Bitwig Studio User Guide en 52

BITWIG STUDIO 5.
The content of this user guide is subject to change without notice and
does not represent a commitment on the part of Bitwig. Furthermore,
Bitwig doesn't take responsibility or liability for errors or inaccuracies
that may appear in this user guide. This guide and the software
described in this guide are subject to a license agreement and may be
used and copied only in terms of this license agreement. No part of this
publication may be copied, reproduced, edited or otherwise transmitted
or recorded, for any purpose, without prior written permission by Bitwig.
This user guide was written by Dave Linnenbank.
Updated for Bitwig Studio version 5.2, July 2024.
Bitwig GmbH | Schwedter Str. 13 | 10119 Berlin - Germany
[email protected] | www.bitwig.com
Bitwig Studio is a registered trademark of Bitwig GmbH, registered in the U.S. and other countries. VST is a
registered trademark of Steinberg Media Technologies GmbH. ASIO is a registered trademark and software of
Steinberg Media Technologies GmbH. élastique Pro V3 by zplane.development. Mac OS X, Safari, and iTunes are
registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows is a registered trademark
of Microsoft Corporation in the United States and/or other countries. CLAP [http://cleveraudio.org] is an audio
plug-in standard. All other products and company names are trademarks or registered trademarks of their
respective holders. Use of them does not imply any affiliation with or endorsement by them. All specifications are
subject to change without notice.
©2024 Bitwig GmbH, Berlin, Germany. All rights reserved.
ii
0. Welcome to Bitwig Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
0.1. What's New in Bitwig Studio v5.2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
0.2. The Dashboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
0.2.1. User Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
0.2.2. Settings Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
0.2.2.1. Behavior Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
0.2.2.2. Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
0.2.2.3. Controllers Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
0.2.2.4. Synchronization Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
0.2.2.5. Shortcuts Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
0.2.2.6. Other Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
0.2.3. Packages Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
0.2.4. Help Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
0.3. Document Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
1. Bitwig Studio Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

1.1. Top-Level Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
1.2. A Matter of Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
1.3. One DAW, Two Sequencers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
1.4. Devices, Modulators, and Other Signal Achievements . . . . . . . . . . 22
1.5. A Musical Swiss Army Knife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
1.6. User Interfacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
2. Anatomy of the Bitwig Studio Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

2.1. The Window Header . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
2.1.1. Project Tabs Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
2.1.2. Controller Status Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.1.3. Window Controls Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
2.2. The Window Footer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
2.2.1. Panel Icons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
2.2.2. View Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
2.2.3. Available Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
2.2.4. Parameter Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
2.2.5. Controller Visualizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
2.3. The Window Menus/Transport Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
2.3.1. The Menu System (via the File Menu) . . . . . . . . . . . . . . . . . . . . 40
2.3.2. Transport Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
2.3.3. Display Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.3.4. Object Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
2.4. The Window Body . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
3. The Arrange View and Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

3.1. The Arranger Timeline Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
3.1.1. Arranger Area, Arranger Timeline, and Zooming . . . . . . . . 51
3.1.2. Beat Grid Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
3.1.3. Track Headers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
3.1.4. Arranger View Toggles & Editing Tools . . . . . . . . . . . . . . . . . . 55
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BITWIG STUDIO USER GUIDE
3.2. Intro to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

3.2.1. Track Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
3.2.2. Creating and Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
3.2.3. Edit Functions and Moving Tracks . . . . . . . . . . . . . . . . . . . . . . . . . 61
3.2.4. Track Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
3.2.5. Track Colors and Color Palettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
3.2.6. Deactivating Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
3.3. Meet Inspector Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
4. Browsers in Bitwig Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

4.1. All Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
4.1.1. Packages Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
4.1.2. Collections Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
4.1.3. by Kind Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
4.1.4. Locations Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
4.2. Common Browser Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
4.2.1. Search Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
4.2.2. Filters Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
4.2.2.1. Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
4.2.2.2. File Kind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
4.2.2.3. Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
4.2.2.4. Creator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
4.2.2.5. Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
4.2.2.6. Tags . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
4.2.2.7. Favorites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
4.2.3. Results List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
4.2.4. File Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
4.2.4.1. Preview Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
4.2.5. Visual Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
4.2.5.1. Curve Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
4.2.5.2. Wavetable Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
4.2.5.3. Impulse Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
4.3. Customizing the Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
4.3.1. Quick Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
4.3.2. Contexts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
4.3.3. Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
4.3.4. Smart Collections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
5. Arranger Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

