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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 resour... |
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 ... |
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, ... |
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
... |
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 Stu... |
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... |
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 wh... |
**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 d... |
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 al... |
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 cont... |
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. ANATOM... |
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 — show... |
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 th... |
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 ar... |
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... |
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 s... |
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 ... |
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 ... |
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, th... |
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 differe... |
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 mak... |
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 \(or vice versa\)*: ... |
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 it... |
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 \(along with the associated functions available in the *Clip* menu\),... |
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 click... |
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 hav... |
Charting out music from beginning to end is the way nearly all
productions take place. But even from the earliest music, improvisation
has been an important source of variation, inspiration, and life. Balancing
these two poles — the programmed and the spontaneous — has been
a central concern, all the way from Bach'... |
Before manipulating clips in familiar ways, we must first get clips into the
Launcher. We will start by recapping inserting and recording clips, and
then look at moving clips between the Arranger and Launcher. Finally,
we will see how length and looping adjustments are handled in the Clip Launcher Panel with the hel... |
The following *Do* actions are listed at the top of the action list. They relate either to the clip itself or any clip on the same track:
**6. THE CLIP LAUNCHER**
› *Stop* simply stops the clip.
› *Return to Arrangement* resumes playback of the Arrangement Timeline
for this track.
› *Return to Last Clip* resume... |
The second half of the *Do* actions list makes use of *clip blocks*, which are groups of clips that sit side by side with blank slots around them.
In the image above, the *Drums* track has three clip blocks \(which I have manually colored\), each containing two clips. The number of clips in a
block is completely... |
Just as the last chapter looked at playing the Arranger and its clips, we
should now discuss triggering Launcher clips. But now that we have two
sequencers in play, we must first discuss the relationship between the
Arranger and Launcher. Understanding their alliance will allow you to get
the most — and possibly mo... |
We will finally return to recording with the Clip Launcher, both to
record new Launcher clips and to print the results that come out of the
Launcher.
**6. THE CLIP LAUNCHER**
6.4.1. Recording Clips
All the same requirements apply for recording Launcher clips as
Arranger clips \(see section 5.6\).
*To record a... |
We will begin our examination with the Mixer Panel itself. Within the Mixer View, the Mixer Panel is the lone central panel.
The Arranger Timeline Panel was oriented horizontally, which is
perfectly sensible for viewing the left-to-right timeline of your music.
Just as sensibly, the Mixer Panel is laid out verticall... |
While the functions offered by the Mix Panel within the Mix View are extensive, a subset of these options can be found both in the secondary
Mixer Panel and within the Inspector Panel when tracks are selected.
7.2.1. The Secondary Mixer Panel
Unlike the Arranger Timeline Panel, the Mixer Panel can be loaded as a ... |
We mentioned earlier that the default output assignment of all tracks is
*Master* \(see section 5.6.1\). This is referring to the name of the project's master track, which defaults to *Master*. If we rename the master track, the output choosers will follow suit.
As you can also see in the image above, the defaul... |
As we've seen with the browsers in Bitwig Studio \(see chapter 4\),
presets and devices can be found and searched in several ways.
Whether we load our devices from other panels or not, the Device Panel is where all direct interaction with devices will occur. So once we are
ready to work with devices, we must explore... |
The other kind of devices that can be used in the Device Panel are plugins, such as VST or CLAP plugins. Aside from setting up Bitwig Studio
to recognize the plugins you own \(see section 0.2.2.6 for information
on the *Locations* page of the Dashboard\), we haven't talked much about them. They operate side by side w... |
Earlier in this chapter, we covered both adding devices and loading
presets. Before moving on, here is a list of other basic functions you may
wish to execute with the Device Panel.
*To minimize/restore a device's interface:* double-click the device header.
