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A small useful thing that I've needed for a long time since Space Boy from Elevayta does not work with sandboxing...

It splits the frequency of the source signal into several bands and uses those bands' amplitude to modulate the EQ bands of the target track, in effect creating "space" in the track, removing conflicting frequencies.

Install by copying the .bscene to /clips directory of the Bitwig library. The effect can be found in the "clips" category inside Bitwig.

Best way to use the effect is to place an audio receiver before the FX layers on both modulator and audio track, copypasting the effects around loses the audio sidechain settings, and the effect does something, but not what intended.

Creates swarms of notes based on the harmonic content of the incoming sounds. Glithcy and fun! Very,very sensitive to the "sensitivity" setting, the difference between too much harmonics and none played can be around 1 percent , so set with care... I might make the detection more accurate, but there's some issues so I'll see.

It works by separating the signal to 12 bands, each of which has a Resonant Bank device to resonate at the fundamentals of each note of the scale. Then there is a note replacer on each band, and this first paraller layer is followed by a note combiner device created by u-u-u. Has some macro controls, and also the octave of the generated notes can be modulated via two different paths.

Simple note repeater with jitter, speed goes up to 11.

A simple preset using polynom and the audio rate modulator to create a waveshaper.

For samples on the arranger it's a bit tricky, you need to insert an audio receiver getting the signal from another track, or put a sampler before the effect.

A morphing formant filter built with V2.2.2 tools.

The patch is not really good for use in songs since it's really CPU heavy, there are 60 bandpass filters (switchable between 8 and 16 pole steepness), and probably hundreds of automation routings. Since they're all audio rate... Well. But very cool for sound design work.

I tried to make the macro controls artistically sensible, have every control do something useful, and avoid the possibility of "bad settings". There are two tabs of macro controls, a few right on the chain page, and the most on the layer after that. I could have moved them all to the main page, but that would have doubled most of the macros which causes all kinds of problems in practise.

A light version of this patch could probably be built around the internal Bitwig resonator bank. But the inner workings could not be finetuned.

Anyway, I had this sound in my head for days, it did not end up sounding exactly as I envisioned, but on the other hand I can see myself using this a lot on arpeggiated short note runs, pads, etc.

Having a separate delay on every frequency band did not end up sounding as cool as I hoped. I might think about that at some point, I remember the old NI Spectral Delay used to be very cool. But then again it was optimized for running tons of very narrow bands...

4 operator phase modulation (or is it phase distortion? I'm not so familiar with this stuff) bassline test preset. Dirty like hell, but that's just great :D

10-band vocoder built inside Bitwig, built and tested in v2.2.

There is three tracks, one for wet FX, one for carried and one for modulator. If you just save and re-import the preset, the audio receiver settings are broken inside the patch and be must set by hand again, 30 times in total for all bands :P

I tried to make the controls sensible, but they might be somewhat dependent on incoming signal strength, I guess both carrier and modulator should match their volume.

It works by having three 4-pole bandpass filters in series for both carrier and modulator. The series is to rise the steepness of the filter. The audio sidechain is used to modulate the amplitude of the carried signal with the output of the last of the modulator's filters.

Resonances of both carried and modulator analysis bands can be independently set, as well as the attack and release of the envelope follower. So both sharp robotic and more ringing effects can be got. The analysis bands are approximately placed close to as many vowels as possible, but they can be tuned upward (the lowest is at 60hz by default) and also swept with a LFO to get phaser-like sounds.

A phaser inspired by the Moog Moogerfooger 12 stage phaser.

The amp's (there's only one) mix knob should be set to 100 percent wet, like it's now the plugin produces a very different sound from the intended.

Two versions for both 6 and 12 pole operation are provided. The 6 pole version has an unusual parallel lowpass filter configuration with some added EQ filters for adjusting the slopes. I did it this way to get some unevenness and grit in the sound.
The 12 pole version is made with the resonator bank as it more closely resembles the sound of the 12 pole mode of my unit.
In the 6 pole version there is an option of using two different filters, both also have an additional control for overdriving the signal beyond the original unit's sound.

I tried to get all ranges and such to match the original unit as accurately as possible using a spectrum analyzer and my good ears, but of course it's "inspired by", not circuit emulated or something :)

A test instrument built from a DC offset, cross-modulated keytracked LFOs with three voices with each having a setup with three paraller distorted bandpass filters. Macro controls included for basic parameter settings. Monophonic.