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**BITWIG STUDIO 5.2**
**0. Welcome to Bitwig Studio**
Welcome to Bitwig Studio\! We are glad you have joined us and are excited to help you create, compose, polish, and perform your music.
And welcome also to our Bitwig Studio Producer and Bitwig Studio Essentials users\! Most of Bitwig Studio's functions and resources are available in all of our products so this user guide applies equally to all
programs.
If you are reading this user guide as a web page, the table of contents
along with a search function and language selector is available either
on the right of this text or at the bottom of this page \(hello, mobile
interface\). And if you are viewing the PDF version, use your program's
normal features for browsing sections, searching, *etc.*
The purpose of this document is to walk you thru most of Bitwig
Studio's functions and show you how to operate the program. The
chapters and topics are arranged progressively, with basic concepts
appearing first and advanced ideas showing up later. And although this
document does not attempt to explain fundamental audio and musical
concepts, it is written for users of any stripe who want to use software
to make music.
In addition to this document, other resources will be mentioned
when appropriate, and you can always visit Bitwig's website \[http://
bitwig.com\] for the latest information. And please share any feedback
you have or issues you encounter by visiting our support portal \[http://
bitwig.com/support\].
In this chapter, we will begin with links to sections that have changed
in this version. We will move on to the Dashboard, which is more or less the command center of Bitwig Studio. Finally, we outline a few
conventions that will be used across this document. But you will not
make sound in this chapter; that is what the rest of this document is for.
**0.1. What's New in Bitwig Studio v5.2**
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For those of you who are recent Bitwig users, hello\! Here are some
pointers to new and changed sections of this document. New features
and some of the updates in Bitwig Studio v5.2 include:
› *New audio FX device: Compressor\+ \(Dynamics\)*, an all-in-one
compressor for any use case, from adding color and tone to mastering
\(see section 19.8.7\).
› *New audio FX device: Over \(Distortion\)*, an anti-aliased clipper, with
multiband options and more \(see section 19.6.4\).
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**A Trio of Inspired EQs**
› *New audio effect: Sculpt \(EQ\)*, a component-model of the renowned
Pultec EQP-1, but with variable *Color* options \(see section 19.9.6\).
› *New audio effect: Focus \(EQ\)*, a component-model of the renowned
Pultec MEQ-5, but with variable *Color* options \(see section 19.9.5\).
› *New audio effect: Tilt \(EQ\)*, a classic tilt equalizer, putting twin shelving
filters under one set of controls \(see section 19.9.7\).
**Precision Editing, with Key Commands and Time Selection**
› *Precise editing functions are available from the keyboard*, both when
working with either Time Selection or the Pointer tool \(see section
3.1.4\).
› *Clip editing in the Arranger* offers various functions and default
mapping \(see section 5.2\).
› *Automation editing* offers various functions and default mapping \(see
section 9.3\).
› *Audio event editing in the Detail Editor Panel* offers various functions
and default mapping \(see section 10.2\).
› *Note event editing in the Detail Editor Panel* offers various functions
and default mapping \(see section 11.2\).
**Beat Detection & New Tempo Functions**
› *Beat detection now occurs long with onset analysis* when audio is
dragged into a project, with more precise stretch expressions being
added to new clips \(see section 10.1.2.2\).
› *Various Audio Import Settings determine how clips are prepared* when
audio is dragged in \(see section 0.2.2.1\).
› *Modifiers are now available when dragging in audio*, giving user direct
control of whether to import audio to *Stretch to Project Tempo*, to *Play*
*at Original Speed*, or to *Insert Audio as Raw* \(see section 0.2.2.1\).
› *A new Detect Event Tempo… function* runs the tempo-and beat-detection analysis on selected audio clips, with additional parameters
\(see section 5.3\).
› *A new Set Event Tempo… function* sets a fixed tempo for the contained
audio events \(see section 5.3\).
› *A new Apply Tempo Curve to Arranger function* writes tempo
automation into the project to match beat markers from selected
Arranger audio \(see section 5.3\).
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› *A new Set Project Tempo function* changes the project tempo to
match the primary tempo of the selected audio \(see section 5.3\).
**Other new things include:**
› *Functions are now collected into submenus*, when dealing with clips
\(see section 5.3\), audio events \(see section 10.3\), note events \(see
section 11.3\), and devices.
› *New Grid module: Crossover-2 \(Mix\)*, a two-band frequency split \(see
section 19.28.12.8\).
› *New Grid module: Crossover-3 \(Mix\)*, a three-band frequency split \(see
section 19.28.12.9\).
› *New Grid module: All-pass \(Filter\)*, a filter with adjustable slope in a
simple one-by-one interface \(see section 19.28.9.11\).
› *New Grid module: Shift Register \(Level\)*, a serial level sampler with
up to eight out ports, found beside to Sample / Hold \(see section
19.28.13.19\).
› *Updated device: Chain \(Container\) now has a Learn Wet Gain function*,
automatically matching the dry and wet levels to provide a balanced
*Mix* knob \(see section 19.4.1\).
› *Updated device: FX Selector \(Container\) now has adjustable fade*
*times*, offering expressive controls in the transitions \(see section 19.4.3\).
› *Updated device: Multi-note \(Note FX\) now has a Learn Chord function*,
programming the device based on the next notes played \(see section
19.16.10\).
› *Updated Polymer/Grid module: Wavetable \(Oscillator\) now has new*
*options*, to *Remove Fundamental* from tables, or to *Remove DC Offset*
to make modulation-type tables good for audio \(see section 19.28.5.6\).
› *Updated Grid module: Velocity In \(I/O\) now has a Velocity Mode*
*option*, determining whether note ons, note offs, or a mixture of both
are provided by the module \(see section 19.28.1.4\).
› *Bitwig Studio's graphics engine has been rewritten*, making the
program more responsive and efficient with both streamlined code and
GPU utilization.
› *Plugins are now included in Bitwig's undo history*, treating CLAP and
VST plugins the same as our native devices.
**0. WELCOME TO BITWIG STUDIO**
**0.2. The Dashboard**
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Once you have Bitwig Studio installed and launched, the first place you
will land is a place you will return to again and again. The Dashboard is a central hub for finding your projects, configuring your settings,
managing library content, and accessing help. Each of these four tasks
has its own tab for navigation, and we will walk thru each of them in turn
in the following sections.
**Note**
If Bitwig Studio opens to a different view, you can call up the
Dashboard at any time by clicking the Bitwig logo in the center of the
window's header, at the very top of the screen.
0.2.1. User Tab
We call the first tab of the Dashboard the *user tab* because it displays the name you have registered with Bitwig. \(If your username is too long,
it will simply display *User*.\)
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The *Quick Start* page shows both *Template Projects* \(that work as
starting points\) and demo project made either by Bitwig \(found under
*Bitwig Demo Projects*\) and our partners \(under *Partner Demo Projects*\). Each demo project provides a short write-up, a list of any *Bundled*
*packages* that are required to run it, and an *Open* button. Clicking *Open* downloads the project along with any used packages \(which requires an
internet connection\), and then opens the project.
The next three pages show local content and are similar in format.
The *Recent Projects* page shows the Bitwig Studio projects you have opened lately. The *My Projects* page displays all projects found in the *My Projects* path \(which is defined in the *Settings* tab within the *Locations* page\), and the *My Templates* page shows any template projects that you have saved.
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Each of these three pages shows content in the same way. A search bar
is provided at the top of the project list for winnowing down the projects
being shown. When a project is selected \(by single-clicking it\), project
information is display at the bottom of the window. This includes entries
such as the last modification time and the file path to the project folder.
*To open a listed project:* either click the respective *Open* button or
double-click the project name.
Finally, every page under the user tab shares three buttons on the
middle left:
› *New Project* creates a blank project to let you begin working from
scratch.
› *Open File…* provides a standard open dialog, in case you prefer locating
a project that way.
› *License Info…* opens a window that displays your local license data and
provides an option for registering a new serial number.
Because exiting the Dashboard requires that you have a project file open, trying to leave the Dashboard with no project open will send you to the *User* tab. The *New Project* button politely flashes in this case, indicating the quickest way to exit the Dashboard and get to work.
0.2.2. Settings Tab
The *Settings tab* is where Bitwig Studio's preferences generally live. We will look at a few of these pages in detail and then take the rest in the
order that they appear.
0.2.2.1. Behavior Settings
The *Behavior* page offers several workflow settings and other default values to use while you are working on music, such as the *Default stretch mode* to use whenever audio stretching is asked for.
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This includes *Audio Import Settings*, which determine the way that audio samples are analyzed and prepared when dragged into a project. The
first setting determines whether beat markers are added in order to *Play at Original Speed* of the audio file, or to *Stretch to Project Tempo*.
**Note**
This setting is the default option for audio that is dragged into a
project from either the Browser Panel or your operating system's
file manager. While dragging audio in, the window footer will also
show modifier keys that can be held to either *Toggle tempo-matching*
*behavior* \(for the alternate behavior\), or to *Insert Audio as Raw*
\(without any stretching or beat detection\).
This setting is also available within the preview player of Bitwig's
browsers, where it also has influence over how audio is previewed
when browsing \(see section 4.2.4.1\).
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The second setting determines whether to *Detect Tempo Changes*, letting the program decide whether the audio should be treated as
fixed-tempo material \(as are many tracks made on the computer\), or to
insert matching beat markers for any detected tempo changes \(which is
more common in live recordings\). The other option is to skip the idea of
tempo changes and *Assume Fixed Tempo* for audio imports.
The third and final setting affects the alignment of the new clip created
when audio is dragged in. The options are to either *Insert Clip from First Beat* \(which makes use of the beat detection\), or to *Insert Clip from Sample Start* \(which simply starts at the beginning of the audio file\).
This page also offers general settings, such as what to *Open on start*, whether a *Template* project should be used whenever you create a new project, and whether you want to be told about "Early Access" releases.
0.2.2.2. Audio Settings
The *Audio* page defines a number of important settings for audio
operation, including defining your audio interface and its inputs and
outputs, as well as details such as the *Sample rate* and *Block size*.
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To configure your audio hardware for the first time, begin by selecting
the proper *Audio System* for your interface. The options available here vary based on your platform. If you are unsure of what to set, try the
first option available \(there may be only one option\).
The *Input Device* and *Output Device* settings specify which audio
interface you will be using for bringing audio signals into and out of
the system, respectively. Whether you plan on using audio input or not,
you must set the *Output Device* in order to hear anything out of Bitwig Studio.
Once the *Output Device* is selected, a section of the window is added with the same name. \(In the image above, the driver's output device
is named *Ausgang \(integriert\)* so a section also labeled *Ausgang*
*\(integriert\)* follows.\) Bitwig Studio will have created a stereo output pair that is mapped to the first two audio outputs of your interface. In the
example shown above, the stereo output created by Bitwig Studio was
named *Stereo Output* and is shown under the *Output busses* header.
**Note**
Names defined in the *Output Busses* and *Input Busses* sections will
be used across Bitwig Studio to indicate audio routings. These names
can be changed here at any time.
For more information, see section 7.3.2.
The *Output Device* selected in our case above has only two available audio outputs, and both of those are being used by *Stereo Output*, as indicated by the checked boxes labeled *1* and *2*. The fact that both boxes are checked means that they are being used for the *Stereo Output* path, which will be available in the program under that name.
Finally, each output path has an assignable *Role*. The *Stereo Output* path has been defined as *Speakers*, making it an option for audio monitoring. The other *Role* settings are *Headphones* \(also a monitoring option\) and *Output*, which covers anything other than speakers or headphones.
If an *Input Device* is selected, a *Stereo Input* will be similarly created from the first two inputs.
Finally, the *x* button at the far right of each listed buss will delete that path. So if you create a buss by mistake, just click this button.
0.2.2.3. Controllers Settings
The *Controllers* page allows you to designate and configure any MIDI controllers that you will be using with Bitwig Studio.
**0. WELCOME TO BITWIG STUDIO**
The global *Takeover mode* setting determines how individual controls and their associate software parameters interact before their values
match. Options include:
› *Immediate*, which fully applies any control message to its software
parameter, moving it immediately.
› *Catch*, which waits to move the software parameter until the control
message matches or passes the current parameter value.
› *Relative scaling*, which moves the software parameter incrementally
in the same direction that the control is moving \(for example, turning
a knob up increases the parameter value, while turning a knob down
decreases the value\). This creates a relative motion based on your
control gestures that will gradually meet the parameter value.
In the *Controllers* sections, the top row represents ways of adding
controllers to your setup. The toggle with circular arrows represents
auto-add mode. Enabled by default, this mode will automatically add
any detected controller to your Bitwig Studio setup if a device-specific
controller extension is also found.
The *Add* button allows you to add controllers manually. Clicking it
calls up a menu of various controller manufacturers, each containing
a submenu of models. If you do not find your device here, you can
choose the top menu item, labeled *Generic*, and select the model best approximating your controller. Choices include:
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› *Keyboard \+ 8 Device Knobs \(CC 20-27\)*, which is useful for a device
with eight controllers that use continuous controller \(CC\) numbers 20
thru 27. These CCs are then used for soft control mappings.
› *MIDI Keyboard*, which is useful for a keyboard controller that you plan
to use as a note input device. When specifying the source of MIDI/
note messages via an input chooser, you can select all incoming MIDI
channels \(the default\), or you can specify one MIDI channel to listen to.
As shown in the above image with the *Korg padKontrol* entry, you may see one or more unfilled rectangles with an *Add* button at the right. These entries appear when a controller that was previously setup and
then manually deleted has been recognized by the computer. Since
auto-add is not available in these cases, the manual *Add* button is here to let you quickly restore the device.
Below this top line are entries for individual controllers that are
configured, usually named in their title bar with the controller
manufacturer and the name of the extension \(often matching the
controller model\). The "power" toggle at the title bar's left edge allows
you to disable messages from the controller and extension without
removing it. And the *x* icon at the right is for deleting the controller altogether.
Just below the title bar is a puzzle piece icon with the name of the
controller extension \(or extension\) following it. In the case that you have
multiple extensions on your computer that work with this controller, this
line becomes a menu, allowing you to swap one extension for another.
On the right side of each entry are menus for MIDI input and output
ports \(respectively\) that the controller extension requires. If a device has
gone offline or been disconnected, these ports may need to be set again
before the power toggle can be enabled.
Finally, the bottom left of each entry contains a row of buttons related
to the controller's performance \(see section 15.2\).
0.2.2.4. Synchronization Settings
The *Synchronization* page provides options for both controlling
Bitwig Studio from external sources and for transmitting messages to
synchronize other platforms/hardware to Bitwig.
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The *Transport Sync \(IN\)* section allows you to select the *Sync Method* in use. The following three options are available:
› Bitwig Studio's *Internal* mode keeps the program's clock and transport
independent from the outside world.
› The *MIDI Clock* mode synchronizes Bitwig Studio's clock to incoming
MIDI clock messages from a selected *MIDI Input* port. For better
synchronization, the *MIDI Input* signal can be shifted positively \(to
play a bit earlier\) or negatively \(pushing it later, into the future\) in
milliseconds.
Additionally, a vertical orange slider at the far right sets the
responsiveness of Bitwig Studio to incoming tempo changes. Moving
the slider to the left results in a quicker response to new tempo
messages. Moving the slider to the right results is a more gentle
response, which can be helpful when the tempo is largely static or the
hardware in question is resulting in jittery behavior.
› *Ableton Link* connects Bitwig Studio to any and all other programs
and devices on your local network that use Ableton's *Link* technology.
\(Compatible software running on your own machine alongside Bitwig
Studio will be automatically found as well and can be synchronized in
the same fashion.\)
**0. WELCOME TO BITWIG STUDIO**
**Note**
A list of applications and devices that support Link can be found
on this web page \[https://www.ableton.com/en/link/apps/\]. For
additional information and support for these other products, visit the
appropriate manufacturer's website or support center.
Link acts as a global time keeper, keeping track of and sharing the
latest tempo and relative bar position for all "participants" \(each
application and device\) in a "Link session." The rules are fairly simple:
1. When a new participant joins a Link session, its local tempo will
automatically be set to the Link session's current tempo.
2. When a participant's transport is started, playback will wait until the
Link session's relative bar position matches the participant's starting
point. So if you hit play on a participant's transport from the top of
bar one, the transport will wait for the Link session to arrive at the
beginning of the next bar, thereby keeping everyone in relative sync.
3. When the tempo of any participant changes, the Link session's
tempo is updated, and each participant's local tempo is
automatically changed as well.
**Note**
A general troubleshooting Q&A on Link can be found on this web
page \[https://help.ableton.com/hc/en-us/articles/209073069-Link-
Troubleshooting\] from Ableton.
Finally, both the *MIDI Clock* and *Ableton Link* options add a dedicated button to the Bitwig Studio window, between the transport and display
sections of the menu/transport area \(see section 2.3\). These buttons
allow you to toggle the selected sync method on and off on the fly, and
the Link button also reflects the number of other participants in the
current Link session.
The *MIDI Sync \(OUT\)* section lets you set for each output path whether to:
› *Enable MIDI Clock* \(the time clock icon\)
› *Enable MIDI Clock Start/Stop messages* \(the play triangle icon;
available if MIDI clock is enabled\)
› *Always send MIDI Clock*, even when the transport is stopped \(the lock
icon; available if MIDI clock is enabled\)
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› Enable *SPP* \(MIDI song position pointers; available if MIDI clock is
enabled\)
› Enable *MTC* \(MIDI timecode\)
And similar to the *MIDI Input* offset value, a *MIDI Out Clock Offset* can be set to fine tune each outgoing path separately. And a global setting for
the *MTC Rate* can be set here as well.
0.2.2.5. Shortcuts Settings
The *Shortcuts* page allows the reconfiguration of Bitwig Studio's
keyboard commands and the use of MIDI controller mappings to trigger
these commands.
On this page, you can *Edit shortcuts for* both the computer *Keyboard* and via MIDI *Controller*.
*To define a command mapping:* locate the command you wish to map, and then click the *\+* button to the far right of the command. You will then be prompted to trigger the desired mapping.
As can be seen in the image above, multiple mappings can be defined
for each command.
*To remove a command mapping:* click the *x* button at the right of the mapping.
**0. WELCOME TO BITWIG STUDIO**
Once settings have been adjusted, the *Choose mappings* menu becomes a text entry box where new mapping sets can be named and a *Save* button appears.
**Note**
When this manual refers to keyboard shortcuts, it is referencing
the program's default shortcuts. Once you begin using your own
shortcuts, the shortcuts in this document may be inaccurate for your
use.
0.2.2.6. Other Settings
All other pages of the Settings tab are listed here in order.
› *User Interface* houses settings that visually alter Bitwig Studio. This
starts with the *Language* chooser.
Device and parameters are still shown with their proper names, but
most functions, labels, and Interactive Help \(for the 300\+ devices and
modules\) are translated to the language selected.
This page also includes the selected *Display Profile*, the program's
*Scaling* level for each display in use, *Contrast* settings for getting
the interface to look its best, the *Playhead follow mode* for how the
window scrolls, and whether timeline audio's *Waveform display * is
shown on a *Perceptual* scale or not.
› *Recording* provides general *Recording* settings, what type of tracks
*Auto-Arm* when selected, the amount of *Pre-Roll* use \(and whether the
metronome is activated for that period\), and the amount \(if any\) of
*Record Quantization* to be used on notes.
