Do you need my ex’s phone number?
3 Likes
Can anyone confirm…?
4.3 still does not have a scale mode, (like what’s in live 11 now)?
1 Like
AFAIK there is no full blown scale mode but there is a Key Filter. Not sure how far back it goes but it seems like it’s been around. Scaler 2 seems to be quite a nice VST and it’s pretty low price. Not sure how powerful Live 11 is in this regards but Scaler goes beyond just a scale (teaching tool as well I guess). I am quite happy with the basic scales that Key Filter offers for now.
1 Like
I’m a big fan of Bitwig. I switched to it from Ableton a few years ago. I was on Ableton for about 15 years before that. I don’t miss much from Ableton, except for slicing in the sampler. In Bitwig, you can slice an audio clip to a multisample by onsets (like transient markers in Ableton), beat divisions, or stretch markers (like warp markers in Ableton). But, it is kind of a hassle to adjust slices after that. You can do it, but it is a lot more tedious than the slice mode in Ableton’s “Simpler”. If we had slicing within the sampler, and a dedicated controller, like Push, that would be very cool. Even cooler would be a dedicated controller made by Elektron. I don’t expect that would ever happen, but that would be my ultimate dream machine.
The other main feature I want in Bitwig is containers in “The Grid”
I made a whole thread about it on Bitwish:
Containers in The Grid
There are a whole bunch of other features I would like, but slicing in the sampler and Containers in The Grid are my top 2. Another Big one for me would be a “modulator Grid” (Basically a modulator that would load up The Grid for custom modulators.
I think Bitwig 4 took some influence from Elektron. The “operators” are similar to trig conditions, and the “repeats” it similar to retrig on Machinedrum and Octatrack. I recently made a note grid patch that mimics the retrig from those boxes pretty much exactly. That is the cool thing about The Grid. You can make custom instruments/ effects/ sequencers/ modulators ect… much quicker and easier than other modular environments (in my opinion).
3 Likes
In the spirit of Analog Rytm and Ableton - Unstoppable Force, I created an Arranger clip which may be convenient for Bitwig users. It opens the Analog Rhythm plugin. Some Bitwig knowledge is assumed. The clip comes with a brief readme but not a manual 
have fun.AR-Bitwig-Flex-Clip.zip (8.7 KB)
Use it to:
- automate AR parameters
- sequence tracks separately
- capture audio from individual tracks
I didn’t use nor like overbridge in combination with Bitwig (anything) but gave it a try and indeed, this turns the AR into a kind of modular synthesizer
5 Likes
4.3 is ready
What’s New in Bitwig Studio 4.3 [released 28 June 2022]
NEW DEVICE: CONVOLUTION
- A straightforward device with quick adjustment controls for reverb, coloring, or anything else convolution can do
- Supports loading 1-channel (mono), 2-channel (stereo), and 4-channel (“true stereo”) impulses
- An impulse browser visualizes all impulses in your library, along with their length, category, and channel count
- Tune resamples the impulse, changing its pitch and length by the set amount
- The Start and End Time positions within the impulse can be adjusted visually, similar to Sampler
- A Volume Envelope sets a start, mid-point (time-adjustable), and end gain levels, that can be quieter or louder than the original impulse for effects or reshaping it altogether
- Brightness offers a tilt EQ, which favors the high end when turned to the right, or the low end on the left
- Pre-delay time, Wet Gain amount, and dry/wet Mix parameters are also available
- The Wet FX chain allows any Bitwig devices and VST plug-ins to be added for processing only the wet output portion
-
Convolution supports any audio file:
- Dropping a file from one of Bitwig’s browsers or the OS’s file manager onto the Convolution will load the first 45 seconds of it
- If a file conversion is necessary, the impulse will be saved into the current project’s
Impulsesfolder as a BWIMPULSE file - Dragging any audio or note clip onto Convolution will bounce the clip, and then load it as an impulse
- A folder Import… option is available via the impulse browser for bulk import
- 270 impulses are available in the factory library, including real spaces, environmental captures, and generated impulses
NEW DEVICE: DELAY+
- A souped-up delay, with hardwired modulations and a pre-stocked feedback loop that eats the latency of other devices/plug-ins
- Standard delay options for delay time (either in seconds, or beats plus offset for triplet, dotted, or things in between), Feedback amount, low- and high-pass filters for controlling feedback, and a dry/wet Mix control