5.1. Inserting and Working with Arranger Clips . . . . . . . . . . . . . . . . . . . . . . . 109
5.1.1. Inserting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
5.1.2. Moving Clips and Snap Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
5.1.3. Adjusting Clip Lengths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
5.1.4. Free Content Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
5.1.5. Slicing and Quick Slice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
5.1.6. Sliding Arranger Clip Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
5.1.7. Applying Fades and Crossfades to Audio . . . . . . . . . . . . . . 120
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5.1.8. Looping Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

5.1.9. Meta Clips and Group Tracks in the Arranger . . . . . . . . . . 123
5.2. Keyboard Editing with Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
5.2.1. Object Navigation with Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
5.2.2. Time Selection Navigation with Clips . . . . . . . . . . . . . . . . . . . . 127
5.3. Clip Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
5.4. The Inspector Panel on Arranger Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
5.4.1. Signature Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
5.4.2. Time (Position) Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
5.4.3. Loop Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
5.4.4. Fade Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
5.4.5. Mute Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
5.4.6. Shuffle Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
5.4.7. Seed Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
5.5. Playing Back the Arranger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
5.5.1. Cue Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
5.5.2. Time Signature Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
5.6. Recording Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
5.6.1. Track I/O Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
5.6.2. Recording Note Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
5.6.2.1. Loading an Instrument Preset . . . . . . . . . . . . . . . . . . . . 148
5.6.2.2. Setting a MIDI Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
5.6.2.3. Recording Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
5.6.3. Recording Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
5.6.3.1. Setting an Audio Source . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
5.6.3.2. Recording Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
5.6.3.3. Comp Recording in the Arranger . . . . . . . . . . . . . . . . 151
6. The Clip Launcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

6.1. The Clip Launcher Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
6.1.1. Clip Launcher Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
6.1.2. Within Launcher Clips, Scenes, and Slots . . . . . . . . . . . . . . . 155
6.2. Acquiring and Working with Launcher Clips . . . . . . . . . . . . . . . . . . . . 157
6.2.1. Getting Clips from the Browser Panel . . . . . . . . . . . . . . . . . . . . 157
6.2.2. Copying Clips Between the Arranger and
Launcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
6.2.3. Sliding Launcher Clip Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
6.2.4. Sub Scenes and Group Tracks in the Launcher . . . . . . 160
6.2.5. Launcher Clip Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
6.2.5.1. Start/Stop Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
6.2.5.2. Launch Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
6.2.5.3. Next Action Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
6.2.5.3.1. Local and Global Next Action
Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
6.2.5.3.2. Using Clip Blocks with Next
Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
6.3. Triggering Launcher Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
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6.3.1. How the Arranger and Launcher Work Together . . . . . 167

6.3.2. Triggering Launcher Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
6.3.3. Launching Time Signature Changes . . . . . . . . . . . . . . . . . . . . . 170
6.4. Recording Launcher Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
6.4.1. Recording Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
6.4.2. Comp Recording in the Launcher . . . . . . . . . . . . . . . . . . . . . . . . . 171
6.4.3. Record to Arranger Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
7. The Mix View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

7.1. The Mixer Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
7.1.1. Track Headers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
7.1.2. Clip Launcher Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
7.1.3. Big Meters Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
7.1.4. Track Remotes Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
7.1.5. Devices Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
7.1.6. Send Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
7.1.7. Track I/O Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
7.1.8. Channel Strip Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
7.1.9. Crossfader Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
7.1.10. Comments Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
7.2. Other Mixing Interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
7.2.1. The Secondary Mixer Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
7.2.2. Mixing in the Inspector Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
7.2.3. Inspecting FX Tracks, and FX Track Sends . . . . . . . . . . . . 187
7.3. Master Track Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
7.3.1. Output Monitoring Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
7.3.2. Multichannel Audio Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
8. Introduction to Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