› *Locations* defines several paths for Bitwig Studio, such as where *My*
*Projects* live, where *My Library* is stored, where *My Controller Scripts*
should be saved, and a number of other locations for the browsers to
use.
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The section for *Plug-in Locations* includes folders to be scanned
for valid audio plugins, but it also contains preferences for which
format\(s\) should be displayed when a plug-in is located in multiple
formats.
When you have selected to show *All plugins*, the following options are
irrelevant and dimmed. When *Preferred formats* is selected, the options
below take effect:
*Prefer CLAP over VST \(when available\)* - When both a CLAP and VST version of the same plug-in are found \(and can be matched\), this
option will hide the VST version by default.
*Prefer VST 3 over VST 2 \(when available\)* - When both a VST 3 and VST 2 version of the same plug-in are found, this option will hide the
VST 2 version by default.
*Prefer 64 bit over 32 bit \(when available\)* - When both a 64-bit and 32-bit version of the same plug-in are found, this option will hide the
32-bit version by default.
*Prefer native over emulated Intel on Rosetta \(when available\)* - For Mac ARM, when both a native ARM and Intel version of the same
plug-in are found, this option will hide the Intel version by default.
› *Plugins* provides options for how third party audio plugins are shown
and handled. For more information, see section 16.3.
0.2.3. Packages Tab
The *Packages tab* is where supported library contents can be managed, downloaded, and updated from Bitwig.
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Click on any package results in additional information popping up, as
seen above. Otherwise, the top row of text buttons represents view
filters for seeing and sorting packs differently.
The first group of buttons offers to filter packages by their source, either
by showing only those by *Bitwig*, only those by *Artists*, or only those from *Partners* \(like sound design companies, etc.\). Or simply turn off this filter to see packages from all sources.
The second group of buttons offers to filter packages by their status
within you library, by either showing only the packages you have already
*Installed* \(meaning their content is available to use\), or just showing the packages that aren't installed but are *Available*. Or, again, simply turn off this filter to see all packages in the list below.
Finally, the third group offers sort options. One option is to sort
packages alphabetically with the *Name ↓* button. Or choose to sort packages based on their release date with the *Recent* button.
0.2.4. Help Tab
The *Help tab* provides links to documentation and resources both within the application package and online.
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Again, several pages exist within this tab:
› *Online Help* offers information about various resources, as well as either
links to the online content or the option to *Download & Open Project*.
› *User Guide* provides links to this document in all available languages.
› *For Developers* contains links to various guide and references
documents and other on-board tools.
› *About* presents the version of this Bitwig Studio installation. It may be
useful for bug reporting, *etc.*
**0.3. Document Conventions**
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Here are a few notes on the formatting of this document, particularly in
relation to the platform you may be using:
› Whenever key commands are the same for Windows, OS X, and Linux,
the command will be listed once without any comment. When the key
command is different for the platforms, the Windows/Linux version
will be listed first, and the Mac version will follow and be labeled. An **0. WELCOME TO BITWIG STUDIO**
example for the copy function would be: press \[CTRL\]\+\[C\] \(\[CMD\]\+\[C\]
on Mac\).
› If you are on a Mac, your \[ALT\] key might be labeled "option." In this
document, it will always be called \[ALT\].
› If you are on a Mac, your "command" key might be labeled with an
apple icon. In this document, it will always be called \[CMD\].
› If you are on a Mac, right-clicking can also be achieved by \[CTRL\]-
clicking.
› Screenshots in this document were made with the Mac version of
Bitwig Studio.
**1. Bitwig Studio Concepts**
This chapter is both an introduction to the program and an overview of
its structure. Please start here to get acquainted with the fundamental
concepts and related vocabulary used in Bitwig Studio.
**1.1. Top-Level Concepts**
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Bitwig Studio is a modern digital audio workstation \(DAW\) that allows you to seamlessly compose, produce, perform, and expand your music.
A file created in Bitwig Studio is called a *project*. You can have multiple projects open at once, but audio will be active for only one of these
projects at a time.
Bitwig Studio projects are organized into *tracks*, which can be thought of as either individual instruments or layers that should be handled
similarly. Each track contains a signal path that results in audio and has
common mixing board controls \(such as volume, panning, solo, and
mute\).
*Clips* are containers for individual musical ideas. Clips store either notes or audio, as well as control and automation data.
Music is made in Bitwig Studio by creating a project and populating its
tracks with clips, which you can then refine, arrange, and trigger.
**1.2. A Matter of Timing**
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As Bitwig Studio's primary task is to record and play back music, the
element of time is crucial. The *transport* \(most closely associated with the global play, stop, and record buttons\) is the engine that drives
all time functions in Bitwig Studio. This means that for any clip\(s\) to
be played back, triggered or recorded, the transport must be active,
propelling the Global Playhead forward.
Bitwig Studio works with time in musical units of bars, beats, and ticks
\(a set subdivision, which defaults to sixteenth notes\). A final value is
stored for finer resolution, which is a rounded percentage of the distance
between the current tick and the next one. These four units are shown
together with period spacers in this way: BARs.BEATs.TICKs.%
For example, with a default time signature setting of *4/4*, *1.3.4.50* would represent an event happening in the first bar, on the third beat, within **1. BITWIG STUDIO CONCEPTS**
the fourth sixteenth note, exactly halfway to the next sixteenth note. The
example below uses Bitwig Studio's counting system to label a rhythm in
traditional musical notation:
**1.3. One DAW, Two Sequencers**
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Within Bitwig Studio are two independent sequencers:
› The *Arranger Timeline* \(or *Arranger*\) is a linear sequencer that operates
across a standard musical timeline. This is the place for sketching and
producing full-length songs or other works.
› The *Clip Launcher* \(or *Launcher*\) is a nonlinear sequencer where you
can accumulate a bank of musical ideas and then mix and match them.
Clips in the Launcher can be organized into groups called *scenes*, either
for triggering those clips together or for composing in blocks \(such as
verse, chorus, bridge, etc.\).
The Arranger Timeline and Clip Launcher contain completely separate
data. Editing clips on the Arranger Timeline has no effect on those
stored in the Clip Launcher, and vice versa. But the Arranger Timeline
and Clip Launcher do interact in several critical ways:
› Clips can be freely copied between the Arranger Timeline and Clip
Launcher. When selected together, multiple clips can also be copied
back and forth, and scenes can as well.
› The result of all triggered Launcher clips can be recorded directly to
each Arranger track, allowing you to capture an improvisation that can
be edited later.
› Except when recording the Clip Launcher's output to the Arranger
Timeline, only one of these two sequencers is active at any given
time. So on a track-by-track basis, you choose whether the Arranger
Timeline or Clip Launcher is in control and can trigger its data.
› By default, the Arranger Timeline is the active sequencer for each track.
**1. BITWIG STUDIO CONCEPTS**
› Each track can play only one clip at a time.
**1.4. Devices, Modulators, and Other Signal**
|
**Achievements**
*Devices* are special-function components that extend your signal paths by modifying or transforming incoming notes or audio signals.
Every track has a *device chain*. In terms of signal flow, this device chain falls between the incoming sequencer data and the track's mixing board
section. In this device chain you can insert as many devices as you like.
You can even use Bitwig's devices to create additional device chains.
Each device has *parameters*, which are settings that determine how that device operates. Parameters are set directly within the device's
interface or via an assigned MIDI controller. Parameter values can also
be sequenced via automation, adjusted via the device's remote controls,
or manipulated by *modulators*, which are special-purpose modules that can be loaded within any device — or onto any track for control of all its
contained devices and mixer controls.
Devices are grouped into several descriptive categories, including these:
› *Analysis.* Devices that merely visualize the signals that reach them.
They make no effect on the audio chain they are a part of.
› *Audio FX.* Devices that manipulate incoming audio signals before
passing them onward.
› *Container.* Utility devices whose primarily function is to host other
devices.
› *Delay.* Delay line-based processors that operate on their incoming
audio signals.
› *Distortion.* Shapers and other mangling processors that operate on
their incoming audio signals.
› *Dynamic.* Processors that operate on their incoming audio signals,
based off of those signals' amplitude levels and trends.
› *EQ.* Sets of frequency-specific processors that operate on their
incoming audio signals.
› *Filter.* Frequency-specific processors that operate on their incoming
audio signals.
**1. BITWIG STUDIO CONCEPTS**
› *Hardware.* Interface objects for sending signals and/or messages to
devices beyond Bitwig Studio \(such as hardware synthesizers and
effect units, etc.\). This can include transmitting and/or receiving audio
signals, control voltage \(CV\) signals, and clock messages.
› *MIDI.* Transmitters for sending various MIDI messages via the track's
device chain. This is useful for sending messages to plugins or to
external hardware \(when used in conjunction with Bitwig's *hardware*
devices\).
› *Modulation.* Processors that manipulate incoming audio signals with an
LFO, *etc.* influencing their function.
› *Note FX.* Devices that generate or manipulate incoming note messages
before passing them onward.
› *Reverb.* Timebased processors that operate on their incoming audio
signals.
› *Routing.* Devices that divert a track's signal path, allowing signals to
exit and/or reenter the track.
› *Spectral.* Devices that operate in the frequency domain, working with
hundreds of individual frequency bands.
› *Synth.* Synthesizer instruments that either generate their audio from
rudimentary source material or use audio samples. Incoming note
messages are used to synthesize audio.
› *The Grid.* Devices utilizing The Grid, Bitwig's modular sound-design
environment \(see chapter 17\).
› *Utility.* An assortment of devices sporting various generating,
processing, and time-shifting functionality.
All device chains in Bitwig Studio support both audio and note signals.
To keep these signals accessible, a few rules apply.
› Except for note FX devices, all devices receiving note signals pass
them directly to their output. \(Note FX process the incoming notes
before passing them onward.\)
› Except for audio FX devices, all devices receiving audio signals pass
them to their output. \(Audio FX process the incoming audio before
passing them onward.\)
› Many Bitwig devices possess a *Mix* parameter. Similar to a "wet/dry"
fader, this control blends the raw audio that entered the device into the
device's output.
**1. BITWIG STUDIO CONCEPTS**
In Bitwig Studio, all audio signal paths are stereo.
**1.5. A Musical Swiss Army Knife**
|
Bitwig Studio's various viewers and editors are called *panels*. These panels are the heart of the program and the places where all work
happens.
The Arranger Timeline Panel lets you see all of your project's tracks, create an arrangement with timeline clips, and edit track
automation.
The Clip Launcher Panel allows you to trigger clips both freely and in sync with the transport, copy clips into and out of the
Arranger, and sort clips into scenes.
The Inspector Panel displays all parameters for any selected clips, notes, audio events, or tracks \(and modulation parameters
for any selected devices\).
The Detail Editor Panel is the graphical editor for both notes and audio, and their affiliated data.
The Automation Editor Panel gives you detailed control over track automation, clip automation, and MIDI control messages.
The Device Panel shows the full device chain for the selected track, including an interface for each Bitwig device and VST
plug-in in use.
The Mixer Panel presents the channel strip for each track and any subsidiary signal chains.
The Browser Panel allows you to preview, load, save, and tag content from your Bitwig Studio library and elsewhere on your
machine.
The Project Panel manages your project's metadata, gives access to all Arranger cue markers and Launcher scenes, and
shows the status of files and plugins being used.
**1. BITWIG STUDIO CONCEPTS**
The Output Monitoring Panel gives audio control options, such as routing the main audio buss to any pairs of speakers and
headphones, solo and cue behaviors *etc.*
The Mappings Browser Panel allows you to make and edit project-specific connections of your computer keyboard and/or
MIDI controller\(s\) to your project's parameters.
The Onscreen Keyboard Panel provides visualizations of the selected track's playing and incoming note messages, pitch
expressions, and timbre expressions, as well as an input method
for these data streams.
The primary interfaces in Bitwig Studio are called *views*. Each view gives you access to a set of panels chosen to help you carry out a particular
musical job.
› The Arrange View lets you focus on assembling music, particularly by
recording and ordering clips. The Arranger Timeline Panel is central
to this view along with the optional Clip Launcher Panel. All panels are
available here, and all project tracks are viewed together.
› The Mix View focuses on mixing tracks and triggering clips. The Mixer
Panel is central to this view along with the optional Clip Launcher
Panel. Except for the Arranger Timeline Panel, all other panels are
available here, and all project tracks are viewed together.
› The Edit View is for making detail edits to clips. The Detail Editor Panel
is central to this view along with the optional Automation Editor Panel.
Except for the Arranger Timeline and Clip Launcher panels, all other
panels are available here.
When working in any of the timeline editors, Bitwig Studio has two ways
of making a selection. Each method has its own unique functions and
keyboard workflows, so it is also possible to *Switch between* selection kinds in the *Edit* menu.
› *Object selection* starts with choosing one or more timeline objects
\(such as clips, audio events, note events, expression points, or
automation points\). This is usually achieved by clicking objects with the
Pointer tool. The computer keyboard's arrow keys default to whatever
makes sense in each particular case — for making selection \(with clips
and points\), or for moving events \(with notes and audio events\) — but
the alternate case is available via the \[ALT\] key.
› *Time selection* captures any events \(or partial events\) within a span
of time. This is usually achieved with the Time Selection tool. Clicking **1. BITWIG STUDIO CONCEPTS**
into an editor with this tool selects a single moment of time, which
then allows the computer keyboard's arrow keys to jump between
significant events \(such as audio onsets, or note starts and ends\). This
allows quick, precise editing right from the Arranger, or at any other
level.
Bitwig Studio offers several window arrangements called *display profiles*. These configurations adjust the placement of panels and even provide
additional application windows when appropriate. This is all in the name
of optimized workflows, allowing the program's layout to match your
current screen arrangement and the task at hand.
› *Single Display \(Large\)* is intended for use with one monitor, using a
single application window to focus on one of Bitwig Studio's views
at a time. *This is the default display profile \(and the one used for*
*screenshots within this document\).*
› *Single Display \(Small\)* is similar to the *Single Display \(Large\)* profile but
is optimized for use on a smaller monitor.
› *Tablet* is intended for use with a supported tablet computer. This
profile is optimized for touch-and stylus-based interfaces, allowing you
to play and create notes thru a specialized Play View. \(Depending on
your operating system and hardware platform, this option may not be
available.\)
**Note**
Information on Bitwig Studio's tablet computer-specific features can
be found in chapter 18.
› *Dual Display \(Studio\)* is intended for use with a two-monitor setup,
such as a laptop screen and an external display. This profile keeps the
Arrange View on your primary display and toggles your secondary
display between the Mix View and the Edit View.
› *Dual Display \(Arranger/Mixer\)* is intended for use with a two-monitor
setup. This profile is fixed, keeping the Arrange Viewon your primary
display and the Mix View on your secondary display.
› *Dual Display \(Master/Detail\)* is intended for use with a two-monitor
setup. This profile keeps the Edit View on your secondary display and
toggles your primary screen between the Arrange View and Mix View.
› *Dual Display \(Studio/Touch\)* is intended for use with a two-monitor
setup where one of the monitors is a touchscreen tablet. This profile
provides one standard window \(like the *Single Display \(Large\)* profile\)
for your standard monitor and a slightly modified *Tablet*-style window
for interacting with Bitwig via your touchscreen interface.
**1. BITWIG STUDIO CONCEPTS**
› *Triple Display* is intended for use with a three-monitor setup. This
profile is fixed, keeping the Arrange View on your primary display and
the Mix View and Edit View on your secondary and tertiary displays.
**1.6. User Interfacing**
|
Finally, a few notes to help you interact with Bitwig Studio.
› Any interface control \(like a knob or curve control\) can be set with
the mouse by clicking and dragging upward or downward. You can
\[CTRL\]-click \(\[CMD\]-click on Mac\) on the control to set its value with
the keyboard. Double-clicking on the control restores its default value.
› Any numeric control \(one that directly shows you numbers\) can be set
with the mouse by clicking and dragging upward or downward. You
can also double-click on the control to set its value with the keyboard.
› Any control at all can be fine-tuned with the mouse by \[SHIFT\]-clicking
the control and dragging. If you have already clicked the control, you
can also press \[SHIFT\] after the fact to engage this mode.
› When a button is tinted orange, that control is active. The inactive form
of a control uses a neutral color, such as white, gray, or silver.
› Many key commands remain available while you are clicking and
dragging an item. These include the commands for toggling panel
visibility or switching the current view.
› Only one visible panel will ever have focus at a given time. Focus
follows the panel that was last clicked or activated. Panel focus is
indicated by the outer rounded rectangle being tinted silver. Key
commands that target a specific panel are available only when that
panel is in focus.
› Enabling \[CAPS LOCK\] causes your computer keyboard to transmit
note messages. While this can be a quick way to enter notes, it will also
disable many normal key commands. If your key commands are not
working, make sure that \[CAPS LOCK\] is disengaged.
› Many of Bitwig Studio's functions already have computer keyboard
shortcuts assigned, but you can modify these shortcuts and even
assign them to MIDI controllers as well.
*To globally make or modify keyboard and/or controller shortcuts:*
call up the Dashboard, click the *Settings* tab, and then click to load
the *Shortcuts* page. From here, you can select between computer
*Keyboard* and MIDI *Controller* assignments, and then scroll to browse **1. BITWIG STUDIO CONCEPTS**
the categorized program functions, or type to search them by action
name or assignment. From this preference tab you can also save
and switch between various keyboard mapping sets \(via the *Choose*
*mappings* menu\).
*To assign keyboard and/or controller shortcuts for a particular project:*
use the Mappings Browser Panel \(see section 15.4\).
**2. Anatomy of the Bitwig Studio Window**
All functions and controls of Bitwig Studio are accessible thru the
application window. Each window can be thought of in four vertical
slices: the header, the menus/transport area, the body, and the footer.
We will give them each their own turn: the reliable header, the pliant
footer, the shifting menus/transport area, and finally the mercurial body.
**Note**
When using the *Tablet* display profile, some of the elements listed in
this chapter are rearranged. For details on using a tablet computer,
see chapter 18.
**2.1. The Window Header**
|
The header of each window contains two main sections: project tabs are
found on the left, and window controls are found on the right.
The area just to the left of the window controls is also used controller
status icons, if controllers are connected and configured. Otherwise,
nothing appears here.
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
In the center is the *Dashboard button*. When clicked, the Dashboard will appear over the main window. For more information on the Dashboard,
see section 0.2.
It is also worth noting that by right-clicking anywhere in the window
header, a context menu with display options is called up.
The *Increase GUI Scaling* and *Decrease GUI Scaling* options allow you to resize Bitwig Studio's entire graphical user interface to be larger or
smaller \(respectively\) on your monitor.
**Note**
By default, Bitwig Studio makes maximum use of your screen. As
such, the *Decrease GUI Scaling* option may not do anything if you try
it first.
Beneath the GUI options are a list of the available *Display Profile* choices
\(see section 1.5\) for easy switching.
2.1.1. Project Tabs Section
On the far left are tabs for the Bitwig Studio projects which are currently
open. Some notes on using these tabs:
› Bitwig Studio will display the contents of only one project at a time.
This is true even if you are using a display profile that uses multiple
application windows.
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
› To focus on any one of the open projects, click on its tab.
› The tab that is outlined with a box and whose name appears in bright
white represents the currently viewed project. In the image below, this
is the project named *2nd*.
› Only one project at a time is capable of producing sound. This allows
you to view and even edit different projects without interrupting audio
playback of the current one.