- For delay time changes/modulations, a Time Update Rate parameter is available, as well as two Time Update Model settings:
- Repitch - Maintains audio output during delay time changes, making pitch effects audible
- Fade - Hides pitch artifacts during delay time changes
- Like oscillator detuning, a Detune parameter is available in milliseconds, along with a Stereo Detune toggle to invert the right channel’s detuning
- Four Pattern options for the channel configuration:
- Mono - Flattens the incoming signal for processing, and offers a Pan control for direction within the effect
- Stereo - With a Width control and optional Cross Feedback (for left → right channel feedback, and vice versa)
- Ping L - Ping-pong, starting on the left side, and with Width control
- Ping R - Ping-pong, starting on the right side, and with Width control
- Around the feedback stage are several controls and effects:
-
Level Control keeps signal in the feedback loop from exploding, offer both a Threshold for when level control starts, and three Modes (Soft Clip, Hard Clip, and a Comp.[ressor] model)
- The feedback (or cross feedback) icon illuminates red to show the amount of level control being applied
- Width affects Feedback factors in the Width parameter (when available) before the feedback chain
-
Blur sets the amount of the selected Blur Character, whose choices are:
- No Blur - Bypass option
- Soft - Short diffusion network
- Wide - Short diffusion network, with broader modulation and spread
- Still - Long diffusion network
- Space - Long diffusion network, with broader modulation and spread
- Reverse - Time-offset diffusion system
- The Forever toggle maintains the current feedback buffer, keeping it at unity gain and not passing in any new signal
- Any other Bitwig devices or VST plug-ins can be inserted into the FB FX chain, becoming part of the churn
- The FB FX chain uniquely provides delay compensation (for inserting devices that require it) by offsetting the delay time
-
Level Control keeps signal in the feedback loop from exploding, offer both a Threshold for when level control starts, and three Modes (Soft Clip, Hard Clip, and a Comp.[ressor] model)
-
Ducking automatically pulls down wet signal gain as well as the Feedback level when strong sounds arrive to help them be heard, even with high Feedback values or even the Forever option enabled
- The arrow icon (→) leading from Ducking to Mix illuminates orange to show the amount of ducking being applied
POLYMER/GRID MODULE UPDATES
- New Polymer/Grid oscillator: Union
- A DC-drifting, analog-inspired oscillator that blends pulse, saw, and triangle waves
- Level controls for each of the three waveforms
- Clickable toggle to quickly switch to only one waveform
- Pulse Width control for the pulse wave’s shape and timbre
- Anti-aliased waveshapes slide around as any of these controls are adjusted, making them ideal for modulation or automation
- Union is now the default oscillator in Polymer for its immediate controls and warm sound
- New Polymer/Grid filter: Low-pass MG
- A Moog-inspired classic low-pass filter
- Drive stage has similarly inspired mix buss character (try turning it up; we’ll wait.)
- Standard Cutoff Frequency and Resonance controls
- Low-pass MG is now the default filter in Polymer because it sounds good and familiar
- Updated Polymer/Grid envelopes: ADSR, AR, and AD
- Each have three modes now:
-
Analog - Again, imitating Moog hardware’s fixed curves nonlinearities - 🆁 Relative - (previously the only mode) With adjustable rate-differential curves
- 🅳 Digital - Clean math with adjustable curves, for precise time segments
-
- A simple one letter button in each envelope’s top left indicates the mode; click the box to see all available modes
- For its classic response and ease of use, the default Polymer envelopes (for AEG and FEG) are set to Analog
- Each have three modes now:
- Updated Polymer/Grid filter: Sallen-Key (previously “Low-pass SK”, with only three low-pass modes) now has 16 Filter Mode options, using various filter types
- Updated Polymer/Grid filter revision: Comb now has a Dampening Frequency parameter (set relative to the primary Cutoff Frequency) for reining in the feedback segment
- Updated Polymer/Grid filters: Low-pass LD, Low-pass MG, Sallen-Key, SVF, XP, and Comb
- All filters now including a Resonance Limit (or Q Limit) control, setting the point where clipping begins within the filter’s resonance
- The Drive parameter sets the amount of gain (and clipping), and Resonance Limit sets the threshold when clipping/saturation begins
- Together, these parameters can greatly adjust the color of any filter