This is a change in appearance only and does not affe... |
If you work with music software and are used to only one type of
automation, it is *track automation*. With this kind of automation, values for a parameter — volume, cutoff frequency, reverb amount, *etc.* —
are stored as fixed values. So when the playback head reaches an
automation point of either *-9.43 dB* or *2.... |
Each panel in Bitwig Studio is focused as narrowly as possible on a
specific function. The Arranger Timeline Panel is, by necessity, the
broadest of our editors. While it also supports working with automation,
that is not its primary purpose. Working with automation is, however, the
only purpose of the Automation E... |
The Pointer and Time Selection tools work together to allow various
workflows \(see section 3.1.4\). This is true both in the Automation Editor Panel and on automation lanes within the Arranger Timeline Panel. Each paradigm offer unique options for editing. And remember that you are free to switch back and forth betwe... |
All music is assembled in clips in Bitwig Studio. Just as a primary
purpose of the Automation Editor Panel is to work with various kinds of clip automation, the purpose of the Detail Editor Panel is to work with the musical content of clips.
As you engage with the Detail Editor Panel, remember the subtle note earlier... |
When working with audio events in the Detail Editor Panel, the Pointer and Time Selection tools work together to allow various workflows \(see
section 3.1.4\). 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 obj... |
Various operations are available for audio events, either from the *Event* menu \(when one or more audio events are selected\) or the context
menu when right-clicking on an audio event.
› *Make Legato* adjusts the length of each selected event so that it ends
immediately before the next event begins, creating a cont... |
As was said in this chapter's introduction, we have been using the
Inspector Panel to examine clips for quite some time. In addition to the clip settings we have already examined, any non-empty clip has a large
section at the bottom of the Inspector Panel for dealing with its musical contents.
10.4.1. The Inspect... |
The utility of the Detail Editor Panel should be clear by now, but the truth is that we have covered only half of it at best. We will start again
with this panel because when it is focused on note clips, the same Detail Editor Panel adapts and provides slightly different options that are appropriate to the situation.
... |
When working with note events in the Detail Editor Panel, the Pointer and Time Selection tools work together to allow various workflows \(see
section 3.1.4\). Both paradigms offer unique options for editing. And **11. WORKING WITH NOTE EVENTS**
remember that you are free to switch back and forth between your
sele... |
Various operations are available for note events, either from the *Event* menu \(when one or more notes are selected\) or the context menu when
right-clicking on a note.
› *Make Legato* adjusts the length of each selected note event so that it
\(or the chord it is a part of\) ends immediately before the next event
... |
As with audio events, the Inspector Panel is a critical way to both access the details of note events and edit them most effectively. To focus the
Inspector Panel on notes, we must first select them within the Detail Editor Panel.
11.4.1. Selecting Notes
*To select a single note:* single-click it.
*To selec... |
Now that we have exhaustively covered both the Automation Editor
Panel \(in chapter 9\) and the Detail Editor Panel \(in both this chapter
and chapter 10\), we can now take a look at the Edit View, the last of Bitwig Studio's three views.
**11. WORKING WITH NOTE EVENTS**
As we've discussed before, each view is a... |
When note or audio events are selected, an *Operators* section is visible in the Inspector Panel. Each line represents one of the four Operator modes, with most parameters available right there.
For any new event — whether by drawing notes, or splitting an audio
clip, or recording either notes or audio, *etc.* —... |
Operators make a great deal possible, but sometimes you want to take things a step further. Let's examine a couple features for unspooling
your events \(*Slice At Repeats*\) or clips \(*Expand*\), and then check in on an old friend \(*Consolidate*\) to see how they are handling these new data.
12.2.1. Slice At Rep... |
We learned early on how to import media files from the Browser Panel as clips. We saw how to bring clips of any kind into the Arranger
Timeline Panel \(see section 5.1.1\) and into the Clip Launcher Panel \(see
section 6.2.1\). In both cases, we also saw how to create a new track for
that clip by dragging it to the ... |
The concept of an audio *bounce* may be familiar. Sometimes called an *export* or *render* in other contexts, a bounce is a consolidated audio version of some part of your project. In this case, we want to investigate
bouncing a note clip.
By right-clicking a note clip, a couple of bounce options are listed in the
c... |
The concept of a musical *slicing* operation may be familiar. The idea is to take an audio waveform and cut it into logical pieces that can be played
with note messages.
By right-clicking an audio clip, a couple of slicing options are listing in
the context menu. \(These same options also appear in the *Edit* menu.\... |
Establishing a good workflow is key to working efficiently on new
projects. Having *project templates* that are preloaded with common track setups, device arrangements, monitoring assignments, etc., may be
a great boon to you and your productions.