› You can click and drag any project tab to change its position.
› If there is not enough space to show all open projects together, left and
right scroll arrows will appear around the project tabs.
› An asterisk \(*\**\) will be appended to any project's name if unsaved
changes have been made.
› The *x* on the right side of each tab can be clicked to close that project.
2.1.2. Controller Status Section
When MIDI controllers are connected and configured, the area just
before the window controls section is used to display one icon per
controller \(within reason\).
While the icons are suggestive of each device's layout — here showing
one regular controller, and one pad-style controller — mousing over the
icon will show the controller name.
Clicking on the icon offers a status view for that controller.
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
First, the icons at the top right and settings at the bottom are similar
to what the Dashboard offers under *Settings* > *Controllers* \(see section
0.2.2.3\). The dark field in the middle offer some information and some
control.
Informationally, we see exactly what this controller is currently looking
at. In this case, a *Device* on a particular *Track* is being targeted, and the names and current values of the parameters in question are shown on
the knobs.
Then there is this *Mode* menu, which determine what the controller will follow.
The *Mode* options include:
› *Any track / device selection* \(the default setting\) will focus this
controller on the remote controls of any element selected in the
software, including devices, tracks, and project remotes \(when
selecting the master track\).
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
› *Device selection* will follow the remotes of only devices that are
selected.
› *Track selection* will follow the remotes of only tracks that are selected.
› *Project remotes* will keep the controller focus on the project-level
remote controls, regardless of what other project elements are clicked
on.
This status page can also be used to navigate to other targets, by
clicking the left and right stepper triangles around the *Track* and *Device* elements. And particular targets can also be "pinned" or locked so that
they stay in focus.
Mousing over either the *Track* or *Device* element will hint at this option, showing a thumbtack icon while you hover.
*To pin a controller's focus on a particular track or device:* simply click that track or device in the controller status pop-up.
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
*To unpin a device's focus from a particular track or device:* either click the selected track or device again to toggle it off, or click to pin the
controller to a different target.
2.1.3. Window Controls Section
**Note**
If your operating system has a different standard for window controls,
then we try to use their preferred layout. For example on macOS, the
*notification toggle* \(shown below\) will be alone in the top right corner
of the window, and OS-standard close \(red\), minimize \(yellow\), and
maximize \(green\) buttons appear on the left.
On the far right of the window header are options for controlling Bitwig
Studio's window size, appearance, and notifications.
› *Notification toggle* allows you to show or hide event notifications
from Bitwig Studio. The filled circle shown above represents that
notifications are enabled, and an empty circle indicates that they will
not pop up.
When notifications are enabled, any received message it will pop up
below the window header.
Most often, notifications are presented with an action button \(such as
*Apply Now* in the above image\). Notifications tinted blue-ish are largely **2. ANATOMY OF THE BITWIG STUDIO WINDOW**
assistive. Notifications tinted red represent errors that could adversely
impact the performance of your project or the program itself.
Finally, when a message is received but notifications are disabled from
appearing, the ring of the empty circle icon is tinted based on the type
of notification that has arrived.
› *Full screen button* switches Bitwig Studio into the full-screen mode
provided by your operating system. Once you are in full-screen mode,
the options available in the window controls section may decrease.
*To exit full-screen mode:* click the window maximize toggle, to the
immediate left of the window close button.
› *Window minimize button* hides the Bitwig Studio window.
› *Window maximize toggle* alternates between maximizing the size of
the window and restoring its original, smaller size.
› *Window close button* is the equivalent of quitting Bitwig Studio \(by
selecting *File* > *Quit*\).
**2.2. The Window Footer**
|
The window footer contains various buttons that determine which parts
of Bitwig Studio are visible, along with context-specific messages of
available actions and controller visualizations.
Footers will differ based on the display profile being used. The image
above — and all screenshots in this document — shows a footer from the
default *Single Display \(Large\)* profile in Arrange View, where all panels and views are available.
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
2.2.1. Panel Icons
The small icons that appear in the window footer are panel icons. Each
icon represents a panel that is available within the current view. The
icons are also buttons, allowing you to toggle the visibility of each panel
by clicking its icon. An icon that is illuminated in orange indicates an
active panel.
For each cluster of icons, only one panel can be shown at a time. These
icon clusters are located either on the far-left, far-right, or center-left of
the window footer, indicating whether those panels would be displayed
on the left, right, or center-bottom of the window, respectively.
The panel icons that you will encounter are:
The Inspector Panel icon is a seriffed, lowercase *i*. When available, you can focus on this panel and toggle its visibility by
pressing \[I\] or \[ALT\]\+\[I\].
The Detail Editor Panel icon is an arrangement of dashed lines, like a standard "piano roll" representation of notes. When
available, you can focus on this panel and toggle its visibility by
pressing \[E\] or \[ALT\]\+\[E\].
The Automation Editor Panel icon is two circles connected by a line, like the breakpoints that build an automation curve.
When available, you can focus on this panel and toggle its
visibility by pressing \[A\] or \[ALT\]\+\[A\].
The Device Panel icon is a rounded rectangle with a shaded left side, like the containing box for each device and its left-sided
title bar and master controls. When available, you can focus on
this panel and toggle its visibility by pressing \[D\] or \[ALT\]\+\[D\].
The Mixer Panel icon is a series of three wide vertical lines, like the volume faders of a mixing console. When available, you can
focus on this panel and toggle its visibility by pressing \[M\] or
\[ALT\]\+\[M\].
The Browser Panel icon is a folder icon, representing the library of content that is accessible in this panel. When available, you
can focus on this panel and toggle its visibility by pressing
\[ALT\]\+\[B\].
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
The Project Panel icon is a file icon, representing the project file whose metadata is defined in this panel.
The Output Monitoring Panel icon is a pair of opposite-pointing arrows, representing the input and output paths that are
addressed in this panel.
The Mappings Browser Panel icon is a right-hand with an extended index finger, representing the connections of yourself
to your project that are made here.
The Onscreen Keyboard Panel icon shows the common grouping of five piano-style keys, representing one of the note
visualization and entry methods available in this panel.
2.2.2. View Words
The capitalized, bold words that appear on the left side of the window
footer represent all currently available views. To match the views' names,
the labels used are *ARRANGE*, *MIX*, and *EDIT*.
A window with no view words indicates that your current display profile
is fixed and has only one available view.
For the two-window display profiles \(those whose name begins with
*Dual Display*\), available views are shown as compound names, such as *ARRANGE-MIX* or *MIX-EDIT*. In this situation both windows show the same view words, indicating the views shown on the primary and
secondary windows, respectively.
2.2.3. Available Actions
*Available actions* appear just to the right of all left-aligned view words and panel icons. As your mouse moves around the program, any
interactive object that is hovered over will display information and
available mouse functions here.
In the example above, a track *SOLO* button is hovered so the line starts with the object name and it's status \(the solo button is switched *Off* **2. ANATOMY OF THE BITWIG STUDIO WINDOW**
currently\). Possible *CLICK* and modifier-click options follow. And since I was holding the \[SHIFT\] key, the *SHIFT\+CLICK* option is shown more brightly as it will be used.
Available actions are also shown while you are interacting with the
program, as in this example when actively dragging a Launcher clip.
While dragging a clip, I am free to move it to a different clip slot or
even to an Arranger track, but additional modifiers are also available to
change the basic move action into something more complex. Available
actions are there to remind us of workflow variations for tasks that we
are already doing.
2.2.4. Parameter Information
*Parameter information* will appear in the same area when mousing over various controls in the program. This is most commonly seen while
working with devices. In the example below, the cursor is hovering over
the cutoff control of the filter in Polysynth.
Here the footer show the full title of the parameter \(*Filter Frequency*\) and then the current parameter value \(*2.33 kHz*\).
Since this happens to be a frequency parameter, the following string
shows the relevant pitch as MIDI note \(*˨ D6*\). Since an arbitrary
frequency rarely matches a specific note value, the *tone bar* before the note name signifies the intonation to the note shown:
› *˥* indicates that the frequency is quite sharp.
› *˦* indicates that the frequency is somewhat sharp.
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
› *˧* indicates that the frequency is very close or in tune.
› *˨* indicates that the frequency is somewhat flat.
› *˩* indicates that the frequency is quite flat.
When a parameter has modulators mapped to it, that parameter's
calculated value is also shown.
In the example above, the *Filter Resonance* knob position is set to *39.5 %*. The following bracketed value, *\[27.1 %\]*, shows the applied value of the parameter after all modulator signals are added.
**Note**
For information on using Bitwig's modulators to modulate any device
or plug-in parameter, see section 16.2.
Additionally, parameters that consist of a list of possible settings \(such
as modes\) often present additional information when hovered over.
For example, the *OSC Blend Mode* in Polysynth presents six discrete buttons with short mode names \(*MIX*, *NEG*, *WIPE*, etc.\). As shown in the **2. ANATOMY OF THE BITWIG STUDIO WINDOW**
image above, mousing over the mode *SIGN* provides a short explanation of what this means in the window footer.
2.2.5. Controller Visualizations
*Controller visualizations* also use the same middle portion of the footer. They show the current position of controls and the parameters that they
are assigned to \(for any controller that has visualizations enabled\).
The layout and visual style is influenced by the controller script. And
when non-immediate takeover modes \(see section 0.2.2.3\) are being
used, the outer ring/indicator shows the current parameter value in
white and the colored indicator shows the hardware control's current
position. Once the parameter and control meet, both elements use the
control color.
**2.3. The Window Menus/Transport Area**
|
Beneath the window header is an area where Bitwig Studio's menus live,
along with the transport and its associated displays.
Some of these elements are persistent, and some are transitory. This is a
function of Bitwig Studio's unique menu system, which we will examine
first.
2.3.1. The Menu System \(via the File Menu\)
The *File* menu itself contains only menu items that you would expect and/or those which will be covered in this document at the appropriate
time. So we will take this opportunity to see Bitwig Studio's unique menu
system at work.
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
Most items in the menu shown above have four distinct elements:
› An *icon* leads each entry, visually abbreviating the function of the menu
item.
› The *menu item name* itself is always second.
› When defined, a *keyboard shortcut* follows. When more than one
keyboard shortcut exists for a menu item, the first shortcut is shown.
**Note**
For information on making or altering shortcut assignments, see
section 0.2.2.5.
› Finally, a *thumbtack toggle* appears at end of each line.
*To anchor an item in the menu area:* enable the thumbtack toggle beside the menu item. This will place a button with the menu item's icon beside
the menu button itself.
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
In the image above, three menu items \(*Collect and Save…*, *Export MIDI…*, and *Settings*\) each have their thumbtack toggle enabled. And now to the right of the *File* menu are three shortcut buttons, each representing one of those menu items and showing their menu item's icon. Clicking one of these buttons is the equivalent of triggering the menu item.
Like the *File* menu, each menu button is indicated with a dog-eared triangle in its bottom right corner, hinting that the button can be
unfolded. Every menu in Bitwig Studio uses this system, allowing you to
anchor any function that you please to the top level of the program.
**Note**
If your window is ever sized too narrowly to display all menu options,
the program will prioritize by showing all menu buttons first, and then
showing as many anchored buttons as will fit the current width.
2.3.2. Transport Section
The transport section appears deceptively simple at first glance.
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
Let's skip the *Play* menu for the moment and look at the four buttons that follow:
› *Global Play*: Toggles and indicates the state of Bitwig Studio's
transport. When clicked to toggle the transport on, Arranger playback
resumes from the Play Start Position and active Launcher clips are
triggered in sync. When clicked to toggle off, the transport is stopped
and the Play Start Position is moved to the current Global Playhead
position.
› *Global Stop*: Deactivates the transport. When the transport is already
inactive, clicking the global stop button returns both the Global
Transport and the Play Start Position to the beginning \(play position
*1.1.1.00*\).
› *Global Record*: Arms all record-enabled tracks. When the global record
button is enabled, Arranger recording will begin the next time the
transport is started.
› *Automation Write \(Arranger\) shortcut button*: Enables automation
recording to the Arranger Timeline the next time the transport is
started.
The three global buttons above will always be present. The shortcut
button, however, is so named because you can toggle it in and out of
existence. This is available for many more transport options within the
*Play* menu.
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
The *Play* menu still makes use of the thumbtack toggle convention \(when appropriate\), but it also makes special use of knobs and other
controls. There are five headers within this menu:
› The *Arranger* section provides settings that apply when working within
the Arranger Timeline Panel.
› The *Clip Launcher* section provides settings that apply when working
within the Clip Launcher Panel. Note the clip boxes around the icons in
this section, helping to distinguish the Launcher functions from similar
Arranger functions.
› The *Groove* section allows you to activate shuffle for all clips whose
own *Shuffle* parameter is enabled. Other parameters here include the
*Shuffle* amount and interval \(*Rate*\), as well as the *Accent* amount,
interval \(again, called *Rate*\), and *Phase*.
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
**Note**
All controls in the *Groove* section can be mapped and/or
automated.
› The *Playback* section provides parameters that take effect during
project playback, such as the *Metronome* volume, whether sub-beats
should also sound \(*Play Ticks*\), and the mappable *Fill* mode toggle,
used by *Occurrence* Operator \(see section 12.1.3\) and available via the
Globals modulator \(see section 19.27.3.3\).
› The *Settings* section offers a mix of workflow parameters, including
*Pre-roll* controls \(for length and whether the metronome should be
active\), and whether you want *Record Quantization* applied to notes
\(and if so, whether you want their end times to be quantized as well\).
Finally, note that Bitwig Studio's audio engine can be engaged for only
one Bitwig Studio project at a time, no matter how many are open. So if
your current project does not have audio enabled, the transport section
will be replaced by a single button.
Simply click this button to rejoin the audible world. \(Just realize that this
will silence any other project that was previously using audio.\)
2.3.3. Display Section
The menus/transport area's display section provides informational
meters, numeric controls, and the odd automation-related setting.
This section contains the following items:
› *DSP meter*: Displays Bitwig Studio's current CPU usage. \(Clicking the
processor chip icon on the left will also load a *DSP Performance Graph*
*window*, including various details and metrics.\)
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
› *I/O meter*: Displays Bitwig Studio's current disk activity for data being
read \(input\) and written \(output\), respectively.
› *Tempo*: A control for the project's current tempo, set in beats per
minute \(BPM\).
› *Time Signature*: A control for the project's current time signature and
an optional tick setting.
The time signature's numerator represents the number of beats in each
bar. Common denominators are accepted \(such as *2*, *4*, *8*, and *16*\),
each number representing the type of beat counted in each bar \(half,
quarter, eighth, and sixteenth notes, respectively\).
The optional *tick* setting represents the primary beat subdivision to
be used across the project \(see section 1.2\). If only a time signature
is set \(like *4/4*\), a default tick setting of sixteenth notes is used. If the
time signature is followed by a comma and an appropriate tick value
\(such as *4/4,8*\), then that tick setting will be used. Values recognized
by Bitwig Studio include *8* \(eighth notes\), *12* \(triplet eighth notes\), *16*
\(sixteenth notes\), *24* \(triplet sixteenth notes\), *32* \(thirty-second notes\),
and *48* \(triplet thirty-second notes\).
› *Play Position*: A control for the project's current play position, shown as
BARs.BEATs.TICKs.% .
› *Play Time*: A control for the project's current play time, shown as
MINUTEs:SECONDs.MILLISECONDs.
› *Restore Automation Control button*: Restores control of automation
after a parameter is adjusted during playback. The Restore Automation
Control button arms itself when the function is useful.
› *Metronome toggle*: Enables/disables the metronome whenever the
transport is active.
› *Arranger Loop toggle*: Activates/deactivates Arranger looping within
the Loop Selector's bounds. This toggle together with recording also
enables "cycle recording" on the Arranger for comp recording \(see
section 5.6.3.3\).
› *Punch-In*: Causes recording to begin at the start of the Arranger Loop
Selector.
› *Punch-Out*: Causes recording to stop at the end of the Arranger Loop
Selector.
From the Dashboard on the *Settings* page, the *User Interface* tab has a *Transport* parameter that can also *Show Loop Region* within the display area. This displays the Arranger Loop Selector's start time and length,
both to the right of Arranger Loop toggle.
**2. ANATOMY OF THE BITWIG STUDIO WINDOW**
2.3.4. Object Menus
The far right of the window menus/transport area is reserved for the
object menus.
Three menus generally appear here, each with their own set of anchored
items:
› The *Add* menu is always present. It allows you to create new tracks and
scenes.
› The *Edit* menu is always present. It provides standard "edit" commands
for your current selection \(like cut, copy, paste, duplicate, and delete\),
as well as to undo \(or redo\) recent actions taken across the program.
› The third menu is a *selection-sensitive menu*. If nothing is selected in
your Bitwig Studio project, then no menu appears here. But if you have
selected, say, a *Clip* or *Event*, then a menu with relevant functions will
appear. This is essentially a context menu with the option to create
shortcut buttons \(using the menus' thumbtack toggles\).
For example, if we made a time selection, a *Time* menu would be
provided in the third, selection-sensitive slot.
Also note in that last image that when a function is currently unavailable,
its shortcut button appears grayed out. As the menu item would appear,
so will the shortcut button.
**2.4. The Window Body**
|
So the window header is always the same \(aside from the project tabs\),
and while the footer's content and arrangement depend upon the
current display profile, the set of controls is consistent. These two areas **2. ANATOMY OF THE BITWIG STUDIO WINDOW**
give you control of the program and its behavior so they are generally
static. Not so with the window body.
The window body's purpose is to display your work so that you can edit
it in different situations. To that end, the body's appearance is always
changing, giving you the tools you need to perform specific tasks, but
certain areas of the window body are designated for consistent usage.
The central portion of the Bitwig Studio window is reserved for the
*central panel*. The panel\(s\) shown here is defined by the window's
current view \(either Arrange, Mix, or Edit View\). The central panel
cannot be hidden, so if all other panels were disabled, the central panel
would take up the entire window body.
Below the central panel is the *secondary panel area*. This area is where a second panel can be loaded for editing your project's content. Again,
the selection of available panels is determined by the window's current
view and the display profile being used. Most secondary panels can be
vertically resized.
On the right side of the window body is an *access panel area*. This area is usually reserved for panels that deal with things other than the content
of your project. Typical access panels are the Browser Panel \(which gives access to the Bitwig Studio library and outside files\), the Project Panel \(which gives access to the project's metadata and dependencies\), the Output Monitoring Panel \(which gives access to your hardware routings\), and the Mappings Browser Panel \(which gives access to both MIDI controller mappings and project-specific computer keyboard **2. ANATOMY OF THE BITWIG STUDIO WINDOW**
mappings\). Each of these panels can be horizontally resized. When no
panel is loaded in this area, the central and secondary panels simply
reclaim the space.
On the left side of the window body is an area usually reserved for the
Inspector Panel. In certain display profiles, however, the Inspector Panel is included in the access panel area. This panel is not resizable.
**3. The Arrange View and Tracks**
Now that we have examined all the fixed parts and dynamic possibilities
of the Bitwig Studio window, let's enter the practical world of the
Arrange View. We will start by looking at a few key sections of the Arranger Timeline Panel and their constituent elements. We will then examine the track types used by Bitwig Studio along with basic track
editing functions. Finally we will get a brief introduction to the Inspector Panel for current and future use.