8.1. The Device Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
8.1.1. The Panel Itself . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
8.1.2. Player Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
8.1.3. Track Headers in the Device Panel . . . . . . . . . . . . . . . . . . . . . . . 203
8.1.4. The Expanded Device View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
8.1.5. FX Tracks and Send Amounts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
8.2. Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
8.3. Working with Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
9. Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
9.1. Automation Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
9.1.1. The Arranger's Automation Lane Section . . . . . . . . . . . . . . . . 217
9.1.2. Drawing and Editing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . 219
9.1.3. Parameter Follow and Automation Control . . . . . . . . . . . . 223
9.1.4. Additional Automation Lanes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
9.1.5. Recording Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
9.2. The Automation Editor Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
9.2.1. Track Editing Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
vi
9.2.2. Clip Editing Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

9.2.3. Relative Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
9.3. Keyboard Editing with Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
9.3.1. Object Navigation with Automation . . . . . . . . . . . . . . . . . . . . . 240
9.3.2. Time Selection Navigation with Automation . . . . . . . . . . 241
10. Working with Audio Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

10.1. The Detail Editor Panel, Audio Clip Edition . . . . . . . . . . . . . . . . . . . . . 243
10.1.1. Layout of the Detail Editor Panel . . . . . . . . . . . . . . . . . . . . . . . . 244
10.1.2. Audio Event Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
10.1.2.1. Event Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
10.1.2.2. Stretch Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
10.1.2.3. Onsets Expression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
10.1.2.4. Gain Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
10.1.2.5. Pan Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
10.1.2.6. Pitch Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
10.1.2.7. Formant Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
10.1.3. Expression Spread . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
10.1.4. Comping in Bitwig Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
10.1.4.1. Comp Editing Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . 259
10.1.4.2. Adding and Working with Takes . . . . . . . . . . . . . . 263
10.2. Keyboard Editing with Audio Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
10.2.1. Object Navigation with Audio Events . . . . . . . . . . . . . . . . . . 267
10.2.2. Time Selection Navigation with Audio Events . . . . . . 270
10.3. Audio Event Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
10.4. Inspecting Audio Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
10.4.1. The Inspector Panel on Audio Events . . . . . . . . . . . . . . . . . . 283
10.4.1.1. Timing Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
10.4.1.2. Stretch Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285
10.4.1.3. Tempo Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
10.4.1.4. Fades Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
10.4.1.5. Operators Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
10.4.1.6. Expressions Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
10.4.2. Working with Multiple Audio Events . . . . . . . . . . . . . . . . . . 290
10.4.2.1. Mixed Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
10.4.2.2. Using the Histogram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
11. Working with Note Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

11.1. The Detail Editor Panel, Note Clip Edition . . . . . . . . . . . . . . . . . . . . . . . . 297
11.1.1. Layout of the Detail Editor Panel . . . . . . . . . . . . . . . . . . . . . . . . . 300
11.1.1.1. Drawing Notes and Quick Draw . . . . . . . . . . . . . . . . . . 303
11.1.1.2. Note Color Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
11.1.2. Note Event Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
11.1.2.1. Velocity Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
11.1.2.2. Chance Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
11.1.2.3. Gain Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
11.1.2.4. Pan Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
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11.1.2.5. Timbre Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

11.1.2.6. Pressure Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
11.1.3. Micro-pitch Editing Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
11.1.4. Layered Editing Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
11.1.4.1. Layered Editing in Track Mode . . . . . . . . . . . . . . . . . . . 317
11.1.4.2. Layered Editing in Clip Mode . . . . . . . . . . . . . . . . . . . . . 319
11.1.4.3. Layered Editing by Channel . . . . . . . . . . . . . . . . . . . . . 320
11.1.4.4. Layered Editing with the Audio Editor . . . . . . . . 321
11.1.5. Layered Comping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
11.2. Keyboard Editing with Note Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
11.2.1. Object Navigation with Note Events . . . . . . . . . . . . . . . . . . . . . 323
11.2.2. Time Selection Navigation with Note Events . . . . . . . . . 326
11.3. Note Event Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
11.4. Inspecting Note Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
11.4.1. Selecting Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
11.4.2. The Inspector Panel on Note Events . . . . . . . . . . . . . . . . . . . . 336
11.4.2.1. Timing and Mute Section . . . . . . . . . . . . . . . . . . . . . . . . . . 337
11.4.2.2. Note Properties Section . . . . . . . . . . . . . . . . . . . . . . . . . . 338
11.4.2.3. Operators Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
11.4.2.4. Expressions Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339
11.4.3. Working with Multiple Note Events . . . . . . . . . . . . . . . . . . . . . 340
11.5. The Edit View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
12. Operators, for Animating Musical Sequences . . . . . . . . . . . . . . . . . . . . . . . . . 344

