrants. You can even use your third-party instruments in these quadrants, as it doesn’t only have to be Bitwig instruments. Maybe you want to build up a complex instrument to include Bitwig Studio synths, plus Sylenth, and Massive. Your third-party instruments will be shown in the VST Plug-ins Folder.

If you want to edit a particular quadrant just click on it, and its respective instrument will be shown on the right of the device panel. You can also add extra effects to each instrument. So for example, let’s say you wanted to add a distortion effect to the Polysynth, and then some delay on the FM4. Simply select an audio effect under the Audio FX folder in the Browser Devices – Presets tab, and then drag it onto the B quadrant. Bitwig will add the effect after the instrument. If you have added a few effects, you can drag the header of the effect to change its location in the effects chain. Maybe you want your distortion to be placed after a chorus effect. So adding effects to each individual instrument in the XY Instrument container gives you even more control on designing a complex sound for your multi-instrument.


The cut (or ‘drop mix’) is a quick change from one record to another, and is most effective when performed without missing a beat between the two tracks. Cut mixes are traditionally heard in hip hop, dubstep, drum and bass, and breakbeat heavy tracks. The key to the cut is to have perfect timing, which takes much practice. Here’s how to perform the cut:

Preliminary requirements: Make sure your crossfader mode or curve is set to a ‘scratch curve’; this means the channel volume will cut in as soon as you move the crossfader from one side into the center.

  1. Move your crossfader fully over to the left-hand side.
  2. Load Deck A with a track, bring up channel fader A and play your track.
  3. Load Deck B with a track, cue it up in your headphones, play it and beat match or sync it.
  4. Double check to make sure that your crossfader is securely on the left-hand side, so that Deck B does not bleed into the mix. Once you have checked this, bring up channel fader B.
  5. Count the beats in the track on Deck A, and prepare the track in Deck B by aligning it with Deck A at your chosen mix point.
  6. At the end of a phrase on Deck A, quickly move the crossfader over to the right-hand side. Deck B is now the only track playing.

The keys to success with this technique are your timing, and choosing the right place in both tracks for the cut. You need to be right on time for it to work!Recording studio with ISDN line for voice recordings are imperative today if you want to record an instrument or vocalist across ststes or even countries.