- Resonance Limit is available in Polymer by right-clicking on a empty area of any filter module
- Updated Polymer/Grid oscillators: Pulse, Sawtooth, Sine, Triangle, Union, Wavetable, Phase-1, and Swarm
- Each oscillator’s Phase Modulation Amount knob now goes up to
800 %(with100 %at the center) - These extended modulation index values provide for a broader range of digital frequency/phase modulation sounds
- Each oscillator’s Phase Modulation Amount knob now goes up to
- Updated Polymer/Grid module: Sub (Oscillator) now includes a sawtooth option as an additional Waveform choice
COMMENTS ARE WELCOME
- Comments can now be added to any track, layer (within one of our Layer devices) or chain (within Drum Machine devices), Launcher scene, or Arranger cue marker
- Comments can be added/seen in the Inspector Panel for any item, and:
- Track and layer comments can all be seen/edited together in either Mixer Panel
- Launcher scene and Arranger cue markers can be seen/edited together in the Sections page of the Project Panel
- Comments are good for whatever you what — recording settings, performance notes, lyrics, etc. — and can be written in any language that Bitwig can display
FX TRACKS SENDS
- FX tracks now have sends of their own, allowing FX tracks to be sent to any other effect track
- An FX track sent to an FX track on its right (further down on the mixer) is sent immediately
- An FX track sent to an FX track on its left (backward on the mixer) is sent with a delay of one audio buffer
- This includes direct feedback routing, shown with the square feedback arrow icon
- This also applies to the FX tracks of group tracks and FX layers within Drum Machine devices
NEW FEATURES
- CLAP plug-ins are supported for all platforms (including polyphonic modulation, voice stacking, and on and on)
- FLAC files can now be directly played back across Bitwig (in clips, with stretching, by Sampler, etc. etc.)
- Converting FLAC files to WAV is no longer necessary, saving space and time AND staying lossless
- Sends can now be toggled on/off individually:
- Click the name of any track/channel’s send to toggle that send off/on
- SHIFT-click any track/channel’s send to toggle all sends
- A new function, Disable All Unused Sends, disables any unused sends in the project, which minimizes CPU-usage/latency
- Sends in new projects are now disabled until used (by an initial knob turn or creating automation, etc.)
- Controller scripts added for iCON QCon Pro G2 and Pro X models (both with support for up to three Extenders)
- Updated FX device: Bit-8 now has an Anti-alias toggle, switching to different methods — and a different sound
- Updated Grid module: Audio Out (I/O) now has higher-quality clipping algorithms, and the module icon glows to indicate how much clipping is being applied
- Updated Grid module: ADSR (Envelope) now has a Bias Out port, sending a proportionate signal that outputs zero in the sustain segment (good for sliding pitches and much more)
- CC In Grid module: Now has MIDI learn functionality for setting the CC message and channel to use
- Pitch (Pitch) Grid module: Now has a MIDI learn option for setting its constant value
- Updated analysis device: Spectrum now has a toggle for the Frequency Range displayed:
- Human Hearing - Displays the extended human hearing range
- Sample Rate - Matches Bitwig’s current sample rate
- Updated Grid module: Oscilloscope (Display) now has display parameters to adjust the Y Maximum shown on screen and a Y Bipolar toggle
- Updated tool device: Test Tone now has a Bipolar toggle for optional unipolar output, as well as Waveshape options:
- Sine (previously the only waveform available)
- Triangle
- Square
- Saw Up
- Saw Down
- Dirac - A series of one-sample impulses
- White Noise
- Pink Noise
- When a group track is expanded and focus is within it, all Add Track functions now create tracks within the group
- Operators: Note editor GUI updates (to show which events are playing on this loop pass) are now latency compensated [28277]
- Controllers that target the Clip Launcher now use a rectangle to highlight the current targets from each active controller, and can optionally scroll Bitwig’s GUI when the controller scrolls its targets
- Modules now have a revision system, for managing updates and maintaining compatibility with previous use work
- When an UPDATE button appears on the top right of a module, mouse over it for a tooltip of the changes that clicking UPDATE would bring
- The top of the Inspector Panel for devices has been simplified and given a fuller range of icons
- Nested device chains now show an icon for each device in the chain
- The User Guide PDF has been updated for Bitwig Studio v4.3
