CC mode uses any control change message to sweep thru the available layers (like using mod wheel to cycle thru various note FX), and Program Change does the same with that kind of MIDI messages (common from pedal controllers, etc.). Keyswitches turns a range of notes into controls that target specific layers (good for film scoring with different sounds and articulations). And any of these modes will take the same sequence of notes and transform it into a new bouquet of sound. Some modes switch layers when a new note arrives, such as Round-robin passing each note (or individual chord notes) to different layers, Free Voice targeting unused layers first (ideal for creating polyphony with Eurorack hardware), and Random for spreading things out (particularly nice with a pile of different audio FX). The same for a few arpeggiators set to do polyrhythms or a pile of audio effects that should be swept thru. Whether each note of a chord needs a slightly different preset or a totally different VST, these modes will handle the details without any fuss. The piano interface is newly flexible.īitwig Studio’s Instrument Selector, Note FX Selector, and audio FX Selector have all gained voice modes, for dynamically triggering different layers. Or even Humanize step start times and velocities. Or turn global note length up to 400% and let notes overlap for new harmonies. Or keep a note interval but play it off the beat grid. You can also swap the synced timing out for a millisecond clock, maybe to stutter the end of a phrase. And for those using MPE-enabled or other advanced controllers, micro-pitch changes are now tracked, and per-note pressure messages will update note velocities for more dynamic performances.Īdditionally, a number of new arpeggiation shapes have been added to either blossom out from the center, spiral in toward the middle, keep the order notes were played in, and more. Along with controls for velocity and note length, each step now has a pitch control too, like step sequencing new patterns on top of the notes being held. The play between will and luck is at the heart of these tools, just as it’s at the center of making music.Īrpeggiator, a source of creativity in all versions of Bitwig Studio, has added a number of features and possibilities. While tools like EQ+ and Saturator are made for fine control over sound, some tools bring life and pleasant unpredictability to your process. We’ve also added a Saturator module to The Grid, where polyphony allows each note to be independently shaped for even more sonic possibilities. And additional skew controls take the Loud sounds and treat the positive and negative transients differently, adding additional richness to the sound and spectrum. The expanded curve editor offers a matching set of Threshold, transform Amount, and Knee controls for the Quiet and Loud portions of the signal. The basic, high-level panel displays the curve being applied along with Drive, gain Normalize, and low-pass controls that can either lighten the saturation or turn it into a dynamics processor. So with Saturator, richness can be added to any sound in just the right places. Unlike most waveshapers or distortions, this one works in the log domain, just like our ears. The rainbow spectrum can also be seen in trusty EQ-2 and EQ-5, and frequency controls are now rainbow-ized in various filter and tuning controls across 20+ Bitwig devices.īitwig Studio’s new Saturator is a unique waveshaper for cooking up any sound material with adding the right amount of buzzing, rumble and warmth. So in the same way that your first controller knob always has a red flag in Bitwig (up to a purple flag for the 8th knob), frequency controls will start showing you the sound before you hit play. Seeing frequency settings colored predictably creates a kind of sonic muscle memory, connecting sound with visuals. The color of each band’s frequency is then used to color that band. Taken together, sculpting a sound is now more like drawing the spectrum than twiddling knobs.Īnd while it is a graphic equalizer, EQ+ goes a step further by applying a rainbow color spectrum to the EQ curve. Along with 14 filter options and up to eight bands, EQ+ also has an Adaptive-Q option to narrow the width of bands as their gain increases, in addition to global frequency Shift and Gain controls, ‘soloing’ a band while dragging it for precise editing, and different oversampling modes. Clicking on the EQ curve adds a band that can be dragged right into place. Here’s what they have to say about the new features in Bitwig Studio 3.2:ĮQ+ brings a new look and modern sound to Bitwig Studio. Bitwig has announced Bitwig Studio 3.2, an update to their namesake DAW that they say focuses on delivering greater control and sculpting possibilities.
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