Hi searched in the manual and on the Web, but found a few pieces of text, very concise and without practical examples, for example Bitwig FX
Live Harmony
A note transposer that conforms incoming notes based on the active note messages of a different track (set as the Harmony Source). To improve the device’s logic, a Pattern Key should be defined.
Key Filter
A note transposer, which can correct or remove notes that do not match a set key and mode. Notes can also be shifted before the transposition is applied.
They say little, so I hope some folk here may help
Live Harmony works leaving it always to C, nevertheless the scale used by Scaler or other instruments used in the same project, and nevertheless the plugin you select as the source
The Key Filter also is obscure, because sometimes works well with the same Scaler’s scale, while in many other situations it works better with other scales/roots
In both situations I cannot use a rule, but just trying, listening and decide
When using the Pitch Quantize in the Grid you must compensate for the fundamental. For instance if you define a chord starting in D you must precede the Pitch Quantize by a Transpose +2 so that the fundamental becomes D and not C. So on so forth. +3 for a chord starting in Eb.
Also if the input range is too wide it will not produce expected results. An Attenuate set to +12 can be a starting point in such cases, which makes it : Attenuate → Transpose → Pitch Quantize.
Then if you have a way to signify a change of scale on the fly, a Select Out can be used to switch between two Pitch Quantize when needed.
It’s all good fun. 6 months ago I wasn’t able at all to put pieces of the Grid in my mind comfortably but with practice and learning it becomes more and more familiar. I hope one day soon Bitwig will come up with a library system for the Grid so that it will be possible to build reusable components that can be easily plugged-in new designs and shared between users.
For the Harmonize Note FX as it is called, have a track playing some notes for example in Eb. Add Harmonize on another track and add a keyboard instraument after it (piano, synth). Put the first track as the sidechain input in Harmonize. Start the transport and the Eb chords of the first track will be heard, Play along a single note on the second track. The note will shift accordingly to what’s detected from the sidechain input. Now to help the computer figuring things out you can specify manually the root note of the sidechain inout using the Incoming Note Key table which by the way is fully programmable using modulators.
What a scaring name…
he he, I love simple things and this sound complex
about the grid, I dropped it, opened the area with block and wires, grabbed the Pitch thing and nothing happened
I tried to cut a wire, the one from the keyboard, connected the 2 poles of the Pitch thing and again nothing happened
this stuff seems too much complex to me
I really hope that next version of Scaler will improve the Keys Lock feature that is amazing for solos, the few times I am able to have it working
Well, this is basic audio mixing terminology. Sidechains are around since the 1930s and the first movie dialogues, then used in AM radio broadcasting. It was used in pop music recordings, The Beatles, etc. It’s an alternative input for compressors. An input on the side. And its a chain because there too you can have EQ and other processing. If you ever want to make your own recordings of a certain quality for demo purposes or just to share, you could read about sidechain compression.
For instance
Since the 1930s the technique of sidechaining an input to a audio processor was applied to other processors than the compressors. And today Bitwig has an actual Sidechain device that can be used anywhere. By the way, in Bitwig there’s also a Chain device which is quite useful if you want to save synth sounds with their FX together.
As for the Grid unless you have a background in electronics you need to learn about it. There’s no other way.
I would like to take the opportunity - about learning - to mention that the course offered by the Scaler team is excellent.
That’s quite a flashback to those times when hobbyist electronic projects started with tubes then later with the first microprocessors and so forth. There’s even a ‘how to build your own stereo ALC compressor’ in issue 187 (Novembre 1996). Nuova Elettronica looked like a very high-quality magazine for hobbyists, very detailed. Thanks for the flashback it provided by browsing some pages to those days of hobbyist electronics .