- Linux: Builds are now released as FLATPAK files (more information here)
- DEB files will continue to be available for now
- The Download button in application update notifications will now point to the FlatPak installer (when running a FlatPak installation)
- Linux: now supports the PipeWire audio driver
IMPROVEMENTS
- Controller Scripts: BWEXTENSION files can now be installed by simply dragging them onto the Bitwig application window
- Invoking the Rename function on audio events will now open a dialog to rename the audio file itself
- Adding an instrument to an audio track no longer forces conversion to a hybrid track
- [CTL]/[CMD]-dragging to move an automation segment now limits movement to only be up and down (and not move in time)
- Layered editing of audio tracks no longer allows resizing the lanes when the auto-size mode is on (it was too easy to do this accidentally)
- General modulator mapping improvements:
- When setting a modulation range of a linear parameter, the unit will be shown while mapping
- When setting a modulation range of a logarithmic parameter (such as the Rate scaler for the LFO modulator or Grid module), positive modulations will be shown with × and negative modulations with ÷, since the modulations are multiplicative of the current setting
- When setting a modulation range of a cubic parameter (such as any envelope time setting, or module attenuator, etc. etc.), the modulation shows the maximum modulation value based on the parameter’s current set value, along with an asterisk (*) since changing the set value will change the effective modulation range
- When mousing over a modulator source that is assigned to only one destination, the window footer now tells you the one destination it is assigned to
- Updated Grid module revision: Comb (Filter) now sets negative feedback to the same cutoff frequency/delay time as positive feedback
-
Delay-1, Delay-2, and Delay-4 devices:
- Latency compensation is now done within the feedback loop [28736]
- Now does a precise computation of delay times (for less drift)
- Increased the delay buffer when sample rates are high
- Note: These improvements may lead to slightly different (read: more accurate) sounds
- Actions that controlled transport playback state (such as pressing SPACEBAR) can now be invoked while adjusting a parameter via mouse or touch [28638]
- Exiting a text-editing action with the [ESC] key is now decided on a case-by-case basis
- Re-organized Bitwig device categories:
- New Distortion category (replacing Destruction, with all devices moving there)
- New Modulation category (with Chorus+, Chorus, Flanger+, Flanger, Phaser+, Phaser, Rotary, and Tremolo moving there)
- Comb is now in the Filter category
- Plug-in categories work similarly for display
- Support for 64-bit floating point WAV files
- Added support for compressed WAV files (such as those not in PCM or float formats) [8604][21352]
- Added button to stop an active trial phase [28446]
FIXES
- Substantial memory optimizations for projects with a large number of tracks and/or scenes [28390]
- Launcher Clip Loop button would perform inconsistently when switched during playback [28676]
- First kick in looping clip launcher clip louder than other clips if there’s a note following behind the loop [28066]
- Clip Launcher clips could drift out of time with arrangement loop active [28607]
- Sliding clip content no longer affects track automation [28425]
- Reversing a clip no longer affects track automation [28428]
- Audio events could get inserted into the same clip when moving a multiselection in layered audio editor [28339]
- Dropping an audio time selection while holding ALT (to copy) could shorten existing events [28791]
- Onsets weren’t being analyzed for a sample dragged out of a multisample [28824]
- Recording of polyphonic pressure was not accurate [28346]
- Wrong loop region length could happen after consolidating a clip with an odd time signature [28347]
- Edit View was not always showing existing automation when switching lanes [28750]
- Inconsistent “meta clip” (on group tracks) selection behavior [28296]
- FX Tracks: Option to Group is no longer in the context menu [28672]
- When loading a sample file that results in an error, the loading task could appear hung, spinning indefinitely
- 8-bit WAV files had an incorrect DC offset
- 8-bit WAV files (that did not contain an even number of samples) could click
- 32-bit float WAV files could be clipped on import [28338]
- 192 kHz audio playback had sync issues [28486]
- 192 kHz sample rate: Stretch modes lead to timing issues [28637]
- Some corrupt WAV files weren’t loading [26961]
- Fixed a crash when reading FLAC metadata from invalid files [28840]