**3.1. The Arranger Timeline Panel**
|
Unlike sculpture, painting, and architecture, music is an art form
appreciated over a defined length of time. That is to say, when we listen
to a piece of music, either at home or out at a venue, it unfolds over the
same amount of time and at the same pace for everyone in the audience.
While music can definitely be performed or created with improvisation
\(see chapter 6\), each performance has a rigidly defined structure to
us listeners. And as most productions are still based around a fixed
song structure, we will start with the Arrange View and its friend the Arranger Timeline Panel, which is made to lay out music arrangements in a precise way.
The Arranger Timeline Panel is unique in Bitwig Studio: it is available in only one view \(the Arrange View\), and it is available in this view
only as the central panel. And as this panel is the only way to create
a traditional, linear musical arrangement within Bitwig Studio, it is
impossible to overstate the importance of the Arranger Timeline Panel — also called the *Arranger* — which is seen here after a new file has been created.
**3. THE ARRANGE VIEW AND TRACKS**
We will start by examining various sections of the Arranger Timeline Panel.
3.1.1. Arranger Area, Arranger Timeline, and
Zooming
The most important element here is the actual *Arranger Timeline*, which is currently blank. As you may have seen here in earlier images \(or from
opening a demo project\), this is the area where your song arrangements
will take shape in the form of clips and track automation. Whenever
we refer to an "Arranger clip," we mean a clip that is housed within this
Arranger sequencer.
**3. THE ARRANGE VIEW AND TRACKS**
The Arranger is laid out horizontally, showing time progressing from the
left side of the screen to the right. This can be seen in the *Beat Ruler* at the top of the Arranger. The integers here — *1*, *2*, *3*, *etc.* — show where each new bar begins.
*To adjust the zoom level:* place the mouse in-line with the bar numbers inside the Beat Ruler. The cursor will become a magnifying glass
indicating that we are in *zoom mode*. Now click and hold the mouse button, dragging upward to zoom in or downward to zoom out. You can
also drag the mouse from side to side to horizontally scroll within the
Arranger Timeline.
Other ways to adjust the zoom level include:
› Press either \[PLUS\] or \[CTRL\]\+\[PLUS\] \(\[CMD\]\+\[PLUS\] on Mac\) to
zoom in and either \[MINUS\] or \[CTRL\]\+\[MINUS\] \(\[CMD\]\+\[MINUS\] on
Mac\) to zoom out.
› Hold \[CTRL\]\+\[ALT\], and then click and drag anywhere within the
Arranger area. If your mouse or trackpad supports a scroll function,
you can also hold \[CTRL\]\+\[ALT\] anywhere within the Arranger area
and then scroll up and down.
› If you have a three-button mouse, click and drag the middle button
anywhere within the Arranger area.
› If you have a trackpad \(particularly on Mac\), pinch/stretch two fingers
diagonally on the trackpad.
As you zoom in on the Beat Ruler, you may notice that the bar numbers
start adding decimals. Depending on your zoom level, the timeline values
will be represented as either BARs, BARs.BEATs, or BARs.BEATs.TICKs. **3. THE ARRANGE VIEW AND TRACKS**
And within the Beat Ruler area, you can also right-click to show a
*realtime ruler*, displaying MINUTEs:SECONDs.MILLISECONDs of the
project time.
3.1.2. Beat Grid Settings
As you adjust the Arranger Timeline's zoom level, you may also notice
that the grid lines within the Arranger area begin to change. This has
to do with the *beat grid settings*, which are found in the bottom of the Arranger Timeline Panel and to the right of the horizontal scroll bar.
Actually, the value shown represents the current value in use. By clicking
on that value, the various *Grid* settings are exposed.
The *beat grid resolution* \(shown above as *1/16*, for sixteenth notes\) tells us what musical interval is being represented by the grid lines. In a new
project, the *adaptive beat grid* setting \(the button at top, with a linked magnifying glass and the word *Adaptive*\) is turned on. When adaptive beat grid is enabled, changes to the zoom level also cause appropriate
changes to the beat grid resolution. The beat grid resolution setting will
update as the value changes.
*To toggle the adaptive beat grid:* click the adaptive beat grid button within the beat grid settings, or press \[SLASH\] .
**3. THE ARRANGE VIEW AND TRACKS**
**Note**
On a German keyboard, the key command is \[HYPHEN\] .
*To manually set the beat grid resolution:* first make sure that adaptive beat grid is disabled. Then manipulate the beat grid resolution by setting
it with the mouse or by pressing \[COMMA\] to lower the grid resolution
or \[PERIOD\] to raise it.
The beat grid resolution has an accompanying parameter right below it.
The *beat grid subdivision* \(shown above as *straight*\) sets the rhythmic grouping used for the beat grid resolution setting. For example, the
default *straight* value means that straight duple values are being used. Other available settings include *triole* or *3t* \(triplets\), *quintole* or *5t*
\(quintuplets, or fifth-lets\), and *septole* or *7t* \(septuplets, or seventh-lets\).
*To manually set the beat grid subdivision:* first make sure that adaptive beat grid is disabled. Then manipulate the beat grid subdivision by
setting it with the mouse or by pressing \[ALT\]\+\[COMMA\] to lower the
grid resolution or \[ALT\]\+\[PERIOD\] to raise it.
3.1.3. Track Headers
The horizontal lines you see within the Arrange area are the dividers
between each track lane. To the left of the Arrange area are the *track headers*.
Within each header are the following identifications, meters, and controls
for that track:
› *Track Color stripe*: A swatch of the track's assigned color.
› *Track Type icon*: An icon to indicate the kind of track.
› *Track Name*: The title assigned to the track.
› *Volume fader*: A final level control for the track.
**3. THE ARRANGE VIEW AND TRACKS**
› *Record Arm button*: Record enables the track.
› *Solo button*: When any track has its solo button enabled, only tracks
with solo enabled will output their audio.
› *Mute button*: Disables the track's audio output.
› *Automation Lane button*: Toggles to reveal the automation lane section
of the track \(see section 9.1.1\).
› *Level meters*: Stereo audio meters that display the track's output level.
3.1.4. Arranger View Toggles & Editing Tools
Both above and beneath the track headers are the *Arranger view*
*toggles*. Similar to the panel icons of the window footer, each of these icons is a toggle that adjusts what is displayed in the Arranger Timeline Panel.
The upper toggles are:
› *Clip Launcher button*: Toggles visibility of the Clip Launcher Panel \(see
section 6.1\) within the Arranger Timeline Panel.
› *Arranger Timeline button*: Toggles visibility of the Arranger Timeline
within the Arranger Timeline Panel
**Note**
Either the Clip Launcher Panel or the Arranger Timeline must be visible within the Arranger Timeline Panel. If only one of these is visible and you hide it, the other will automatically become visible.
› *Tool Palette menu:* This menu allows you to toggle between Bitwig
Studio's various editing tools.
**3. THE ARRANGE VIEW AND TRACKS**
In fact, right-clicking within any timeline-based panel will give you the
option to switch tools at the top of the context menu.
While the Arranger Timeline Panel is the first place we see the tool
palette, each timeline-based panel has its own tool palette. This allows
us to have a different tool selected for each individual panel.
› *Pointer tool* is for selecting and moving objects, such as clips,
audio and note events, or automation points. Clicking in between
automation points along the current curve will create a new point.
And double-clicking in a blank area will create a new event of the
appropriate kind. You can switch to this tool by pressing \[1\], or you
can temporarily use the tool by holding \[1\].
**Note**
Editing functions described in this document presume you have
the Pointer tool engaged. If a different tool is meant to be used, it
will be specifically noted.
› *Time Selection tool* is the other primary tool, for choosing an arbitrary
section of time instead of particular events. Often when using the
Pointer tool, clicking below a header \(for Arranger clips or audio
events\) or dragging in space where no objects are present \(such as
empty Arranger lanes or within note clips\), the Time Selection tool **3. THE ARRANGE VIEW AND TRACKS**
is already being used. You can also explicitly switch to this tool by
pressing \[2\], or you can temporarily use the tool by holding \[2\].
**Note**
Myriad, precise editing functions are available from the keyboard
when working with either Time Selection or the Pointer tool. This
includes when working with clips \(see section 5.2\), automation \(see
section 9.3\), audio events \(see section 10.2\), and note events \(see
section 11.2\).
› *Pen tool* is for drawing new events. You can switch to this tool by
pressing \[3\], or you can temporarily use the tool by holding \[3\].
› *Eraser tool* is for deleting relevant events from the area of time that
you select. You can switch to this tool by pressing \[4\], or you can
temporarily use the tool by holding \[4\].
› *Knife tool* is for splitting a continuous event into two. You can switch
to this tool by pressing \[5\], or you can temporarily use the tool by
holding \[5\].
Finally, the Pointer tool engages in *smart tool switching*. This is to say
that depending on where you hover over a clip or event, different tools
will become available. Specific information will be provided within this
document, but it is worth mentioning here as your cursor will tend to
shift shapes as you mouse navigate around clips.
The lower toggles are:
› *Track I/O button*: Toggles visibility of the Track I/O section of all track
headers \(see section 5.6.1\).
› *Track Height button*: Toggles the track height in the Arranger between
normal and half size \(shown below respectively\). In half size, the same
track header components are displayed with some minor adjustments.
**3. THE ARRANGE VIEW AND TRACKS**
› *FX Tracks button*: Toggles visibility of FX tracks within the Arranger
Timeline Panel.
› *Deactivated Tracks button*: Toggles visibility of deactivated tracks
within the Arranger Timeline Panel.
› *Follow Playback button*: Toggles whether to keep the Global Playhead
on screen at all times in the Arranger Timeline Panel or not.
**Note**
From the *Settings* tab within the Dashboard, the *User Interface* page offers two settings for the *Playhead follow mode*:
› *Scroll by pages* will scroll once the Global Playhead reaches the
edge of the current display area. This is the default setting.
› *Continuously scroll* will keep the Global Playhead centered in each
timeline-based panel.
**3.2. Intro to Tracks**
|
As we have seen in the Arranger Timeline, Bitwig Studio projects are
organized into *tracks*, and clips live on tracks. While clips are critical for expressing your musical ideas, tracks contain the signal paths that
take clips out of the computer and into the audible world. Were there no
tracks, there would be no sound either.
We will look at the kinds of tracks that exist in Bitwig Studio before
discussing a few basic track operations.
3.2.1. Track Types
Bitwig Studio has five types of tracks. The four most common types are
present in any new project you create. Here again is a blank new project.
**3. THE ARRANGE VIEW AND TRACKS**
As each type of track has its own designated icon, each track also has its
own particular use:
An *instrument track* is denoted with a piano keys icon. The usual purpose of an instrument track is to record and hold note
clips that will trigger an instrument and result in audio output.
An *audio track* is denoted with a waveform icon. The usual purpose of an audio track is to record and hold audio clips that
will be played back.
A *hybrid track* is denoted with an icon that is half audio waveform and half piano keys. The usual purpose of a hybrid
track is to record and hold both note and audio clips. A hybrid
track is not present in a new Bitwig Studio project.
An *FX track* is denoted with a downward arrow icon. The usual purpose of an FX track is to receive portions of other tracks'
audio output, then mix them together for further processing.
A *group track* is denoted with a folder icon. The usual purpose of a group track is to unite several component tracks \(either
instrument, audio, hybrid, FX, or other group tracks\) into one
higher-level track for streamlined mixing and editing. The
track's folder icon appears open when its component tracks **3. THE ARRANGE VIEW AND TRACKS**
are visible and closed when they are hidden from view. A group
track is not present in a new Bitwig Studio project.
A *master track* is denoted with a crown icon. One and only one master track is present in each project, making him the king.
The purpose of the master track is to sum all signals that are
routed to the main audio buss. The master track also provides
access to various transport parameters \(such as tempo\) for the
sake of automation, modulation, et cetera.
3.2.2. Creating and Selecting Tracks
As you develop any project, you will almost certainly need additional
tracks.
*To create a track:* go to the *Add* menu and select either *Add Instrument Track*, * Add Audio Track*, *Add FX Track*, or *Add Group Track*.
Other ways to create a track include:
› Use the appropriate key command as noted in the *Add* menu.
› Right-click a part of the Arranger where no tracks exist \(such as
the blank space between the track headers\), and then choose the
appropriate function from the context menu.
Before you can do anything with a track, it must first be selected, and
the track header is key to this. Clicking anywhere else — including in the
Arranger Timeline area — selects clips or automation, not an entire track.
When a track is not selected, the background of its header is charcoal
gray, and its text and icon are light. When a track is selected, the
background of its header is a light silver, and its text and icon are dark.
*To select a track:* click on the track's header.
When a track is already selected, you can press \[UP ARROW\] or
\[DOWN ARROW\] to cycle thru the adjacent tracks.
*To select or deselect additional contiguous tracks:* either hold \[SHIFT\] and then click on the final track to be included in the selection, or
hold \[SHIFT\] while cycling thru tracks with \[UP ARROW\] or \[DOWN
ARROW\].
**3. THE ARRANGE VIEW AND TRACKS**
*To select or deselect additional individual tracks:* hold \[CTRL\] \(\[CMD\] on Mac\) and then click on the track to be added or removed from the
selection.
*To group tracks:* select the tracks you wish to group and then press \[CTRL\]\+\[G\] \(\[CMD\]\+\[G\] on Mac\).
*To toggle the visibility of a group track's encapsulated tracks:* click on the group track's folder icon.
*To unpack and remove a group track:* select the group track\(s\) and then press \[CTRL\]\+\[SHIFT\]\+\[G\] \(\[CMD\]\+\[SHIFT\]\+\[G\] on Mac\).
3.2.3. Edit Functions and Moving Tracks
Once a track is properly selected, several standard edit functions can be
used.
*To copy a track:* select the track and then press \[CTRL\]\+\[C\] \(\[CMD\]\+\[C\] on Mac\).
*To cut a track:* select the track and then press \[CTRL\]\+\[X\] \(\[CMD\]\+\[X\] on Mac\).
*To paste a track:* select a track as a reference and then press \[CTRL\]\+\[V\] \(\[CMD\]\+\[V\] on Mac\). The pasted track will be added after the track that
was selected.
*To duplicate a track:* select the track and then press \[CTRL\]\+\[D\]
\(\[CMD\]\+\[D\] on Mac\).
*To delete a track:* select the track and then press \[DELETE\] or
\[BACKSPACE\].
Other ways to execute the above functions include:
› Select the track and then choose the appropriate function from the
*Edit* menu.
› Right-click the track's header and then choose the appropriate function
from the context menu.
*To move a track:* click and drag the track's header vertically.
3.2.4. Track Names
You may have noticed that when a track is created, it is automatically
given a name to reflect the type of track it is and its track number.
**3. THE ARRANGE VIEW AND TRACKS**
And when a track is moved around, the track number in its name is
dynamically updated. By default, tracks are set to automatically name
themselves based on certain factors. If you desire, you can override this
functionality by renaming the track.
*To rename a track:* right-click the track's header and then choose
*Rename* from the context menu.
3.2.5. Track Colors and Color Palettes
Each track is assigned a color when it is created. Like the track name,
the track color can also be changed.
*To change the color of a track:* right-click the track's header and then select a different color from the palette that appears within the context
menu.
To the right of the color palette are two additional options. Clicking the
*x* icon clears the color from the current object, opting instead to 'inherit' the color provided. And clicking the right-facing triangle in the bottom
corner exposes a menu of factory and user color palettes.
**3. THE ARRANGE VIEW AND TRACKS**
Selecting a different palette makes those colors available, and the most
recent palette will be remembered while working on this project. To add
a new palette of your own to the *User* category, simply drag a PNG or JPG file from your system's file manager onto the Bitwig window. The
image will be resampled and previewed for you.
Change the name as necessary and click *Ok* to add this palette to your library.
3.2.6. Deactivating Tracks
There are various ways to silence a track. One useful option is to
deactivate and subsequently \(re\)activate tracks. When a track is
deactivated, not only is its output silenced, but any load it was placing
on your CPU is also removed for the time being. From the standpoint of
our limited computing resources, deactivating an object is as close as we
can get to deleting it — and none of our data are lost in the process.
**3. THE ARRANGE VIEW AND TRACKS**
*To deactivate an active track:* right-click the track's header and then choose *Activate/Deactivate Track* from the context menu. Or select the track and then press \[ALT\]\+\[A\] .
Any disabled track is visibly grayed out and certain interface items are
removed.
*To activate an inactive track:* right-click the track's header and then choose *Activate/Deactivate Track* from the context menu. Or select the track and then press \[ALT\]\+\[A\] .
**Note**
The deactivate and \(re\)activate functions can be applied to tracks,
devices, and top-level chains/layers of the Drum Machine, Instrument
Layer, and FX Layer container devices. And any plugins that are
deactivated will also stop accruing latency to your project.
Similarly, clips and notes can be muted and unmuted with the same
respective key commands.
**3.3. Meet Inspector Panel**
|
A context menu is available across Bitwig Studio. By right-clicking on an
item \(practically any object or event\), relevant actions that can be taken
will be shown along with certain properties of that item. For a fuller list
of the available properties, we also have the Inspector Panel.
*To toggle the visibility of the Inspector Panel:* click the view toggle for the Inspector Panel \(the *i* icon\), located in the window's footer.
The Inspector Panel follows the active panel's selection, displaying all properties of that selection. As there are many types of items in
Bitwig Studio \(clips, notes, audio events, devices, automation points,
and tracks\), the parameters displayed in the Inspector Panel can change dramatically depending on what you have clicked on.
By selecting a track, the Inspector Panel displays relevant parameters of that track.
**3. THE ARRANGE VIEW AND TRACKS**
The text entry box at top displays the current track name \(shown in
italics when the name is provided by Bitwig Studio\). The color palette
is identical to the one from the track header context menu, a *Comment* can be left for viewing here or in the mixer interfaces, and the *Active* toggle controls whether the selected track is currently running or
deactivated.
Plenty of other parameters are shown within the Inspector Panel,
including nearly all of the meters and controls from the track header.
And we will get to the parameters that are now unfamiliar in the
appropriate sections of this document.
**3. THE ARRANGE VIEW AND TRACKS**
The main idea is that the Inspector Panel is an ideal way to see all the parameters of most selected items. A context menu is also available
for most items and window areas. Going forward, we will primarily use
the Inspector Panel for viewing or altering parameters and the context menu for executing functions. So this isn't "goodbye" to either option,
but rather "nice to meet you."
**4. Browsers in Bitwig Studio**
In some ways, the best analogy for a digital audio workstation is a traffic
cop. A primary task of the modern DAW is getting your computer and
software to play well with everyone, including any controllers, plugins,
and audio equipment you may have. The hardware side of this is a bit
more obvious and flashy — working with MPE controllers and their fluid
note streams; offering our controller API for dynamic and customized
interactions between hardware and software; multitouch support,
including alternate workflows for editing, mixing, and performing;
various playback sync options; specialized display profiles for two or
three monitor setups; and natively speaking control voltage \(CV\) for
Eurorack modules and beyond.
While the software side might seem like the easier part of the equation,
it includes all of your files. And the list of file formats you might browse
is only growing. As of today, it includes: WAV, AIFF, MP3, FLAC, OGG,
OPUS audio files \(and more\); WT wavetable files; MULTISAMPLE, SFZ,
and SoundFont 2 \(SF2\) multisample files; CLAP, VST 2, and even VST3
plugins; BWPRESETS, H2P, as well as FXP, FXB, VSTPRESET, and any
vendor-specific formats that CLAP preset discovery offers; BWIMPULSE
files and any other audio for use as convolution impulse files; BWCLIP
files, MIDI files, DAWPROJECT files \(for project interchange with other
music programs; more information here \[https://www.bitwig.com/
support/technical\_support/dawproject-file-format-faqs-62/\]\), and other
sequence formats with some import support \(FLP and ALS\), as well as
BWPROJECT and BWTEMPLATE files; and Bitwig's internal devices,
modulators, and modules.