Directly beside the *Save as…* function in the *File* menu is the *Sa... |
The Project Panel, one of the "access panels" in Bitwig Studio, can be shown by clicking the file icon in the window footer.
The purposes it serves are divided over five tabs and a special pane.
14.2.1. Settings Tab
The *Settings* tab contains project-specific settings.
**14. WORKING WITH PROJECTS AND EXPOR... |
The musical idea of *shuffle* is to take a balanced \(or "straight"\) rhythmic pattern and make every second note of the pattern a little late \(or
"swung"\). The groove function in Bitwig Studio allows you to apply this
idea so that notes which were programmed straight can be swung by a
variable amount on playback.... |
Bitwig Studio makes it quite easy to get your work from one project into
another. This can be done either by storing your own library content
via the Browser Panel, or by directly transferring data between open projects.
14.4.1. Adding Clips to the Browser Panel
*To add a clip to the library:* click and drag the... |
To export audio from Bitwig Studio, use the *File* › *Export Audio...*
function. When this option is selected, a dialog box with several sections
appears.
**14. WORKING WITH PROJECTS AND EXPORTING**
› The *Format\(s\)* section selects which audio formats will be output
for each selected track. If multiple for... |
To export MIDI from Bitwig Studio, choose *File* › *Export MIDI...* . In the save file dialog that appears, set the desired name and location for your
MIDI file. This file will include all notes present in your project's Arranger
Timeline, organized by track.
**14.7. Exporting Projects** |
To export a DAWPROJECT file from Bitwig Studio, choose *File* › *Export DAWproject...* . In the save file dialog that appears, set the desired
name and location for your DAWPROJECT file. This will save all of your **14. WORKING WITH PROJECTS AND EXPORTING**
generic project data into a file, which can be opened by ... |
For any controller used with Bitwig Studio, certain default behaviors
are available. We will start by revisiting the Dashboard for additional controller settings and documentation. Then we will get to know the
Remote Controls pane, which is available on every device.
15.1.1. The Remote Controls Pane
As we discus... |
**and Documentation**
Earlier, we saw how to recognize our MIDI controllers under *Settings* >
*Controllers* in the Dashboard \(see section 0.2.2.3\). Let's now go back to the Dashboard, the *Settings* tab, and the *Controllers* page to examine the individual controller options.
**15. MIDI CONTROLLERS**
In add... |
Any device with assignable hardware knobs/faders allows manual
assignment of these controls to project parameters, such as device
parameters or track mixer elements.
*To make a manual controller assignment:* right-click on the parameter you wish to assign and select *Learn Controller Assignment...* from the context ... |
The Mappings Browser Panel is another one of the "access panels" in Bitwig Studio. When the panel's view toggle is pressed, the panel
itself slides into \(or out of\) view, exposing all preexisting mappings and
allowing you to either edit or delete them. But unlike when other panels
are visible, this one also change... |
We discussed long ago how each track has its own device chain. Since
then, there have been references to "top-level devices," meaning the
devices that are directly in a track's device chain.
Most of the Bitwig devices actually possess one or more device chains of
their own. These lower-level device chains, or *nest... |
In sound synthesis, *modulation* is the idea that one component can influence another in a controlled way. For a simple musical example,
think of vibrato \(the subtle bending of pitch back and forth\). To achieve
this with synthesis, we often connect the output of a low-frequency
oscillator \(LFO\) to a pitch input ... |
Importantly, Bitwig Studio can handle plugins separately from the
program itself. By segregating plugins into separate sandboxes or
processes, the chance of a plug-in crashing other parts of the program
is greatly reduced. In many cases, a plug-in crash will happen discreetly,
allowing audio to continue playback se... |
As with any device, Grid presets can be loaded and immediately
auditioned. Factory content will always have remote control mappings **17. WELCOME TO THE GRID**
for adjusting the sound, and Poly Grid patches \(generally\) respond to notes, FX Grid patches \(usually\) respond to incoming audio, and Note Grid patches... |
A few special cases exist around and within The Grid that are worth looking at.
17.2.1. Grid Devices and Thru Signals
Virtually every Bitwig device passes thru signals that are not its focus.