- Inappropriately compressed multisample files (e.g. created by Moss conversion tool) weren’t being loaded anymore [28818]
- Imported tempo automation from MIDI file could be inaccurate [28520]
- MIDI files that contained only CC automation could not be imported [28572]
- Importing an invalid MIDI file could break the Bitwig project [28513]
- ALS Import: Pitch Bend and other MIDI CCs weren’t getting imported [26673]
- Humanize (Note FX) device: Was sometimes causing performance issues, visual slowdowns [27061]
- Tool device, etc.: Had a tiny gain boost (+0.0014 dB), now removed
-
FX Layer device:
- Solo state was not remembered when reloading a project [28553]
- Dragging a layer out onto an audio track was converting it to an instrument track and Instrument Layer [28410]
- Poly Grid device: Spikes were happening when clicking on a note in the note editor [28551]
- Drum machine device: Was crashing when inserting the device, selecting a pad in the mixer view, and then undoing [25578]
- Note FX Layer device: Notes were not playing correctly after transposing them in different layers [28479]
- Note FX Selector device: Fixed a rare crash [28517]
- AD, AR, ADSR Grid/Polymer modules & Note Out Grid module: Wouldn’t always trigger on sub-sample gate signals
-
Note Out (I/O) Grid module, friend of Note Grid, etc.:
- Sending a note on with velocity of
0 %now creates a note (the same as with Bitwig’s note events); now only negative velocity values will fail to produce a note with Note Grid, etc. [27984] - Routing an envelope signal to the Gain In port expression was creating a pop [28618]
- Properly clips note expressions
- Sending a note on with velocity of
- Plug-in Suspend mode: post FX chain was going silent too early [28808]
- Plug-ins: The plug-in window sometimes wasn’t closing after deleting the plug-in device
- Shortcut added for Toggle Metronome was not working when a VST window was in focus [28257]
- VST: MPE pitch bend input was broken [28546]
- VST plug-ins: Notes with velocities below
0.39%were not being sent to plug-ins anymore [28610] - VST plug-ins: MPE expressions are now properly clipped [28477]
- VST3: Was only showing the sidechain routing if the plug-in’s only input bus is an auxiliary input
- VST3: Note expressions output from plug-ins are now forwarded to the device chain
- Fixed engine crash when manipulation strings contains less common unicode character such as:
- Crash when changing cursor device from some controllers when there was no track selected [28525]
- Rare crash when invoking shortcut that was assigned to a controller button [27751]
- Controller API: Fixed an invalid error and controller ‘freeze’ when adding a binding from a button to track mute button [28960]
- Controller API: Crash when zooming with no project open [28753]
- macOS: Avoid excessive logging when the
os_workgroupfails - Strange situations could lead to an erroneous error (“At least two warp markers needed for warping”) when previewing a file in the Browser Panel [28819]
- Infinite recursion in module graph led to an app hang for one (1) project [28927]
10 Likes
As a recent Bitwig adopter I’m very impressed at these frequent releases with chunky new features.
2 Likes
…yiiiiihaaaaaaa…not much left to make it truuly perfect…
pitchdetection to midi and video is all that’s left to me now…
see u at 5.0…
2 Likes
Love it 
Bitwig is fully sick
1 Like
woooooooow! indeed.
one of the best additions ever.
i suggested this feature, or at least feature like this, on Bitwish.
so, now we can store all our notes right inside the projects. bye-bye, inconvenient external files.
3 Likes
I’ve been using ableton for the last 12 years or so but I’m kind of feeling I want to try switching to Bitwig… What do you guys think?
I do use max so maxforlive is one thing I’ll be missing the most but I guess I could just use standalone max patches and route it in and out of bitwig with loopback or something like that…
other than that, I am so ready to pull the trigger mostly because its Grid thing looks sick, Bitwig seems to be more fast/responsive to newer audio technology, and how way more flexible/versatile Bitwig looks compared to Ableton’s slow updates and stagnancy in bringing any fun/innovation in performance/composition nowadays…
2 Likes
I started using Bitwig 6 years ago but also kept live as I have so many great packs and instruments and a PUSH 2 (it works with Bitwig but its better with Live)…you can pick up Bitwig licences quite cheap (no suite version) so just have the best of both worlds. If you have to pick one, all I can say is I mainly use Bitwig now…
1 Like
Give it a go!
1 Like
It’s on sale right now so it’s a great time to give it a try.