The purpose of Bitwig Studio's browsers is to connect your current
idea to a relevant musical materials from that mountain of files and
formats. This means providing clear ways to narrow a large pile of
results, and also nudging you back on track when you might be looking
for something in the wrong place. And as with any search, you will find a
great sound at the wrong time so making it easy to file things away for
later is important too. In short, it's better to save time each day, both for
today and tomorrow.
We say "browsers" plural because there is the omnipresent Browser Panel anchored to the right side of the window, as well as the dynamic Pop-up Browser that appears when a plus icon \(*\+*\) or folder button is clicked. Their structures are largely identical, and their few differences will be noted.
One procedural note: key commands will be mentioned all thru this
chapter, and they reference Bitwig's *Default keyboard mappings*. If you are working with your own key commands, most functions can be found
and mapped as you like \(see section 0.2.2.5\).
**4. BROWSERS IN BITWIG STUDIO**
So let's dive into browsing. We'll generally look at features in isolation
— sources, filters, key commands, autocomplete suggestions,
customization options, and more — but when working on music, you will
use these tools together. Which is great because then you'll spend less
time selecting sounds and more time bringing them to life.
**4.1. All Sources**
|
Browsing in Bitwig Studio is centered around *sources*. Each source is just a way to group searchable content, providing windows thru which
you can approach your files. When any browser is loaded, a source is
selected.
In the Browser Panel, the current source is shown by the title above the various filters. In this image, *Samples \+ Clips* is the selected source.
And in any variation of the Pop-up Browser, the area above the filters also shows the current source along with its icon. Shown here is the *All* **4. BROWSERS IN BITWIG STUDIO**
*Instruments* source and its keyboard icon, hinting that note input will be required.
In both of these views, the top left corner holds a button \(with an icon
of four little squares\) for switching to the *All Sources* page, where all available sources can be seen. Clicking on any source returns to the
browser with that source selected, so every available source can be
browsed from the *All Sources* page. Or press \[CTL\]\+\[0\] \(\[CMD\]\+\[0\] on Mac\) to toggle between the *All Sources* page and the regular browser view.
We will look at each of the four tabs in order. And for now we will use
the perspective of the Browser Panel, where having no context means that everything is always available.
Just know that each source only appears once, so knowing the concept
of each tab will help you know where to look later.
4.1.1. Packages Tab
The *Packages* tab offers a source for each sound package you have from Bitwig, as well as a way to acquire content you haven't installed yet.
**4. BROWSERS IN BITWIG STUDIO**
Unique to the *Packages* tab is a row of view and sort options, all shown as small text buttons just above where the packages start. They are
identical to those in the *Packages* tab of the Dashboard \(see section
0.2.3\).
4.1.2. Collections Tab
The *Collections* tab displays all user-saved groups. This definitely
includes *Favorites*, which contains every item you have marked as
a favorite. And any fixed *collections* \(with the colorful grid icons\) of yours will be here too, as well as dynamic *smart collections* \(with the magnifying glass icons\) that you might have created.
Right-clicking on any collection or smart collection provides a context
menu with various options, including to change the color of its icon or to
*Delete Collection*.
**4. BROWSERS IN BITWIG STUDIO**
*To rename a collection or smart collection:* click on its name, which will make the text editable.
Both collections and smart collections are ways for you to organize your
content. But contrary to their names being so similar, they represent two
distinct concepts.
A *collection* starts empty and waits for you to insert content into it. In this way, the *Favorites* source is a special collection. For some users, this single collection will be enough, but you can create others.
*To create a collection from the All Sources page:* on the *Collections* tab, click the *Create Collection…* button in the bottom right corner of the window. Then choose a name and color for the collection.
Items can be added to the collection either from the results list \(see
section 4.2.3\), from the file area \(see section 4.2.4\), or from the Quick
Sources \(see section 4.3.1\).
A *smart collection* is a saved set of filters that can be viewed as a source. As it doesn't contain individual items but rather search parameters, its
content will be dynamic \(see section 4.3.4\).
**4. BROWSERS IN BITWIG STUDIO**
4.1.3. by Kind Tab
The *by Kind* tab offers sources organized by file type — and sometimes by category as well. Since these sources are always available, this list is
the longest to start with.
*All Instruments* contains all instrument devices, plugins, and presets. It is the parent source of these individual sound-descriptive sources:
› *Drum Presets* contains devices, plugins, and presets in known drum/
percussion categories \(including *Clap*, *Cymbal*, *Drum Kit*, *Hi-hat*, *Kick*,
*Percussion*, *Snare*, and *Tom*\).
› *Basses* contains devices, plugins, and presets in known bass
categories \(including *Bass* and *Synth Bass*\).
› *Keys* contains devices, plugins, and presets in known keyboard
categories \(including *Electric Piano*, *Organ*, and *Piano*\).
**4. BROWSERS IN BITWIG STUDIO**
› *Synths* contains devices, plugins, and presets in various synthesizer—
type categories \(including *Bell*, *Chip*, *Drone*, *Ensemble*, *Lead*,
*Monosynth*, *Pad*, *Pipe*, *Plucks*, *Sound FX*, *Synth*, and *Synth Bass*\).
› *Other Instruments* contains devices, plugins, and presets in other
various categories \(including *Brass*, *Ethnic*, *Guitar*, *Mallet*, *Orchestral*,
*Strings*, *Vocal*, and *Winds*\).
*Drum Hits* is a hybrid source comprising e-drum instruments, drum sound presets, and sample files identified as individual drums.
*Audio FX* contains all audio FX devices, plugins, and presets.
*Note FX* contains all note FX devices, plugins, and presets.
*Music* contains all audio files from your chosen music locations.
*Multisamples* contains all MULTISAMPLE, SFZ, and SF2 files \(available to both the Sampler device and Grid module\), either in the Bitwig library or from your chosen sound content locations.
*Impulses* contains all BWIMPULSE files \(used by the Convolution
device\), either in the Bitwig library or from your chosen sound content
locations.
*Wavetables* contains all WT files \(used by the Grid/Polymer Wavetable module and also the Wavetable LFO modulator & Grid module\), either in the Bitwig library or from your chosen sound content locations.
*Curves* contains all BWCURVE files \(used by any of the various "curve"-based devices, modulators, and modules\), either in the Bitwig library or
from your chosen sound content locations.
*Utility* contains devices and presets in the *Utility* categories, as well as devices in other special function categories \(*Analysis*, *Container*, *Hardware*, *MIDI*, and *Routing*\).
*All Presets* is the parent source of these sources:
› *Bitwig Presets*, for BWPRESET files in the Bitwig library or from your
chosen sound content locations.
› *Plug-in Presets*, for H2P files, as well as FXP, FXB, VSTPRESET, and any
vendor-specific formats that CLAP preset discovery offers.
*All Devices* is the parent source of these sources:
› *Bitwig Devices*, for our internal devices within the Bitwig Studio
application.
› *Plugins*, for CLAP, VST 2, and VST3 plugins, installed in one of your
chosen plug-in locations.
**4. BROWSERS IN BITWIG STUDIO**
*Modulators* are available in the Browser Panel for loading Bitwig's
internal modulators. It allows dragging one or more modulators into a
device's modulator pane.
*Modules* are available in the Browser Panel for loading Bitwig's internal modules. It allows dragging one or more modules into a Grid device's
editor window \(see'.
*Samples \+ Clips* is a parent source for all audio and timeline materials, including these sources:
› *Samples*, for all audio files, either in the Bitwig library or from one of
your chosen sound content locations.
› *Note Clips*, for all note-based BWCLIP files as well as MIDI files, either in
the Bitwig library or from one of your chosen sound content locations.
› *Audio Clips*, for all audio-based BWCLIP files, either in the Bitwig library
or from one of your chosen sound content locations.
*Templates* is available in the Browser Panel for loading BWTEMPLATE files, either in the Bitwig library or from one of your chosen sound
content locations.
4.1.4. Locations Tab
The *Locations* tab combines sources tied to particular disk locations and a few special sources.
**4. BROWSERS IN BITWIG STUDIO**
*Everything* is a catch-all source that is the first available source in all browsers. It is useful for searching across all applicable items at once.
*My Library* contains files found in your local Bitwig user library.
Each of your chosen sound content, music, and plug-in location folders
appear as individual sources here. Both sound content and plug-in
locations are shown with a folder icon, and music locations appear as
vinyl records. You can right-click any of these sources to *Remove* the location, and you can click any of the bottom three *Add* buttons to create a new location and source.
And the *File Browser* is available in the Browser Panel as a view for browsing your files and computer generally.
A word on each top-level entry.
› *Current Project* allows you to unfold the file structure of the current
project, giving access to any of the contained files \(as shown above\).
› *Bookmarks* is a place for any disk folder locations you have saved from
within this *File Browser* view.
**4. BROWSERS IN BITWIG STUDIO**
*To add a bookmark a folder for the File Browser source:* navigate to the
folder via the *File Browser*, then right-click on the folder and select *Add*
*as Bookmark*.
› *My Library* provides access to your local Bitwig user library folder.
› *Library Locations* contains all folders added as sound content, music,
and plug-in locations.
› *My Files* provides access to your computer user's home folder.
› *Computer* provides access to all disks attached to your computer.
› *Recent Projects* offers recently opened projects in order, starting with
the one currently open.
Finally, the *File Browser* has two super powers when it comes to Bitwig project files. The first is that you can drag a full project from the *File Browser* into your current project. This will create a group track for that project's master track, with all possible content being inserted within it.
Second and unique to the *File Browser* is that projects can be unfolded here to see the individual tracks \(and group tracks can be further
unfolded as well\).
**4. BROWSERS IN BITWIG STUDIO**
*To import one or more tracks from another project:* locate the project from the *File Browser* \(in the Browser Panel\). Then unfold the project, select one or more tracks, and drag them into the current project.
**4.2. Common Browser Elements**
|
Whether using the anchored Browser Panel or the dynamic Pop-up Browser, most elements are shared by both browsers, albeit with
different orientations.
Living along the left edge of the window, the Browser Panel is vertical and thin by design.
**4. BROWSERS IN BITWIG STUDIO**
Made to appear only when called, the Pop-up Browser has a larger, horizontal layout, like most computer screens.
**4. BROWSERS IN BITWIG STUDIO**
For this section, we will take the perspective of the Pop-up Browser as it has a few additional touches.
4.2.1. Search Field
While *browsing* can feel like the opposite of *searching*, Bitwig Studio's browsers allow both workflows to go hand in hand. The search field
inside each browser is marked with the magnifying glass icon.
**4. BROWSERS IN BITWIG STUDIO**
Often times, opening the browser puts keyboard focus on the search
field immediately so just start typing. And actually, that might be
the best advice about the browser: whatever you are thinking, *just*
*start typing*. It often works out because as you start typing, any
matching sources, collections, creators, tags, and more will be offered as
suggestions in a blue "autocomplete" button that appears.
*To accept a browser suggestion:* either press the \[TAB\] key, or click the blue button.
This will switch to that source or add the filter offered, *etc.* As you can
see below, the *Category* is now set to *Monosynth*, and the search field remaining in focus so you can just start typing \(again\).
**4. BROWSERS IN BITWIG STUDIO**
If your search yields few results, the browser will suggest switching to
the *Everything* source, where more content is likely available.
Making the switch to the *Everything* source will also preserve your
search so you can see the change in your result list immediately.
**4. BROWSERS IN BITWIG STUDIO**
Whenever focus is in the search field, pressing \[DOWN ARROW\] will
move focus into the results list, which selects the first item if nothing
was already selected. And if focus is on the first result item, pressing \[UP
ARROW\] will return focus to the search field \(in the Pop-up Browser, \[PAGE UP\] also works\). Or press \[S\] no matter where focus is in the
browser to return to the search field and continue typing.
Finally, the magnifying glass at the left edge of the search field is also
clickable, offering various options, including general *Browser Settings*.
Among the various *Browser Settings* is the option to have the browser *Suggest available Packages*. On by default, this option will offer a **4. BROWSERS IN BITWIG STUDIO**
notification in the bottom of the browser when your search terms match
a package that is available and not yet installed.
4.2.2. Filters Area
Together with searching, applying filters will help narrow your search
results to a manageable and thematic pile. All available filters are shown
below the current source, and clicking any filter will select it, unfolding
its entries in the space below.
Clicking an entry within a filter activates it. Multiple filter entries can also
be selected in the standard way — by \[CTL\]-clicking \(\[CMD\]-clicking on
Mac\) to add/remove additional entries.
When a filter is active, the name of the filter is replaced with its current
selection\(s\). So regardless of which filter is currently open, an active
filter will always be visible. And hovering over an active filter header also
presents an *x* icon on its right edge for easily clearing it. \(Pressing \[X\] will also clear the currently selected filter.\)
As the Browser Panel is oriented vertically, pressing \[CTRL\]\+\[ALT\]\+\[UP ARROW\] and \[CTRL\]\+\[ALT\]\+\[DOWN ARROW\] \(\[CMD\]\+\[ALT\]\+\[UP
ARROW\] and \[CMD\]\+\[ALT\]\+\[DOWN ARROW\] on Mac\) will move to the
previous or next filter available. In the horizontal Pop-up Browser, this translates to \[CTRL\]\+\[ALT\]\+\[LEFT ARROW\] and \[CTRL\]\+\[ALT\]\+\[RIGHT
ARROW\] \(\[CMD\]\+\[ALT\]\+\[LEFT ARROW\] and \[CMD\]\+\[ALT\]\+\[RIGHT
ARROW\] on Mac\). These commands will work anywhere in the browser,
including from the search field.
Finally, in the Pop-up Browser, the width of the source and filter area is resizable and will be remember for similar contexts \(for example, the
width you used when browsing for devices versus clips, and so on\).
4.2.2.1. Location
The *Location* filter is practically always visible, offering both disk
locations and virtual ones. Pressing \[L\] from most browser locations will
move focus to this filter.
**4. BROWSERS IN BITWIG STUDIO**
As with all filters, the top-level items can always be clicked on to only
show results from that entire location, or each entry can be unfolded for
additional specificity.
*My Library* points to your local Bitwig user library, including subgroups that correspond to its folder structure.
*Bitwig Studio* points to any relevant internal content from inside the application, including subgroups of *Devices*, *Modulators*, and Grid
*Modules*.
*Packages* points to installed package content, including subgroups for each individual package \(and its folder structure\) that contains relevant
items.
*Collections* points to all of your user collections \(including *Favorites*\). When unfolded, all collections will be shown regardless of whether they
have relevant content or not. This makes it possible to select one or
more items from the result list and drag them into a collection via the
*Location* filter.
Last comes with *Added Locations Group*. It is actually three top-level items, allowing you to select or unfold your *Sound Content*, *Music*, and *Plugins* locations for any relevant items.
4.2.2.2. File Kind
The *File Kind* filter allows isolating the results list to a particular kind\(s\) of file. Pressing \[F\] from most browser locations will alternate focus **4. BROWSERS IN BITWIG STUDIO**
between this filter and the more specific *File Type* filter, discussed
below.
All of these kinds are also available as sources of their own and were
described above \(see section 4.1.3\). With certain *File Kind* selections, additional filters will also appear.
Shown above, a special icon chooser has appeared at the end of the
filter section. For any device-or preset-based selection, these icons will
appear so you can limit your results to just instruments \(yellow\), audio
FX \(red\), or note FX \(blue\).
**4. BROWSERS IN BITWIG STUDIO**
Also shown above, a *File Type* filter will appear for any *File Kind*
selection that includes more than one format of file. When both filters
are present, pressing \[F\] from most browser locations will alternate
between selecting the *File Type* and *File Kind* filters.
And a special *Vendor* filter will appear for *Plugins* and other device-based selections. Pressing \[V\] from most browser locations will switch
to this filter, where you can narrow your search by selecting one \(or
more\) plug-in manufacturer.
Finally when *Impulses* is selected for *File Kind*, an additional *Channels* filter appears for limiting your results to files with a certain number of
audio channels.
**4. BROWSERS IN BITWIG STUDIO**
4.2.2.3. Category
The *Category* filter allows limiting results to a specific category. Pressing \[C\] from most browser locations will alternate focus between this filter
and the *Creator* filter.
**4. BROWSERS IN BITWIG STUDIO**
4.2.2.4. Creator
The *Creator* filter allows limiting results to those made by a certain
person. Pressing \[C\] from most browser locations will alternate focus
between this filter and the *Category* filter.
4.2.2.5. Devices
The *Device* filter is useful when searching presets, limiting your search to only presets made with certain devices \(or categories of devices\).
Pressing \[D\] from most browser locations will move focus to this filter.
**4. BROWSERS IN BITWIG STUDIO**
4.2.2.6. Tags
The *Tags* filter is special, helping narrow your search with various
assigned keywords. Pressing \[T\] from most browser locations will move
focus to this filter.
With a potentially limitless number of tags in use, the interface here
uses four columns to show much more at a time. The top 16 slots are
fixed with a consistent layout, using tags from Bitwig's content that **4. BROWSERS IN BITWIG STUDIO**
may apply to all types of presets. This full top block of 16 will always
be shown. Below the divider, the space is filled with as many relevant
tags as possible, picking the most common ones in use for your current
search, and then sorting them alphabetically.
In this abbreviated layout, you must hover over tags to see how many
results match that tag, as well as a short, subjective description of the
tag's meaning.
Once a tag is clicked on and selected, your results list will have changed
and so will the bottom section of tags.
**4. BROWSERS IN BITWIG STUDIO**
Additional selections will further narrow the results and the tags
available.
And in case this view is too limited, or you would just rather see all tags
in alphabetical order, you can right-click anywhere in the tags area for a
special pop-up menu.
Hovering over items will even work the same in this view.
**4. BROWSERS IN BITWIG STUDIO**
4.2.2.7. Favorites
The special *Favorites* filter is always available via the hollow star to the right of the current source name. Clicking it shows only results that you
have also marked as your favorites.
**4. BROWSERS IN BITWIG STUDIO**
4.2.3. Results List
A list of results is always visible in the browser, presenting each item that
matches your current search terms and filters with an icon and its name.
Any small colored circles represent collections that that item belongs to
\(or a star, in the case of it being a favorite\). The \[DOWN ARROW\] and
\[UP ARROW\] keys provide the simplest navigation.
Right-clicking any item also reveals a useful context menu.
**4. BROWSERS IN BITWIG STUDIO**
Clicking one of the listed *Collections* will toggle the item's status, either adding it to or removing it from that collection. But the numbers beside
each collection represent a key command that can be used without
entering the context menu.
*To add/remove an item from a collection from the results list:* select the desired item\(s\), and press the number key associated with the collection.
So in the Pop-up Browser with its *Live Preview* mode, or when
going thru samples in either browser with the *Auto-Preview* option enabled, filing items is as easy and pressing \[DOWN ARROW\],
instantly auditioning a preset or sound, pressing a number to send it
to a collection \(\[0\] to mark it a favorite\), and then pressing \[DOWN
ARROW\] again.
