What’s more, any overdubs on the clip are simply added to the available Takes – very handy. There’s also individual region gain and the option to slide the position of each or all Takes. Take regions can be selected, trimmed and renamed, and different takes easily swapped in and out of a region. The resultant Takes are edited in the Detail Editor Panel at the bottom and automatic colour coding keeps things clear. In typical Bitwig fashion this feature is part of a clip, and is achieved by cycle recording in either the Launcher or Arranger. Bitwig Studio 4: Performance and verdictīitwig Studio 4 brings with it some key updates, enhancing both traditional DAW features and also pushing the creative boundaries. There’s also support for MIDI polyphonic expression (MPE). Further features include integrated timestretching (Scale) powered by zPlane’s excellent Elastique. You’re also furnished with a decent Library of sounds, patterns and presets. Of course, no DAW is complete without a selection of instruments and audio effects (Bitwig has 90 in total). Here either synthesis (Poly Grid) or effects (FX Grid) are patched together from the 175 available modules. This is further developed via The Grid and its ‘any signal connected anywhere’ methodology. In fact, drag-and-drop is featured throughout Bitwig, as is a deeply integrated modulation system with 36 Modulators. This is not only easy to understand but also aids with drag-and-drop functionality, better integrating the creative, performance and arrangement aspects of Where Bitwig Studio differs from many of its competitors is by providing its two key concepts (Launcher and Arrange Timeline) side by side in the same tracks. Nevertheless, the underlying concept, which combines linear clip arrangement and performance style clip-launching has remained the same. In the intervening years, a program of regular updates and full version upgrades have enhanced its features, expanded the bundled content and generally finessed its offering. It’s seven years since Bitwig Studio first appeared, bringing with it a fresh approach to audio and clip arrangement that made many of the established DAWs feel sluggish and, quite frankly, a bit old-fashioned by comparison. MusicRadar verdict: For the creatively inclined, this update adds great new features and continues to forge Bitwig’s innovative pathway. We know these features won’t appeal to everyone, but you can’t deny that Bitwig are committed to adding extra features, and continue to plot their own creative course, all of which is a good thing. But these processors are excellent, providing new creative opportunities and a way to transform very simple MIDI to create complex, unpredictable, and individual sounds. This Bitwig update is all about the Note FX, and this could have been a letdown. Further 4.1 additions include direct MIDI output from any track chooser and improvements to the Sampler device. You now have five onboard colour palettes, and you can also create custom palettes by importing any jpeg or png file, although we found this last option required a colour rich photo to yield a useful palette. Version 4.1 has also extended the colour palettes. What’s more, in addition to the new processors, the naming of existing Note FX has been simplified and a few (Note Length, Note Filter, Arpeggiator and Multi-note) have been updated. To showcase the extended Note FX, the Factory Extended Package has a new bundle (Note In Bloom) with 40 library clips. Bend applies a pitch envelope to the note attack. Strum applies a time-based spread to the notes in a chord with up or down direction. You can adjust the number of walls, overall panning width as well as the ball’s behaviour (Radius, Speed and Damping). Ricochet meanwhile is a repeat that’s modelled on a ball bouncing off room walls. However, it also has a Damping amount, and this helps create an effect like a naturally bouncing ball as it gradually loses height and speeds up. Dribble is a timebase and velocity sensitive repeat. Real worldĪs their names imply, Dribble and Ricochet both owe something to the natural world. Randomize, meanwhile, influences six parameters – pitch, velocity, timbre, pressure, pan and gain. You then have two pattern options to define accents within the repeats. Note Repeats supersizes the note retrigger concept with user-defined timebase and rate settings coupled with some randomness. The Amount and Forgiveness parameters influence how regimented this is, and by combining these parameters we found it quite easy to generate completely new rhythms. Quantize meanwhile uses the selectable time base setting to hold notes until the next beat. It’s suited to beats and we particularly like the option that allows notes to be played early. Humanize applies changes to timing, chance and velocity.
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