My background is in Sonar and Reaper, but when looking for an electronic music focussed DAW I tried Ableton, FL and Bitwig and found Bitwig to be the most immediate and fun.
1 Like
Hi @lyhraam. I’ve been using Bitwig since it was in Alpha and I’ve dabbled with Ableton on and off for years as well. I’ve also spent years listening to everyone moaning about DAWs on KVR so perhaps I have something of value to offer.
The general consensus is that if you want very “traditional” DAW features for multi-track recording and very deep audio editing or emulation of a hardware workflow (like a mixing desk with EQ and whatever on each channel etc) then you may be better with something like Cubase or Studio One.
However, if what you’d like is lots of more leftfield/alternative features, sound design, modular features (add as many LFOs, envelopes and other modulators as you like to any parameter) and unusual sequencing workflows (devices that echo MIDI notes, euclidean sequencing, chord devices, all plugged together however you like) then Bitwig is probably the most advanced DAW on the market.
One of the classic Bitwig-ey things to do is to add a single long note to a clip (maybe 4 or 8 bars) and then set it to loop. Drop in a built-in synth and then start dropping in arpeggiators and other note-altering devices from Bitwig (there are many) and just see what comes out. You can then start to shape the sound with lots of modulators like LFOs that change each other’s rates or shapes, drop FX into the devices and modulate things like delay times or feedback, reverb length etc and really get weird with the sound design. You can certainly do some of these things in other DAWs but Bitwig makes it very easy and the drag-and-drop workflow is quick. If you’re like me and you’re happy to experiment and see what comes out (as opposed to having an idea already in your head) then it’s an absolute goldmine of creativity and experimentation.
I’m also happy to go out on a limb and say it has one of the best modular synth environments out there. It definitely IS NOT is another eurorack emulation, and thank god for that. It’s very easy to get started and you can build your own synths and FX quite quickly but it has a lot of depth if you want to go down the rabbit hole.
Please be aware of the licensing model because when they made the switch it upset a lot of people and I still see many folks online all the time who don’t understand it. It’s not a subscription, but it does have a subscription-like model. You buy the software and you get one year of updates. After that, you have to pay for another year of updates but you can still use the latest version right up to the point that your “subscription” ran out. So, for example, I was on 4.0.x since about a year ago because I didn’t want to upgrade yet. So I didn’t get the new features released in the last year, I just used the 4.0.x version that I had. But then recently I decided to upgrade (during the sale) so now I have the latest version and whatever they release in the next year. So it’s really a choice but, yes, you have to pay every year if you want to stay right up-to-date.
I’ve given this lengthy explanation because it’s mildly frustrating that so many people either don’t get it and/or rant online about the model. It’s very clear and nobody is getting tricked, but you just need to be aware of it. They generally do about 2-3 major release in a year and lots of “small” updates that often still have new devices or, in my opinion, good updates, fixes and workflow tweaks. It hasn’t stood still for 10 years. They also do sales at least once a year so if you get the timing right you can generally pay $129/€129 per year instead of the full price.
If you want a “mad professor” toolbox for making sound or experimenting with modular ideas, generate weird sequences or just modulate the absolute hell out of everything, it really can’t be beaten! I think it’s brilliant and the biggest leap forward in DAW development since Ableton Live, but that’s obviously just my personal opinion. Some people are endlessly frustrated by whatever single feature they apparently desperately need, but I’m not that guy so I just enjoy it for what it is.
14 Likes
Thanks for such detailed explanation/response!
The sound design capabilities+creativee workflow are exactly why I wanted to try it out and I just decided to give it a go thanks to you and others’ responses!
I did not know about the licensing model quirks so thanks for shedding light on that too but that doesn’t bother me too much. As long as it’s not a strict subscription model that takes away my access to using it when I don’t renew, I am absolutely fine with it.
I am in school so I was able to get the edu license price for 199 which I think is an absolute steal, so I’m just waiting for them to verify my status.
Can’t wait to get started on this new environment with all my external gears 
I wonder how well they pair with elektron boxes and modulars, though I assume it’d be great since they have tons of fun midi modulators and cv modules as far as I know
1 Like
You can demo the whole thing for 30 days
1 Like
Real audio quantization and a basic tuner wouldn’t hurt too 