For example, normal note effect and instrument devices pass thru audio
signals that reach them, which helps facilitate wo... |
In addition to being exposed with literal, virtual patch cords, signals in
The Grid are different from other signals in Bitwig Studio.
17.3.1. Signal Types
While any signal can be connected anywhere, there are certain signal
types within The Grid, often indicated by port color but always identified in each modul... |
The *Tablet* display profile is specially designed for touch-and stylus-based interfaces. To achieve this, the layout of the window has been
rearranged and a few custom solutions have been integrated.
**18. WORKING ON A TABLET COMPUTER**
The most obvious changes from other display profiles are probably in
the ... |
To both create a quicker touchscreen workflow and preserve screen
real estate \(by only showing information and interfaces when they are
needed\), Bitwig Studio has created the unique and starkly intuitive
*Radial Gesture Menu*.
When pressing various locations of the Bitwig Studio interface, a ring
of options will... |
Each *analysis* device merely visualizes the signals that reach it. It makes no effect on the audio chain it is a part of.
19.1.1. Oscilloscope
A dual-trace oscilloscope, providing a time-domain representation
of incoming and/or external audio signals. Each signal is given its
own gain control \(for visual purpo... |
Each *audio FX* \(or audio effect\) device manipulates incoming audio signals before passing them onward. Incoming note signals, *etc.* may be
used as triggers but are passed thru without change.
19.2.1. Blur
A comb-filter diffusion effect where each stereo channel has two comb
filters, each with two feedback co... |
*Clap* drum element instruments that use incoming note signals to
synthesize audio.
19.3.1. E-Clap
A monophonic electronic clap instrument made from noise, a low-pass
filter, and repetitions.
The *NOISE* section comprises the instrument's sound generation
parameters. The amplitude for the instrument is co... |
Each *container* is a device whose primarily function is hosting other devices.
As each container has a different purpose, the primary signal I/O is listed
for each device. \(For more information, see section 16.1.2.\)
19.4.1. Chain
\(Audio in, Audio Out\) A container that houses a serial audio device
chain. A ... |
Each *delay* device is a timebased processor that operates on its
incoming audio signals. Each device blends one or more delayed copies
of its sound with the undelayed original.
19.5.1. Delay\+
Delay\+ is an all-purpose delay with a fluid structure and some choice character options, making it good for most any d... |
Each *distortion* device is a shaper or other mangling processor that operates on its incoming audio signals.
19.6.1. Amp
A processor that applies the character and idiosyncrasies of various
instrument amplifiers to the incoming signal.
The *PRE*-drive stage provides optional *L*\(ow\), *M*\(id\), and *H*\(igh\)... |
*Drum kit*-oriented devices that work with other instruments.
19.7.1. Drum Machine
\(Notes in, Audio out\) A container that routes note signals to specific
chains based on their pitch. Each chain has its own internal mixer
controls. \(For more information, see section 16.1.2.1.\)
**19.8. Dynamics** |
Each *dynamics* device is a processor that operate on its incoming audio signals, based off of those signals' amplitude levels and trends.
**19. DEVICE DESCRIPTIONS**
19.8.1. Compressor
A compressor with standard threshold, ratio, gain, and timing settings.
19.8.2. De-Esser
A de-esser with a variable high-pa... |
Each *EQ* \(equalizer\) device is a set of parallel frequency-specific
processors \(for example, like a low band and high band\) that operate on
its incoming audio signals.
19.9.1. EQ\+
A parametric equalizer of up to eight bands, with a unique, rainbow-y
graphical interface. There are fourteen available modes ... |
Each *filter* device is a frequency-specific processor that operates on its incoming audio signals.
**19. DEVICE DESCRIPTIONS**
19.10.1. Comb
A comb filter effect with frequency and bipolar feedback controls.
19.10.2. Filter\+
A dead-simple FX box, for deploying any waveshaper and filter from *The Grid* dire... |
Each *hardware* device sends signals and/or messages to devices beyond Bitwig Studio \(such as hardware synthesizers and effect units\). This can
include transmitting and/or receiving audio signals, control voltage \(CV\)
signals, and clock messages.
19.11.1. HW Clock Out
Two paths for CV clock signal output, to... |
*Hi-hat* drum element instruments that use incoming note signals to synthesize audio.