In the *Sort Order* submenu are options for how the results list should be sorted. Options include:
› *by Kind / Name* \(default\), which separates various file kinds \(such as
Bitwig devices, then plugins, then Bitwig device presets, and so on\)
and alphabetizes each kind.
› *by Name*, which alphabetically sorts the entire list, regardless of file
kind.
› *by Date*, which sorts files by their modification date, with most recently
touched files coming first.
In the *Browser Settings* submenu are preferences for omitting content from the results list, including whether the results *Should include Legacy Content* and whether the list *Should hide redundant Plugins*, which is
based on your settings \(see section 0.2.2.6\).
Finally, the Pop-up Browser also has a unique collapsed view, available by clicking the folding triangle frame in the bottom left corner.
All key commands listed above \(for moving thru the results list and even
adding items to *Favorites* and other collections\) still work in the small view, making it a nice way to try out content while keeping the rest of
the Bitwig window visible.
**4. BROWSERS IN BITWIG STUDIO**
4.2.4. File Area
When an item is selected, the file area on the right tells you about it.
Many options and much information are available here.
› Beside the item's icon and name are a pair of up and down arrows,
which can be clicked or tapped to move to the previous or next result,
respectively.
› All labeled data \(shown below the item description\) are clickable,
effectively toggling those filters.
› When a device \(that has presets\) or a preset itself is selected in the
Pop-up Browser, a button to *Show Presets for* that device appears
near the top of the area. Clicking it will select the target device in
the *Device* filter, limiting your current search to only presets from
this device. Clicking the button again will return you to your previous
search.
In both browsers, devices that have accessible presets will show a
small greater-than symbol \(*>*\) at the right edge of their result list entry \(see Organ in the image above\). Clicking that icon or pressing \[RIGHT ARROW\] will toggle on the *Show Presets for* mode. And pressing \[LEFT ARROW\] will then exit that mode.
› In the Pop-up Browser, the width of the file area is resizable and will
be remembered for similar contexts \(for example, the width you used
when browsing for devices versus clips, etc.\).
**4. BROWSERS IN BITWIG STUDIO**
› In the Pop-up Browser, entries for the item's *Location* \(or *Package*,
etc.\) and clickable buttons for its *Collections* are always present. In the
Browser Panel, these items can be enabled from the *Browser Settings*
menu.
› In case space is tight in the Browser Panel, the folding triangle frame to
the right of the file name can be clicked to fold away the rest of the file
area, except for the preview player…
4.2.4.1. Preview Player
For audio files, clips, and other timeline-friendly content, special
information about the file will be present, as well as a preview player at
the bottom of the browser.
The preview player offers a volume fader at the left edge, as well as
a play/stop button on the right. The speaker icon in the bottom right
corner toggles the *Auto-preview When Selected* setting. If you would rather trigger \(or just stop\) each selection manually, \[RIGHT ARROW\]
also alternates the play/stop state.
For audio samples, the file information section starts with a drop-down
chooser for the *Audio Import / Preview Mode* preference \(also found in the Dashboard under *Settings* > *Behavior*\).
**4. BROWSERS IN BITWIG STUDIO**
Two modes are available here, each defining how any audio will be
previewed and imported.
› *Play at Original Speed* previews the audio at its original length and
speed, regardless of the project tempo. If then inserted as clip material,
that clip will be set for playing back neutrally at the project's current
tempo.
› *Stretch to Project Tempo* previews the audio at the project's current
tempo. If then inserted selected as clip material, that clip will be set to
play back at the project's current tempo as well.
4.2.5. Visual Browsers
The Pop-up Browser can be invoked in numerous contexts. Some
content is better visualized than read about.
The primary difference with these special browsers is that results are
presented as rows and columns, so all four arrow keys are used for
moving between results.
4.2.5.1. Curve Browsers
Bitwig has a family of curve-based devices, currently numbering three
modulators and five Grid modules \(with two of those modules also
present in Polymer, and the Transfer waveshaper also available in Filter\+ **4. BROWSERS IN BITWIG STUDIO**
and Sweep\). They can all load and save the same BWCURVE files, whose free-form shapes are visualized in the *curve browser*.
4.2.5.2. Wavetable Browser
WT-format wavetable files can be loaded by the Wavetable oscillator \(as a Grid module or in Polymer\), as well as by the Wavetable LFO \(in either its modulator or Grid module incarnation\). A tilted 3D layout of
each file's tables is presented by the *wavetable browser*.
4.2.5.3. Impulse Browser
Bitwig's Convolution device can load any audio as an impulse response. Once loaded, the audio is saved to your library as a BWIMPULSE file,
joining the hundreds of files available in Bitwig's factory library.
**4. BROWSERS IN BITWIG STUDIO**
The *impulse browser* visualizes the amplitude of these files, along with their original length listed beneath them.
**4.3. Customizing the Browsers**
|
The browsers in Bitwig Studio endeavor to give you good starting points
wherever they are invoked. But if you find that something else might
suit you better, you should change it. This includes the idea of which
*Quick Sources* you would like to have access to in different scenarios, as well as configuring a different default source, filters, and more for each
context that Bitwig keeps track of. Additionally, snapshots offer a way to
save and restore search sessions. And smart collections add a variation
on that idea.
Let's look at these various ways of making the browsers your own.
4.3.1. Quick Sources
The one browser section that hasn't been mentioned so far is the row of
miniature source icons that are across the top of the Browser Panel.
**4. BROWSERS IN BITWIG STUDIO**
On the Pop-up Browser, they run along its left edge.
**4. BROWSERS IN BITWIG STUDIO**
This group of icons represents the *Quick Sources* for your current
context. By keeping them docked nearby, these sources are accessible
with a single click.
On the first click to switch sources, we will try to preserve your search
terms and filters. This is true both when you click on one of the *Quick Sources*, if you select a different source from the *All Sources* page, or when you follow an autocomplete suggestion to another source \(see
section 4.2.1\).
And if you are already on a *Quick Source*, clicking its icon again will clear all search criteria, letting you start cleanly from this source.
You can move between the *Quick Sources* with key commands as well. The always-first *Everything* source is mapped to \[F1\], and the sources that follow take \[F2\] thru up to \[F9\].
Since the Pop-up Browser presents it *Quick Sources* in a vertical row, pressing \[CTRL\]\+\[ALT\]\+\[UP ARROW\] and \[CTRL\]\+\[ALT\]\+\[DOWN
ARROW\] \(\[CMD\]\+\[ALT\]\+\[UP ARROW\] and \[CMD\]\+\[ALT\]\+\[DOWN
ARROW\] on Mac\) will select the previous or next source. And as the
Browser Panel has these in a horizontal row, \[CTRL\]\+\[ALT\]\+\[LEFT ARROW\] and \[CTRL\]\+\[ALT\]\+\[RIGHT ARROW\] \(\[CMD\]\+\[ALT\]\+\[LEFT
ARROW\] and \[CMD\]\+\[ALT\]\+\[RIGHT ARROW\] on Mac\) will switch
sources here.
*To add a source to the current Quick Sources:* drag a source between or beyond any source in the current *Quick Sources* palette. Any source icon can be dragged in, whether it is the current source on the regular
browser view, or from the *All Sources* page.
You can also replace one source with another by dragging it on top of
the old one.
*To remove a source from the current Quick Sources:* right-click the
source and then select *Remove from Quick Sources*.
Also note the right-click option to *Restore Quick Sources to Default*, in case you want to return a context's *Quick Sources* to the program's default.
4.3.2. Contexts
The word contexts has come up several times already. The browsers
in Bitwig can appear when adding new content in various places, and
several of these *contexts* can be saved to have their own:
**4. BROWSERS IN BITWIG STUDIO**
› Set of *Quick Sources*
› Selected source
› Settings for all filters, including which filter is visible \(and what
subfolders within it are unfolded\)
› *Sort Order* \(see section 4.2.3\)
The *Quick Sources* will be remembered instantly when changed \(see
section 4.3.1\). For the other settings, you have to actively re-save them.
*To change the browser settings for this context:* click on the magnifying glass icon, then go to the *Browser Settings* submenu and select *Use current selections for this context*.
**Note**
When the *Use current selections for this context* function is not
available, the context you are in either cannot save an independent
default state, or you got here indirectly. For example, clicking the
folder icon to swap content reenters the previous search session so
this is a local context.
Browser contexts that can have their own defaults include:
› The Browser Panel in general \(it has only one context; all others are for
where the Pop-up Browser is invoked\)
› When inserting a new track
› When adding to an empty instrument track
› When adding to an empty audio track \(including FX tracks\)
› When inserting a note FX \(for example, clicking *\+* between other note
FXs, or between a note FX and instrument\)
› When inserting a note FX or instrument \(for example, clicking *\+* after a
note FX with nothing following it\)
› When inserting an audio FX \(for example, clicking *\+* after an
instrument, or between audio FX\)
› When inserting an audio FX or note detector \(for example, clicking *\+*
before a note FX or instrument on an audio track\)
› When inserting a new note FX layer **4. BROWSERS IN BITWIG STUDIO**
› When inserting a new instrument layer
› When inserting a new audio FX layer
› When inserting into a blank Drum Machine cell
› When inserting/browsing content within a Sampler
› When inserting into a Launcher clip on a note track
› When inserting into a Launcher clip on an audio track
› When inserting into a Launcher clip on a hybrid track
› When inserting into a *Periodic* curve device \(for example, browsing in
Curves or Scrawl\)
› When inserting into an *Envelope* curve device \(for example, browsing
in Segments\)
› When inserting into a *Sequence* curve device \(for example, browsing in
Slopes\)
› When inserting into a *Lookup* curve device \(for example, browsing in
Transfer or Keytrack\+\)
4.3.3. Snapshots
It is possible to save your current search session as a *snapshot*. This will include:
› The selected source
› All selected filters, including which one is visible \(and any subfolders
that are unfolded there\)
› Any text search terms
› The *Sort Order* setting
So in this example, I will start in the *Synths* source.
**4. BROWSERS IN BITWIG STUDIO**
Additionally, the *Location* filter is set to *Packages* \(so I will only see installed content instead of my local library\); the *Category* filter is set to *Synth*; and for *Creator*, I have selected a few preset makers who I enjoy.
*To save a snapshot of your search configuration:* click the magnifying glass icon in the search bar, and then select *Save Snapshot…*.
A dialog will appear so you can name your snapshot.
**4. BROWSERS IN BITWIG STUDIO**
*To recall a snapshot:* click the magnifying glass icon in the search bar, and then click either the name of the snapshot or the play triangle
icon beside it. Everything saved \(that is available in the current search
context\) will be restored, allowing me to continue and modify my search.
*To delete a snapshot:* click the magnifying glass icon in the search bar, and then click *x* icon to the right of the particular snapshot's name.
4.3.4. Smart Collections
A *smart collection* is a saved set of filters that creates a dynamic
collection. This is similar to snapshots, with a couple key difference.
**4. BROWSERS IN BITWIG STUDIO**
While both snapshots and smart collections offer dynamic results, a
smart collection is, well, a collection. This makes it a real entity and
allows it to be a source of its own.
And while filters are completely editable after recalling a snapshot, smart
collections preserve your selected filters, making the universe look like
the limitations you requested.
As an example, I'll start with the exact same settings as we did with
snapshots \(see section 4.3.3\).
*To save a smart collection from your current search:* click the magnifying glass icon in the search bar, and then select *Save Smart Collection…*.
A dialog will appear so you can name and select a color for your smart
collection.
**4. BROWSERS IN BITWIG STUDIO**
Once you've selected *OK* from the dialog, the smart collection will be saved and also added to your current context's *Quick Sources*.
And if we select the new smart collection, we will see the difference
between snapshots and smart collections.
**4. BROWSERS IN BITWIG STUDIO**
From the *Creator* column, we can now clearly see that selecting *Any Creator* will be limited to only those that were selected when the smart collection was saved. And the source of *Synths* and the *Category* filter of *Synth* are now permanent as well.
**5. Arranger Clips**
*Clips* are the heart of any music that you will create in Bitwig Studio. Since they are the smallest unit we will work with for arranging tasks,
clips can be thought of as our musical atoms. Put a different way, a clip
is the smallest musical idea that you might consider looping.
In this chapter, we will continue working with the Arrange View. Taking
our knowledge of the browser \(see chapter 4\), we will see how to drag
in clips and move them around. Then we'll adjust their basic parameters
in the Arranger Timeline Panel, as well as editing workflows from
the computer keyboard and going thru the available clip-processing
functions. This will lead us to playing back Arranger contents and
understanding basic transport functions. Finally, we will see how to
record new clips.
If our music is made of clips, then creating and capturing our music
starts here.
**5.1. Inserting and Working with Arranger Clips**
|
While many browser sources can lead you to the same material, the best
place to start is the purple *Samples \+ Clips* source of the Browser Panel.
The purposes of this hybrid source is to have all timeline-friendly content
in one place. So however you search or filter, you will just find material
that can make sense on the Arranger.
And being a parent source, the icons beneath are clickable for isolating
one of the included sources, like the blue *Note Clips* source in the center. **5. ARRANGER CLIPS**
5.1.1. Inserting Clips
*To insert a clip on an Arranger track:* click and drag the clip from the Browser Panel to the desired timeline position on the appropriate track.
**Note**
Since we are dragging a note clip, it made the most sense to place
it on a note track, but we could have dragged it to any track. As the
concept of hybrid tracks may have indicated, Bitwig Studio is rather
free with the idea of track types.
If you drag a note clip to an empty audio track, the track will be
converted to an instrument track. If you drag a note to an occupied
audio track, the track will be converted to a hybrid track. In both
cases, the converse is true as well.
So inserting clips from the browser is as simple as dragging them into
the Arranger Timeline.
*To insert a clip on a brand new Arranger track:* click and drag the clip from the Browser Panel to the desired timeline position between
existing tracks.
**5. ARRANGER CLIPS**
This method of inserting clips will work from the Browser Panel with any content that can be placed on tracks. And the same method will work
when dragging appropriate files from your file manager application \(i.e.,
File Explorer on Windows, Finder on Mac, etc.\) directly onto the tracks.
5.1.2. Moving Clips and Snap Settings
*To move a clip within the Arranger Timeline Panel:* click and drag the clip with the mouse.
**5. ARRANGER CLIPS**
The result will be similar to when the clip was originally inserted from
the Browser Panel. But also note that as you begin dragging the clip to move it, a status message appears in the window footer with several
additional options. \(This is shown in the image above; note that the
order of options varies by platform, and your screen may not match the
sequence in this image.\)
**Note**
Do look for status messages whenever you are clicking and dragging
items in Bitwig Studio. This document will not necessarily cover all
variations that are shown within the program.
The first option — that adding \[CTRL\] \(\[ALT\] on Mac\) while dragging a
selection toggles between moving and copying — was mentioned in a
previous chapter.
The second option is new and indicates that \[SHIFT\] temporarily inverts
the snapping behavior, offering to *Disable* it when it is currently enabled, and vice versa. To know the current setting, we should examine the
bottom right corner of the Arranger Timeline Panel.
**5. ARRANGER CLIPS**
Most of these options live on the bottom right of any timeline editor.
In the above image, the enabled icon to the right of *1/16* shows arrows coming from the left and right toward a center line \(*>|<*, more or less\). This toggle shows that snapping is currently enabled for this editor.
Whether and how clips conform to the beat grid is governed by the
more detailed *snap settings*, which are found by clicking on the beat grid settings menu, which is that *1/16* that we saw above.
Found under the *Snap To* header, three independent options determine which elements clips will or will not snap to as you drag them across
time. As each option only provides additional anchor points, the options
have no effect on one other.
› The *Grid* option causes clips to snap to the current beat grid.
› The *Grid Offset* option uses the current beat grid resolution, but it
thinks of a grid in relation to the clip's current start time. So if the clip
does not start exactly on the beat grid, the amount that the clip is
offset will be preserved when it is moved.
› The *Events* option causes clips to snap to the start and end of other
clips within the Arrangement Timeline.
**5. ARRANGER CLIPS**
If only one of these options is enabled, only that snapping rule applies. If
multiple options are enabled, clips will momentarily snap into place for
each and every rule that applies.
These settings will apply not just to moving clips, but to any other
editing action in the panel. We will touch upon some of those actions in
a moment, but one other option is worth mentioning here.
In the above image, note the *automation follow button*, to the left of the beat grid settings menu. Toggling this function determines whether
automation is moved along with clips or not. So if you are moving clips
around, be sure to check the status of this button.
5.1.3. Adjusting Clip Lengths
To demonstrate working with the Bitwig Studio's various tools in the
Arranger Timeline Panel, we will start with the task of removing the second half of a clip.
*To shorten an Arranger clip:* mouse over the top right edge of the clip so that a half-bracket cursor appears. Then click and drag to the left.
**5. ARRANGER CLIPS**
Other ways to shorten an Arranger clip include:
› With the Time Selection tool, click and drag over the time area that
should be removed. Then clear the time by pressing \[DELETE\] or
\[BACKSPACE\].
› With the Eraser tool, click and drag over the portion of the clip to be
removed.
› With the Knife tool, click the position where the clip should be
separated. Once the clip is divided, select and delete — \[DELETE\] or
\[BACKSPACE\] — the unwanted clip.
**5. ARRANGER CLIPS**
All of these methods achieve the same effect. And while it may seem
like the second half of our clip is now gone forever, this is not the case.
Bitwig Studio still remembers the full contents of our clip in case we
need it back later.
*To lengthen an Arranger clip:* mouse over the top right edge of the clip so that a half-bracket cursor appears. Then click and drag to the right.
Bitwig Studio acts rather nondestructively, internally preserving data
whenever practicable. But you can always ask the program to stop
considering data that is not currently visible by using the *consolidate* function, which essentially solidifies a clip for various purposes.
*To remove unseen data from a clip:* right-click the clip and then choose *Consolidate* from the context menu.
After consolidating the previous clip, extending it would now work
differently.
**5. ARRANGER CLIPS**
*To consolidate multiple clips:* select all of the clips. Then right-click one of the clips and choose *Consolidate* from the context menu.
For all of the above purposes, the consolidate function is also available
by selecting *Edit* › *Consolidate* or by pressing \[CTRL\]\+\[J\] \(\[CMD\]\+\[J\] on Mac\).
5.1.4. Free Content Scaling
While the normal bracket options \(shown above\) allow for growing or
contracting clips based on their underlying content, clips can also be
freely scaled or stretched. And this concept is also the same for note
and audio events as well.
*To freely scale a clip:* hold \[ALT\] and then click and drag from the left or right edge of the clip.
If the right edge is dragged, then the left edge of the clip will be the
anchor for scaling, and vice versa.
*To freely scale multiple clips:* with multiple clips selected, hold \[ALT\], and then click and drag from the left or right edge of the clip.
**5. ARRANGER CLIPS**
Note that when scaling from the edge of a clip, all selected clips are
treated individually and are scaled in their original place.
*To freely scale time:* with a time selection made, hold \[ALT\] and then click and drag from the left or right boundary of the selection. This will
stretch the entire time, shifting any clips that are not lined up with the
time selection's start or end.
Using a time selection allows anything selected to be scaled, including
automation and even partial clips or events.
5.1.5. Slicing and Quick Slice
As shown earlier in passing, the Knife tool can be used to slice clips. It
can be used in the same fashion to slice notes and audio events. And
for any of these types of objects, these is also a Quick Slice function, which allows making multiple cuts with one gesture when the Knife tool
is selected.
