Yes, you can give note velocities randomization, but you could also give each piece of a chord its own panning. Putting down the dice is an equally valid choice.Įxpression Spread, with a Splash of Total Controlīitwig’s engine uniquely allows expression automation for notes and audio.Īnd since randomness was in the air, we brought a visualized Spread range to any expression point. This lets you see all the nested patterns and relationships that Operators can bring to a “simple” loop, or even start a precise edit without the randomness. Or maybe you use repeats to create audio polyrhythms, or to simply “ratchet” a single note into dozens of retriggered events with a timing ramp.Īnd when you need to take your chances on something certain, you can Expand a clip, printing out two, twenty, or however many cycles of the original as a new clip. Maybe connecting two notes so that either the first one plays or the second, but never both. Or a cymbal on beat 1 that plays every fourth clip repeat and never on the first trigger. So pick a cycle length (say, every four loops of the clip), and then check-off whether the event plays on each of those four passes.Īdd it all up and what do you get? How about a steady stream of 16th notes each with a 50% chance, producing a consistently different rhythm each time. Recurrence thinks of each event as its own looping timeline. Occurrence sets conditions for each event, like: Is this the first loop of the clip or not? Is the performance-control Fill button turned on? Or did the previous event play, or was it silent? And a Slice at Repeats option is available to print out the individual events. Yes, you can ramp the timing of these (and the velocities for note repeats). Repeats allow each event to retrigger at a set rate, or just divide the note length into any number of pieces. This leads to clips that go to different possibilities and timelines, either by programming, by performance control, or by destiny.Ĭhance makes each event more or less likely. And now with Operators, sequenced note and audio events can become electric too.
Modulators have been there all along, putting device parameters into motion. Modulation has always been a centerpiece of Bitwig Studio. The stranger the sources, the newer the result. Or just drag audio in to add a new take lane. If you ask for an eight-bar comp, the entire clip will be spooled into take lanes, and the comping can begin. Comping works wherever you are, now and later.Īnd since all good techniques deserve a new trick, right-click any audio clip to Fold To Takes. Even open the layered editor when multiple comps belong together. Or just drag clips in either direction with your takes safely inside. So if you are composing in the Launcher, just click to enable comp recording right there. Since we have a Launcher and an Arranger, comping lives inside the audio clip. From the composite lane, move a boundary by clicking, adjust gain by dragging, or fix timing by sliding. Then press the up or down arrow to cycle thru the other takes. To swap in a different take, just tap it. Record and arrange, improvise and perform, or do it all at once.Įach take is given its own color so from the first swipe of a take lane, the sources are clear.
Streamline your creative process and quickly evolve your ideas into complete songs, tracks, and compositions. Comping allows you to combine the best parts of many takes, and Bitwig Studio provides this and more.īitwig Studio inspires you to take greater control of your music, giving you access to every aspect of your production. Since the invention of studio recording, our task has been to create the perfect performance.
And Native Apple Silicon support on Mac, even allowing Intel and ARM plug-ins to work side-by-side. Random Spread for any expression point (like per-note pitch, or audio panning) with perfect control. A new set of Operators, for changing the chance, recurrence, and more of any note or audio event. This means comping for audio clips, both in the Clip Launcher and the Arranger. And for version 4, new musical timelines have arrived. Version 3 saw the birth of The Grid, our modular sound-design environment.
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