19.12.1. E-Hat
An electronic hi-hat instrument made from a blend of noise with a comb
filter, FM synthesis, and a one-band equalizer. An XY grid interface is
also provided as an alternate means of controlling several parameters... |
*Kick* drum element instruments that use incoming note signals to
synthesize audio.
**19. DEVICE DESCRIPTIONS**
19.13.1. E-Kick
An electronic kick drum instrument with optional pitch modulation.
The *GEN* section contains parameters for controlling and processing the instrument's slightly rectified sine os... |
Each *modulation* device is a processor that manipulates incoming audio signals with an LFO, etc., influencing its function.
19.14.1. Chorus\+
Chorus, with four different *Character* modes, each with its own DSP architecture and different *X* \+ *Y* controls:
**19. DEVICE DESCRIPTIONS**
› *CE* - A synth-style... |
Each *MIDI* device transmits various MIDI messages or modifies them via the track's device chain. This is useful for sending messages to plugins or to external hardware \(when used in conjunction with Bitwig's
*hardware* devices\) or simply modifying the channels in use by a device chain.
19.15.1. Channel Filter
... |
Each *note FX* \(or note effect\) device manipulates incoming note
messages before passing them onward. Incoming audio signals are
passed thru without change.
19.16.1. Arpeggiator
An MPE-friendly arpeggiator, which cycles thru the notes being held in a
set order. Timing is set rhythmically or as milliseconds. F... |
Each *organ* is an instrument emulator that uses incoming note messages to synthesize audio.
19.17.1. Organ
A tonewheel organ.
The drawbars section contains nine standard gain faders \(the vertically
higher the fader, the louder the gain\), each of which represents the level
of the respective drawbar harmo... |
*Percussion* instruments that use incoming note signals to synthesize audio.
19.18.1. E-Cowbell
An electronic cowbell instrument with optional pitch control.
The *GENERATOR* section contains parameters for controlling the
instrument's two oscillators. The *Pitch* of the first oscillator is directly controll... |
Each *reverb* device is a timebased processor that tends to elongate the incoming signal, producing distinct room effects or imbuing other tones
and sounds.
19.19.1. Convolution
Conceptually, realtime *convolution* is a continuous DSP method
for imprinting one sound onto another, running every sample of the
inc... |
Each *routing* device allows the redirecting of a track's signal path.
To achieve this, a router often contains audio and/or note chooser
menus for addressing an incoming or outgoing signal to the appropriate
destination, including destinations outside of Bitwig Studio.
As each routing device has a different purpos... |
*Snare* drum element instruments that use incoming note signals to
synthesize audio.
19.21.1. E-Snare
An electronic snare drum instrument made from two tunable oscillators,
a noise generator, and resonant high-and low-pass filters.
The *OSC 1* section houses the primary sine oscillator, whose frequency and... |
These *spectral* devices operate in the frequency domain, working with hundreds of individual frequency bands. The current devices are all
audio processors that analyze the incoming signal to group them, then
putting the groups onto channels that work in the regular amplitude
domain.
19.22.1. Freq Split
Divides... |
Each *synth* device generates its audio either from rudimentary source material, from audio files used as samples, or sometimes from coming
in via sidechain. Incoming note messages drives these instruments to
produce audio output.
19.23.1. FM-4
A four-oscillator FM synthesizer with frequencies set as ratios with... |
Each Grid device uses The Grid for constructing patches \(see chapter
17\).
**19. DEVICE DESCRIPTIONS**
19.24.1. FX Grid
A unique modular audio effect, including the option of Voice Stacking, and the ability to create polyphonic effects with voice management \(see
section 17.3.4.1\).
19.24.2. Note Grid
A u... |
*Tom* drum element instruments that use incoming note signals to
synthesize audio.
19.25.1. E-Tom
An electronic tom instrument with optional pitch modulation.
The *GEN* section contains parameters for controlling and processing the instrument's slightly rectified sine oscillator. The frequency of **19. DEVI... |
Each *utility* device sports various, basic functionality.
19.26.1. DC Offset
A device to add DC offset to the incoming signal. \(Yes, add.\)
19.26.2. Dual Pan
A device for setting individual panning levels for the incoming left and
right channels.
19.26.3. Test Tone
A generator that outputs a waveshape... |
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