*To put successive cuts in a clip, audio event, or note:* hold \[ALT\], and then click at the position of the first cut and drag to the position of the
last cut.
**5. ARRANGER CLIPS**
The current beat grid value \(*1/4* notes, above\) will set the distance
between cuts and will snap the position of the first cut onto the beat
grid. You may sometimes need to freely place \(without snapping\) the
position of the first cut. That is also possible.
*To put successive cuts in a clip, audio event, or note without snapping:*
hold \[SHIFT\]\+\[ALT\] and click, to initiate Quick Slice mode without
quantization. Then drag either to the right or left to insert successive
cuts.
5.1.6. Sliding Arranger Clip Content
The content of one or multiple clips can also be shifted left and right
from the Arranger Timeline Panel. Sliding content in this fashion
preserves the boundaries of each clip, simply sliding the contained note
or audio events \(including any associated expressions\) earlier or later in
time.
*To slide the content of a clip:* mouse over the top half of the waveform. Then \[CTRL\]-click \(\[CMD\]\+\[ALT\]-click on Mac\) and drag horizontally.
You can optionally add the \[SHIFT\] key while dragging to toggle the
snapping behavior.
**5. ARRANGER CLIPS**
5.1.7. Applying Fades and Crossfades to Audio
While most functions in this chapter are applicable to both note and
audio clips, the options to fade in, fade out, and crossfade are only
relevant to audio clips.
*To create a fade in:* mouse over the middle of the clip's left edge, at the top of the waveform display. Once a white triangle appears, click and
drag the triangle toward the center of the clip. Release the mouse where
you would like the fade to end.
Fade outs can be created in the same way by mousing over a clip's right
edge.
Additionally, *pre-fades* can be created on audio clips. Pre-fades preserve your original clip start at full amplitude, fading in any earlier audio
material before your original clip edit.
*To create a pre-fade:* mouse over the middle of the clip's left edge, at the top of the waveform display. Once a white triangle appears, click and
drag the triangle to the left of the clip. Release the mouse where you
would like the pre-fade to end.
Creating a crossfade requires audio clips that are overlapping and have
material extending beyond their own boundaries.
**5. ARRANGER CLIPS**
*To create a crossfade:* mouse over the middle of the intersection of the clips, at the top of the waveform display. Once two white triangles
appear, click the triangle where you would like the crossfade to
boundary to be, and then drag across the clips' border. Release the
mouse where you would like the boundary of the crossfade to be.
That is a bit of a mouthful so let's take a moment unpack the process.
If you click on a clip's edge and drag toward its center, you are creating
a fade in or fade out for that single clip. So creating a crossfade requires
clicking on one of the overlapping clips and then dragging the fade past
its boundary and onto the other one.
If you start by clicking in clip 1 and then drag across to clip 2, the
crossfade will begin where the boundary was and will end wherever you
release the mouse. If you start by clicking in clip 2 and then drag across
to clip 1, the crossfade will end where the boundary was and will end
wherever you release the mouse.
*To adjust the boundaries of any fade:* mouse over the top portion of a fade so that its white triangle\(s\) appears, and then click and drag to
move the fade's boundary relatively.
Note that for a crossfade, dragging an inner boundary will select both
curves \(shown as highlighted in white\) and let you adjust them together.
Dragging an outer boundary will let you adjust the closest fade by itself.
**5. ARRANGER CLIPS**
*To adjust the slope of a fade:* mouse over the fade's curve, and then \[ALT\]-click and drag the mouse up or down.
**Note**
If may be difficult to get the curvature cursor to appear if your track
height is small. If you are working a good amount with fades and their
curves, you should make your track's height larger than the minimum
by clicking and dragging the bottom of the track header.
Note again that with a crossfade, you can either mouse over both fade
curves to manipulate them in tandem, or you can adjust each fade by
itself — just hold the \[ALT\] key and drag your target\(s\).
*To shift an entire crossfade:* mouse over the bottom of the crossfade, and then click and drag backward or forward in time.
**5. ARRANGER CLIPS**
5.1.8. Looping Clips
As clips are intended to be the smallest practical musical idea, you may
want to loop clips.
*To loop an Arranger clip:* mouse over the bottom right edge of the clip so that a half-bracket cursor appears with a looping oval. Then click and
drag to the right.
After you drag the clip beyond its full length, additional copies will be
generated. The first copy starts with a dashed vertical line, marking
the loop length being used. All subsequent repetitions of the loop are
marked with dotted vertical lines. Once the clip is looping, you can do
the same using any of the "bracket" tools, either at the end or beginning
of the clip.
*To adjust the loop length of an Arranger clip:* mouse over the clip's
first repeat marker \(the dashed vertical line\) so that an I-beam cursor
appears with a looping oval. Then click and drag in either direction.
The length of the clip itself remains the same while the section of the clip
that loops — and accordingly the number of repetitions — has changed.
5.1.9. Meta Clips and Group Tracks in the Arranger
When working with a group track, the contents of its enclosed tracks
are summarized in the Arranger Timeline. When no clips within the
group track are overlapping, these *meta clips* are essentially direct
representatives of their contained clips.
**5. ARRANGER CLIPS**
When the enclosed track do have overlapping clips, affected meta clips
adapt to show colorized summaries of the track contents.
Regardless of the display style, each meta clip acts as an alias of the
clip \(or clips\) that they represent. As with any regular Arranger clip,
meta clips can be moved by dragging and dropping, they can be cut or
copied or pasted in the normal ways, they can be deleted, and they can
even be split with the Knife tool. Taking any of these actions on meta
clips directly affect the clips that they represent.
When working with group tracks, a project navigation menu appears at
the top of the Arranger Timeline Panel within the Arrange View.
**5. ARRANGER CLIPS**
Clicking on this menu exposes a hierarchy of the current project,
including the top level of the *Project* and all group tracks that are
present. Selecting one of these group tracks changes the context which
the Arranger Timeline Panel displays.
To the right of the project navigation menu, a "left turn" arrow has now
appeared. Clicking this arrow navigates upward into the parent level
of the current context. It is also worth noting that the context selected
in the Arranger Timeline Panel is preserved if you switch to the Mixer Panel.
Finally, back in the Arranger Timeline Panel, you can toggle between viewing each group track's meta clips or a representation of the group
track's master track.
*To view the contents of the group track's internal master track:* right-click on the group track's header, and then select *Show Master Track Content* from the context menu.
**5. ARRANGER CLIPS**
You can switch back to displaying the meta clips by calling up that same
context menu and then selecting *Show Group Track Content*.
**5.2. Keyboard Editing with Clips**
|
The Pointer and Time Selection tools work together to allow various
workflows on the Arranger \(see section 3.1.4\). Both paradigms offer
unique options for editing. And remember that you are free to switch
back and forth between your selection type.
*To switch between object and time selection \(or vice versa\)*: choose *Switch between Object and Time Selection* in the *Edit* menu. Or press \[CTRL\]\+\[T\].
**Note**
Key commands mentioned all thru this section \(including the one
above\) reference Bitwig's *Default keyboard mappings* \(see section
0.2.2.5\).
5.2.1. Object Navigation with Clips
Key commands for working with clips in the Arranger Timeline Panel default to making a selection. Once you have selected an Arranger clip,
various functions are available from the computer keyboard.
*To select the previous or next clip on the Arranger*: press \[LEFT
ARROW\] or \[RIGHT ARROW\].
*To extend your current selection to include the next or previous clip*: press \[SHIFT\]\+\[LEFT ARROW\] or \[SHIFT\]\+\[RIGHT ARROW\].
While modifying selection is the default behavior when working directly
on the Arrange Timeline Panel, selected clips can be moved as well. **5. ARRANGER CLIPS**
*To move selected clips on the Arranger by the current beat grid value*: press \[ALT\]\+\[LEFT ARROW\] or \[ALT\]\+\[RIGHT ARROW\].
*To move selected clips by a fine amount \(one-sixteenth of the*
*current beat grid value\)*: press \[SHIFT\]\+\[ALT\]\+\[LEFT ARROW\] or
\[SHIFT\]\+\[ALT\]\+\[RIGHT ARROW\].
Key commands can also adjust the Arranger Loop Selector, when it is
selected.
*To move the Arranger Loop by the current beat grid value, preserving its*
*length*: press \[LEFT ARROW\] or \[RIGHT ARROW\].
*To move the Arranger Loop by one bar*: press \[SHIFT\]\+\[LEFT ARROW\] or \[SHIFT\]\+\[RIGHT ARROW\].
Similarly, when an Arranger cue marker is selected \(either in the
Arranger Timeline Panel, in a Detail Editor Panel, or in the *Sections* tab of the Project Panel\):
*To move selected cue markers by the current beat grid value*: press \[ALT\]\+\[LEFT ARROW\] or \[ALT\]\+\[RIGHT ARROW\].
*To move selected cue markers by one bar*: press \[SHIFT\]\+\[ALT\]\+\[LEFT ARROW\] or \[SHIFT\]\+\[ALT\]\+\[RIGHT ARROW\].
5.2.2. Time Selection Navigation with Clips
Making a time selection is as simple as clicking in the bottom portion
\(below the header\) of any Arranger clip. Once time is selected, key
commands default to moving between relevant events, as these are
likely good editing points.
For Arranger clips, these events include:
› For note clips, note start and end positions
› For audio clips:
Onsets positions \(if the *Intensity* is above the set *Onset Threshold*
\[see section 10.4.1.2\]\)
Fade start and end positions
Pre-fade start times
Audio event start and end positions
› Clip start and end positions
**5. ARRANGER CLIPS**
› Arranger Loop start and end times
› Arranger Cue Marker positions \(if cue markers are visible in the current
editor\)
Keyboard navigation with time selection defaults to moving between
these relevant events.
*To move to the previous or next relevant event*: press \[LEFT ARROW\] or \[RIGHT ARROW\].
*To create or extend a selection to the previous or next relevant event*: press \[SHIFT\]\+\[LEFT ARROW\] and \[SHIFT\]\+\[RIGHT ARROW\].
*To jump to the first or last relevant event*: press \[CTRL\]\+\[LEFT ARROW\] or \[CTRL\]\+\[RIGHT ARROW\] \(\[CMD\]\+\[LEFT ARROW\] or \[CMD\]\+\[RIGHT
ARROW\] on Mac\). Additionally, you can add \[SHIFT\] to create a
selection, or to extend your current selection.
And again, an alternate gesture allows for a different idea — in this case,
moving relative to the current beat grid interval.
*To move using the editor's current beat grid marker value*: press
\[ALT\]\+\[LEFT ARROW\] or \[ALT\]\+\[RIGHT ARROW\].
*To move by a fine amount \(one-sixteenth of the current beat grid value\)*: press \[SHIFT\]\+\[ALT\]\+\[LEFT ARROW\] or \[SHIFT\]\+\[ALT\]\+\[RIGHT
ARROW\].
On the Arranger, \[UP ARROW\] or \[DOWN ARROW\] move the selection
between tracks. And adding \[SHIFT\] would extend the current selection
to include the neighboring track.
Note that this is useful, even when only a single point in time is selected.
Various functions available in the *Time* menu \(or the context menu\) support quick editing in this fashion.
› *Split* \(\[CTRL\]\+\[E\] \[\[CMD\]\+\[E\] on Mac\]\) separates clips at the current
time selection line\(s\), preserving playback as it was, but leaving the
objects as distinct blocks.
› *Set Object Start* \(\[SHIFT\]\+\[8\]\) makes the current time the new start
time for the clip happening here, removing any earlier material.
› *Set Object End* \(\[SHIFT\]\+\[9\]\) makes the current time the new end time
for the clip happening here, removing any later material.
› *Fade In to Here* \(\[SHIFT\]\+\[7\]\) makes the current time the end of a fade
in for the audio clip happening here.
› *Fade Out to Here* \(\[SHIFT\]\+\[0\]\) makes the current time the end of a
fade out for the audio clip happening here.
**5. ARRANGER CLIPS**
Finally, \[CTRL\]\+\[UP ARROW\] or \[CTRL\]\+\[DOWN ARROW\] \(\[CMD\]\+\[UP
ARROW\] or \[CMD\]\+\[DOWN ARROW\] on Mac\) jumps to the first or
last track. And again, adding \[SHIFT\] extends your current selection to
include all tracks from the current track to the first or last, even if only a
single point in time is selected.
**5.3. Clip Functions**
|
Various operations are available for clips, either from the *Clip* menu \(when one or more clips are selected\) or the context menu when right-clicking on a clip.
› *Consolidate* merges all selected clips \(on a track by track basis\) into
single, contiguous clips.
› *Double Content* makes the selected clip twice its current length and
duplicates its non-looping contents.
› *Make Legato* adjusts the length of each event in the selected clip\(s\)
so that it ends immediately before the next event begins. This creates
a continuous series of events by both extending events beyond rests
to the beginning of the next event and by shortening events which
overlapped their successor.
› *Reverse* flips the order and positions of a note clip's contents, causing
them to play "backwards."
› *Content Scaling* > *Scale…* stretches the selected clip by an *Amount*
that you type in. An additional option for whether to *Scale each \(keep*
*position\)* — to preserve the start time of each Arranger clip — is also
available.
› *Content Scaling* > *Scale Each 50%* and *Content Scaling* > *Scale 50%*
both halve the length of each selected clip as well as each contained
event's duration and position, effectively causing the clip to play back
twice as fast.
The following images demonstrate a selected clip both before and after
either *Scale 50%* function is applied:
**5. ARRANGER CLIPS**
The difference between the two functions comes when multiple clips
are selected. In this case, *Scale Each 50%* preserves the start time of
each selected clip, while *Scale 50%* uses the first clip's start time and
moves each following clip 50% closer to the first clip.
› *Content Scaling* > *Scale Each 200%* and *Content Scaling* > *Scale 200%*
both double the length of each selected clip as well as each contained
event's duration and position, effectively causing the clip to play back
half as fast.
The following images demonstrate a selected clip both before and after
either *Scale 200%* function is applied:
The difference between the two functions comes when multiple clips
are selected. In this case, *Scale Each 200%* preserves the start time of
each selected clip, while *Scale 200%* uses the first clip's start time and
moves each following clip 200% further away from the first clip.
› *Quantize* > *Quantize…* moves the start and/or end times of all events in
the selected clip\(s\) in relation to a beat grid. A parameter pane appears
after this function is selected.
**5. ARRANGER CLIPS**
**Note**
For additional information on the parameters available for the
quantize function, see section 11.3.
› *Quantize* > *Quantize* is identical to the following *Quantize…* function
except that the most recently set parameters are used for the function.
› *Quantize* > *Quantize Audio…* is a high-level variation on the *Quantize…*
function for audio clips. The basic *Quantize…* function shifts the start/
end times of discrete audio events toward the beat grid. *Quantize*
*Audio…* goes inside of whole events, creating beat markers from certain
onsets and then shifting those closer to the beat grid, effectively
quantizing the audio.
**Note**
For additional information on this function, see section 10.3.
› *Quantize* > *Quantize Audio* is identical to the following *Quantize*
*Audio…* function except that the most recently set parameters are used
for the function.
› *Transpose* > *Transpose a Semitone Up* shifts the pitch up by one half
step \(by adjusting the pitch of each note event or the pitch expression
of each audio event\).
› *Transpose* > *Transpose a Semitone Down* shifts the pitch down by
one half step \(by adjusting the pitch of each note event or the pitch
expression of each audio event\).
**5. ARRANGER CLIPS**
› *Transpose* > *Transpose an Octave Up* shifts the pitch up by twelve
semitones \(by adjusting the pitch of each note event or the pitch
expression of each audio event\).
› *Transpose* > *Transpose an Octave Down* shifts the pitch down by
twelve semitones \(by adjusting the pitch of each note event or the
pitch expression of each audio event\).
› *Slice / Fold* > *Slice In Place…* divides the selected clip into multiple
clips, slicing regularly at a note interval \(*on Beat Grid*\). With audio clips,
slicing can also be done at *Onsets* \(the detected transients\) or *Beat*
*Markers* \(defined stretch points that you may have changed\). This can
be an extremely efficient way to do audio edits.
**Note**
For additional information on this function, see section 10.3.
› *Slice / Fold* > *Slice to Drum Machine…* produces a new instrument
track loaded with a Drum Machine device, which contains a series
of audio clips \(loaded in Sampler devices\) representing the original
clip's content. The track is loaded with a note clip that is configured to
trigger the Drum Machine in a fashion that reproduces the original clip.
**Note**
For additional information on this function, see section 13.3.2.
› *Slice / Fold* > *Slice to Multisample…* produces a new instrument track
loaded with a Sampler device, whose multiple samples represent
the original clip's content. The track is loaded with a note clip that is
configured to trigger the Sampler in a fashion that reproduces the
original clip.
**Note**
For additional information on this function, see section 13.3.1.
› *Slice / Fold* > *Fold to Takes…* takes any audio clip and wraps its
material into successive take lanes. Once selected, a dialog appears
allowing you to set either the number of takes the clip should be folded
into, or the *Resulting take length* for each take. As these parameters
are connected, changing one will change the other too.
**5. ARRANGER CLIPS**
**Note**
The function can also be used to fold the contents of a single take
lane \(see section 10.1.4.2 \).
› *Tempo* > *Detect Event Tempo…* runs the tempo-and beat-detection
analysis on selected audio clips, with additional parameters.
*Tempo Range* sets the minimum and maximum tempos that the
algorithm should consider.
*Algorithm* offers options to either *Assume Fixed Tempo* \(which
ignores the possibility of tempo changes\) or *Detect Tempo Changes* \(which will decide if the material includes tempo changes or not\).
The default value when dragging in audio material is found in the **5. ARRANGER CLIPS**
Dashboard under *Settings* > *Behavior* > *Audio Import Settings* \(see
section 0.2.2.1\).
*Beat Marker Density* is available when using the *Detect Tempo*
*Changes* algorithm. This value relatively adjust how many beats are added to match the detected beats and tempo changes of audio.
*50 %* is the value used when dragging in audio material, so moving toward *100 %* potentially will insert additional beat markers. And moving closer to *0 %* will insert fewer beat markers.
*Prefer encoded data \(when available\)* will use any embedded audio markers \(such as beat markers in WAV files exported from Bitwig
Studio or other DAWs, or common WAV chunk information\). If this
kind of data is found, it will be used instead of doing a new tempo
analysis.
*Prefer BPM from filenames \(when available\)* will use tempo
information found in the filename. If this kind of data is found \(and
no encoded data is present\), it will be used instead of doing a new
tempo analysis.
*Event End* offers options to either *Preserve Sample Position* \(the default setting, which matches the content that is already being
played and may shorten audio events\) or *Preserve Length* \(which keeps the original length of the regions, potentially advancing to parts
of the audio that were not being heard before\).
› *Tempo* > *Set Event Tempo…* sets a fixed tempo for the contained audio
events, which is one way to "unstretch" audio you have worked with.
The *Tempo* parameter is adjustable and defaults to the current
project tempo.
*Event End* offers options to either *Preserve Sample Position* \(the default setting, which matches the content that is already being
played and may shorten audio events\) or *Preserve Length* \(which keeps the original length of the regions, potentially advancing to parts
of the audio that were not being heard before\).
› *Tempo* > *Apply Tempo Curve to Arranger* writes tempo automation
into the project to match beat markers from selected Arranger audio
clips \(or a time selection of them\). The selected audio will now play
back "neutrally" as the project tempo will change to match. And once
the function is called, the automation lane for *Tempo* on the project's
master track will be shown.
**5. ARRANGER CLIPS**
**Note**
If tempo automation exists outside the current selection, it will be
preserved.
› *Tempo* > *Set Project Tempo* changes the project tempo to match the
primary tempo of the selected audio. This works even if the project has
tempo automation, temporarily overriding tempo automation playback
and allowing it to be restored anytime in the normal way \(see section
9.1.3\).
› *Normalize* makes nondestructive level adjustments to each selected
audio clip by inserting a gain expression point \(see section 10.1.2.4\) to
bring it as close to *0 dB* as possible.
› *Reset Fades* removes any applied fades from the selected audio clips.
› *Auto-Fade* applies a quick, relative fade in and fade out to all selected
audio clips.
› *Auto-Crossfade* applies a quick, relative pre-fade and fade out to all
selected audio clips, creating crossfades between adjacent clips.
› *Bounce In Place* replaces the selected clip with a new audio clip. When
the selected clip was an audio clip, the sound source is the audio itself,
which will be printed into a solid clip. For a note clip, the sound source
is the first instrument device in the track's device chain.
**Note**
For additional information on this function, see section 13.2.2.
› *Bounce* prints the sound source of the selected clip into a new, solid
audio clip \(the functional equivalent of a "consolidated" clip\). For an
audio clip, the sound source is the audio itself, which will be printed
into a solid clip. For a note clip, the sound source is the first instrument
device in the track's device chain.
**Note**
For additional information on this function, see section 13.2.1.
› *Loop Selected Region* both enables the Arranger Loop and sets its time
range to match that of the currently selected Arranger clips.
› *Save Arranger clip to Library* stores the selected clip in your library,
allowing you to first set various tags for the clip.
**5. ARRANGER CLIPS**
**5.4. The Inspector Panel on Arranger Clips**
|
While the Arranger Timeline is a convenient, graphical view for
working with the length and loop settings of a clip, all of those mouse
movements are really just triggering parameter changes in the Inspector Panel. By investigating these parameters \(along with the associated functions available in the *Clip* menu\), we will get a clearer understanding of what is possible in Bitwig Studio in general and the Arranger in particular.
We will start by focusing the Inspector Panel on the same clip looping example we just finished.
For the time being, we are just paying attention to the parameters in the
*ARRANGER CLIP* portion of the Inspector Panel. We have already seen
the name \(see section 3.2.4\) and color options \(see section 3.2.5\) for
tracks. The remaining sections offer additional parameters.
5.4.1. Signature Section
*Signature* sets the time signature of the selected clip. Along with an
optional tick setting \(see section 2.3.3\), this reflects how the clip is
displayed for editing.
5.4.2. Time \(Position\) Section
These settings relate to the musical time or position of the selected clip:
**5. ARRANGER CLIPS**
› *Time* sets the start of the clip in the Arranger Timeline. Adjusting this
position will simply move the clip exactly as it exists, the same as
clicking and dragging the entire clip in the Arranger.
› *Length* sets the duration of the clip in the Arranger Timeline. Adjusting
this duration will simply lengthen or shorten the clip, the same as using
the bracket cursor to adjust the right edge of the clip.
› *Offset* preserves the position and length of the clip, but shifts its
internal content by the set amount. This is the same as using the
bracket cursor to move the left edge of the clip forward in time.
Taking the previous image as an example, I could increase the *Time*
from *2.1.1.00* to *2.2.1.00*. The entire clip is now happening a quarter note
later.
But if I wanted the clip to stay in time and simply skip the first beat
it was playing, I would increase the *Offset* from *1.1.1.00* \(no offset\) to
*1.2.1.00*.
Note that the first beat is included in subsequent loops.
5.4.3. Loop Section
These settings relate to the looping of the selected clip:
› *Loop* toggles whether or not the clip loops with the Arranger. When
disabled, the clip will play only once. If the size of the clip is longer than
its contents, the later portion of the clip will be empty.
**5. ARRANGER CLIPS**
If *Loop* is off, the other settings here are ignored.
› *Start* is the looping equivalent of the *Offset* parameter, keeping the
clip contents in their place but delaying the point at which each loop
repetition starts.
Taking the same example from above, I could increase the *Start* from
*1.1.1.00* \(no loop offset\) to *1.2.1.00*, causing each one-bar loop to end in
the same place but start a quarter note late.
› *Length* sets the duration of the clip that is being repeated. This is the
same as using the I-beam cursor with a looping oval to graphically
adjust the loop length.
5.4.4. Fade Section
As stated earlier, fade actions and parameters apply only to audio clips.
So these twin sets of parameters represent controls for any *Fade In* and *Fade Out* applied to the selected audio clip. Taken from top to bottom: **5. ARRANGER CLIPS**
› The musical time value represents the length of the fade. If it is set to
zero \(*0.0.0.00*\), then no fade is applied regardless of the other settings.
› The buttons allow toggling the fade's curvature type between a
standard linear curve and an S-curve, respectively.
› The level value sets the amplitude at the fade's midpoint, effectively
shaping the fade's curve.
As shown earlier in the Arranger, crossfades are really comprised of
two separate fades \(a fade out from the first clip, and a fade in on
the second\). As such, their settings can be coordinated or handled
completely independently.
5.4.5. Mute Section
*Mute* toggles whether or not the selected clip is disabled on playback. This is in contrast to the track mute button, which disables all contents
of the track.
5.4.6. Shuffle Section
These settings relate to the groove of the selected clip:
› *Shuffle* toggles whether or not the Global Groove parameters are
applied to the clip. If *Shuffle* is off, the other setting here is ignored.
› *Accent* sets the percent of the Global Groove's accent *Amount* that
should be applied to this clip.
For example, if the Global Groove's accent *Amount* is set to *100%* \(the
default setting\) and the clip's *Accent* setting is at *30%*, then the clip will
apply an accent at 30% strength \(30% of 100%\).
Or if the Global Groove's accent *Amount* is set to *50%* \(the default
setting\) and the clip's *Accent* setting is at *50%*, then the clip will apply
an accent at 25% strength \(50% of 50%\).
Since this is a scaling function, either parameter being set to zero \(*0%*\)
results in no accent.
**5. ARRANGER CLIPS**
5.4.7. Seed Section
The clip *Seed* setting relates to randomized parameters in Bitwig Studio.
This includes any expression *Spread* values \(see section 10.1.3\) and
*Chance* Operators \(see section 12.1.1\).
When "random" numbers are being generated, the *seed* shapes the sequence that follows. When that seed is randomly selected, so are the
values produced. This is the default behavior for clips in Bitwig.
The die on the left is selected, reading out as *Random* because a new seed is picked each time the clip begins playing. But if the *same* seed value is used each time, then playing the clip will produce the same
series of numbers — and sounds .
*To generate a Seed value for a clip: * click on the right side of the *Seed* field \(where *Random* showed in the picture above\).
The die is deselected, and a visualization of the current *Seed* value is shown. You can now play the clip and hear the pattern that this seed
produces for any randomized elements. If you like the results, keep it;
the same result will be produced when you trigger the clip again.
**Note**
Alternatively, you could print these randomized elements by using
the *Consolidate* function \(see section 12.2.3\). Or to choose what is
made permanent and generate a new, longer clip, you could use the
Launcher's *Expand* function \(see section 12.2.2\).
*To generate a new Seed value for a clip:* click on the right side of the *Seed* field again \(where the current value is visualized in the last picture\).
**5. ARRANGER CLIPS**
Different seed, different pattern on playback. You can also right-click on
the right side of the field to copy the current seed value or paste in one
from another clip.
And to return to randomized playback, simply click the die icon.
**Note**
One technical detail. A defined *Seed* value makes the full sequence
repeatable, including all additional loop cycles that follow. So the
results are not identical for every loop, but rather the values picked
*for each loop* are reproducible.
To borrow the idea of a die, if the clip's set *Seed* produces a *5* on
the first cycle, a *6* on the second loop, and a *2* on the third pass,
retriggering the clip will produce *5*, then *6*, then *2*, and so on, again.
And again. And…
**5.5. Playing Back the Arranger**
|
How to play Arranger clips is simple enough: you play the Arranger. But
there are a few details worth getting into at this point. Let's begin this
discussion with the elements that enable basic playback.
*To play the Arranger timeline:* engage the transport by pressing either \[SPACE BAR\] or \[P\], or by clicking the Global Play button.
*To stop the Arranger timeline:* disengage the transport by pressing either \[SPACE BAR\] or \[P\], or by clicking the Global Stop button.
**5. ARRANGER CLIPS**
The *Global Playhead* is an indicator of where the transport has most recently played. In the Arranger Timeline, it is represented with a
vertical black line. Whenever the transport is active, the Global Playhead
progresses thru the Arranger tracks, and its location is noted by the play
position display in the window header.
The *Play Start Marker* is the blue, right-facing triangle within the Beat Ruler that indicates where the transport will play from the next time it is
engaged.
*To move the Play Start Marker:* single-click in the top half of the Beat Ruler.
Other ways to move the Play Start Marker include:
› Single-click anywhere within the Arranger Timeline with the Pointer
tool.
› Click and drag the play position in the window header's display section.
› Select a single Arranger clip to move the Play Start Marker to the
beginning of that clip.
*To play the Arranger timeline from the beginning:* press \[ALT\]\+\[SPACE BAR\] or \[ALT\]\+\[P\] .
*To play the Arranger timeline from the Global Playhead's position:* press \[SHIFT\]\+\[SPACE BAR\] or \[SHIFT\]\+\[P\] .
*To stop the Arranger timeline and advance the Play Start Marker:* click the Global Play button.
The *Arranger Loop Selector* sets the region of the Arranger Timeline that will be looped during playback. This region is also used for several other
functions.
*To toggle the Arranger Loop function:* click the Arranger Loop toggle in the window header.
The Arranger Loop function affects all tracks as it literally picks up and
moves back the Global Playhead when the end of the region is reached.
This is a playback function, while clip looping is an arrangement function.
*To move the Arranger Loop Selector's position:* click the center of the Arranger Loop Selector and drag it in time.
*To change the Arranger Loop Selector's length:* mouse over the left or right edge of the Arranger Loop Selector so that a bracket cursor
appears. Then click and drag in either direction.
**5. ARRANGER CLIPS**
5.5.1. Cue Markers
You also have the option of using *cue markers* in the Arranger, which store play positions along the Arranger Timeline for easy triggering. To
use Arranger cue markers, first right-click within the Beat Ruler, and then
enable *Show Cue Markers* from the context menu. This will make the Beat Ruler slightly taller.
*To create a cue marker:* right-click the Beat Ruler, and then select *Insert Cue Marker*. A yellow play icon and the cue marker's current name \(likely *Untitled*\) will appear in the Beat Ruler. Or use the *Insert Cue Marker Here* function, which can be freely assigned to a keyboard or MIDI command \(on the *Shortcuts* page of the Dashboard\).
The left edge of a cue marker's play button icon aligns with its location.
*To trigger playback from a cue marker:* double-click its play icon.
If the transport was inactive, playback will start immediately from the
cue marker. If the transport was already going, playback will move to the **5. ARRANGER CLIPS**
cue marker's position after the *Default Launch Quantization* interval \(see
section 6.2.5.2\).
**Note**
If you want the same playback behavior without creating a cue
marker, simply double-click the desired playback position from the
top of the Beat Ruler \(between the numbers\).
*To rename a cue marker:* double-click its name.
The *Comment* area in the Inspector Panel allows for adding any text you find relevant, including lyrics. Additionally, a list of all Arranger cue
markers — and their comments — can be seen, selected, or triggered
from the *Sections* tab of the Project Panel \(see section 14.2.4\).
*To change a cue marker's color:* right-click either the cue marker's icon or name, and then select a different color from the palette that appears
within the context menu.
*To move a cue marker:* click either the cue marker's icon or name, and then drag it to the desired position. Or click the cue marker to select it,
and then change its position in the Inspector Panel.
**5. ARRANGER CLIPS**
*To delete a cue marker:* click the cue marker to select it, and then press \[DELETE\] or \[BACKSPACE\].
5.5.2. Time Signature Changes
Like cue markers, time signature changes can also be inserted along the
Arranger Timeline.
*To insert a time signature change:* right-click the Beat Ruler, and then select *Insert Time Signature Change*. An orange triangle appears beside the new time signature change, indicating that it is selected and its
parameters can be edited from the Inspector Panel.
**Note**
For more information on time signatures and how the ticks parameter
is handled, see section 2.3.3.
*To move a time signature change:* click either the time signature
change's triangle or name, and then drag it to the desired position. Or
click the time signature change to select it, and then change its position
in the Inspector Panel.
*To delete a time signature change:* click the time signature change to select it, and then press \[DELETE\] or \[BACKSPACE\].
**5.6. Recording Clips**
|
Since we can now edit Arranger clips in the most fundamental ways, it is
a good time to examine recording new note and audio clips. This begins
with getting the right signals routed into our tracks.
Before we deal with this on a track level, make sure that any audio and
MIDI interfaces/controllers you are using have been set up properly \(see
section 0.2.2\).
**5. ARRANGER CLIPS**
5.6.1. Track I/O Settings
To assign input and output paths for each track, we must first have
access to the Track I/O section within each track header. This section's
visibility is toggled by clicking the Track I/O view toggle.
This section contains the following controls:
› The *input chooser* lets you select which signals are getting routed into
the track.
For instruments tracks, the options are incoming MIDI sources. The
default selection is *All inputs* so that every MIDI source should make it
to the track.
For audio tracks, the options are both incoming audio sources and the
audio outputs of all other tracks. The default selection is *No input*.
**5. ARRANGER CLIPS**
**Note**
If a desired MIDI source is missing, select the *Add Controller…* option, which will open the *Controllers* tab on the *Settings* page of the
Dashboard \(see section 0.2.2.3\).
Similarly, *Add Buss…* can be selected from any audio input or output
chooser, which goes to the *Audio* tab instead \(see section 0.2.2.2\).
› The *output chooser* lets you select where the track's final audio is
getting routed to. The default selection is *Master*, which will serve us
well in nearly all situations.
Additionally all tracks show available hardware *Note Outputs*, allowing
you to route notes and other MIDI directly out from any track.
**Note**
If you want to send out MIDI and return audio back into Bitwig with
appropriate delay compensation applied, you should probably use
the HW Instrument device \(see section 19.11.5\).
› The *monitor button* is now a three-state toggle on the left of the input
chooser.
An empty icon represents monitoring set to *Off*.
An filled icon represents monitoring set to *Auto*.
An encircled icon represents monitoring set to *On*. Or you can right-click on any monitor switch to see a list of all modes.
**5. ARRANGER CLIPS**
The default setting for all tracks is *Auto*.
5.6.2. Recording Note Clips
A few steps are needed to successfully record a note clip. First, we need
a sound source for our audio. Second, we need a MIDI source to record
as notes. And then, we can hit record.
5.6.2.1. Loading an Instrument Preset
Note clips in Bitwig Studio — not unlike MIDI — are really just instructions
to be interpreted by an instrument device. Notes themselves do not
produce any sound. So before we record any notes, we should load an
instrument preset so that our notes can be realized.
*To load an instrument device:* go to the Browser Panel and select the *Bitwig Presets* source. Under the *Category* filter, browse down to the *Synth* category, or something that sounds playable and fun to you. From the selection pane, drag any preset into the Arrangement Timeline Panel.
**5. ARRANGER CLIPS**
If you do not like the first device preset you load, repeat the above steps
until you find one you appreciate.
5.6.2.2. Setting a MIDI Source
If you have a MIDI keyboard connected and already made Bitwig Studio
aware of it, then it should be working already. By playing the keys, the
instrument track's level meters should start showing audio.
**Note**
By default, all incoming MIDI channels will be received and written
on record. A couple *Channel* settings are also available from the
Inspector Panel when you select the header of the instrument track in
question.
**5. ARRANGER CLIPS**
If you want a track to receive messages *From* a particular channel
and/or want to record all incoming data *To* a single channel, just
change these track settings here.
If you do not have a MIDI controller — or your MIDI device is all knobs
and no keys — press \[CAPS LOCK\] to temporarily transform your
computer keyboard into a MIDI keyboard. Pressing letters in the top two
rows should trigger notes and cause the audio meters to dance.
**Note**
While \[CAPS LOCK\] is active, most key commands will not work.
5.6.2.3. Recording Notes
*To record an Arranger note clip:* enable the track's record arm button, enable the Global Record button, and then activate the transport and
begin playing notes.
5.6.3. Recording Audio Clips
Unlike notes, the audio events that make up audio clips do not require
any devices. They are already audio. So once we determine the audio
source to be recorded, we should be good to go.
5.6.3.1. Setting an Audio Source
Whether you are using an external audio interface or the internal
interface of your computer, you first need to set the desired input source
in the track's input chooser \(they will be at the top of the chooser list\). If **5. ARRANGER CLIPS**
you enable the monitor button of the track and then send audio to this
input, you should see the input in the track's audio meters.
Before recording, you probably want to disable the record arm buttons
on all other tracks. Otherwise, you could trigger multiple tracks to record
at once and alter or erase other clips in the process.
5.6.3.2. Recording Audio
*To record an Arranger audio clip:* enable the track's record arm button, enable the Global Record button, and then activate the transport.
5.6.3.3. Comp Recording in the Arranger
If the Arranger Loop is enabled, this does affect playback as previously
described \(see section 5.5\). But it also affects recording, enabling a
"cycle recording" mode that is ideal for capture audio for comping.
*To do cycle recording in the Arranger:* enable the Arranger Loop toggle, with the desired period set \(by the Arranger Loop Selector\). Then
enable the track's record arm button, enable the Global Record button,
and then activate the transport.
**Note**
Regardless of the Arranger Loop being on or off, there are two
possible recording behaviors when the playhead encounters Arranger
audio clips:
› If the audio clip *was* actively looping \(with its *Looping* parameter
enabled and with some amount of looping on the timeline\), the
section where recording happens will remove the old clip and record
a new one.
› If the audio clip *was not* actively looping, new audio recordings will
be added into the clip as comping takes and selected for playback.
**5. ARRANGER CLIPS**
So if you want to record new comping takes into a looping Arranger
clip, you might consider using *Consolidate* for the relevant portion of
that clip before recording.
**Note**
For information on editing comping expressions within a clip, see
section 10.1.4.1.
**6. The Clip Launcher**
We have spent the last couple chapters working within the Arranger
Timeline. And while the Arranger is absolutely crucial to music creation
in Bitwig Studio, it is only half of the story.
The Clip Launcher Panel — also called the *Launcher* — is the logical Arranger's artistic brother. While the Arranger is an excellent way to
lay out the fixed "story" of a song, the Launcher allows you to freely
improvise with your clips. More on that soon.
We will start by getting an overview of the Clip Launcher Panel and its constituent elements. Next we will revisit some of the same concepts
we saw with Arranger clips as they apply to Launcher clips. We will then
investigate how Launcher clips relate to the transport and Arranger
clips and see how Launcher clips are triggered. Finally, we will record
Launcher clips and learn to capture the Clip Launcher's output on the
Arranger Timeline.
Bitwig Studio is just one DAW, but it is the two sequencers within that
provide limitless musical possibilities.
**6.1. The Clip Launcher Panel**
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