12.1. Operator Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
12.1.1. Chance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
12.1.2. Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
12.1.3. Occurrence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
12.1.4. Recurrence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
12.2. Operator-related Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
12.2.1. Slice At Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
12.2.2. Expand, from the Clip Launcher . . . . . . . . . . . . . . . . . . . . . . . . . 354
12.2.3. Consolidate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356
13. Going Between Notes and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

13.1. Loading Audio into a New Sampler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
13.2. Bouncing to Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361
13.2.1. The Bounce Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
13.2.2. The Bounce in Place Function and Hybrid Tracks . . 365
13.3. Slicing to Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
13.3.1. The Slice to Multisample Function . . . . . . . . . . . . . . . . . . . . . . . 368
13.3.2. The Slice to Drum Machine Function . . . . . . . . . . . . . . . . . . 370
14. Working with Projects and Exporting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

14.1. Saving a Project Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372
14.2. The Project Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
14.2.1. Settings Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
viii
14.2.2. Project Remotes Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

14.2.3. Info Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
14.2.4. Sections Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
14.2.5. Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
14.2.6. Plug-ins Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
14.3. The Global Groove . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
14.4. Working with Multiple Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
14.4.1. Adding Clips to the Browser Panel . . . . . . . . . . . . . . . . . . . . . 389
14.4.2. Going Directly between Projects . . . . . . . . . . . . . . . . . . . . . . . . 391
14.5. Exporting Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393
14.6. Exporting MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
14.7. Exporting Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
15. MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

15.1. Soft Control Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
15.1.1. The Remote Controls Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
15.2. Controller Visualizations, Takeover Behavior, and
Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
15.3. Manual Controller Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407
15.4. The Mappings Browser Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410
16. Modulators, Device Nesting, and More . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

16.1. Nested Device Chains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
16.1.1. The Mix Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412
16.1.2. Container Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414
16.1.2.1. Drum Machine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
16.1.2.2. Instrument Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
16.1.2.3. FX Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420
16.1.3. Other Common Device Chain Types . . . . . . . . . . . . . . . . . . . 420
16.2. The Unified Modulation System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
16.2.1. Modulator Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
16.2.1.1. The Curve Editor & Pop-out Editors . . . . . . . . . . . 432
16.2.2. Track- and Project-level Modulations . . . . . . . . . . . . . . . . . . 437
16.2.3. Modulations within a Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438
16.2.4. Devices in the Inspector Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
16.2.4.1. Voice Parameters for Instruments . . . . . . . . . . . . . 442
16.2.4.2. Plug-in Inspector Parameters . . . . . . . . . . . . . . . . . . 445
16.2.4.3. The Modulation Sources Tab, Modulation
Transfer Functions, and Modulation Scaling . . . . . . . . . . 445
16.2.4.4. The Modulation Destinations Tab . . . . . . . . . . . . 450
16.2.4.5. Modulator Inspector Example . . . . . . . . . . . . . . . . . . 451
16.2.5. Voice Stacking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452
16.3. Plug-in Handling and Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458
17. Welcome to The Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

17.1. Using the Grid Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
17.1.1. The Module Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466
ix
17.1.2. Working with Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

17.1.2.1. Interactive Module Help . . . . . . . . . . . . . . . . . . . . . . . . . . . 476
17.1.2.2. Module Scopes in the Inspector Panel . . . . . . . . 477
17.1.3. Working with Patch Cords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478
17.1.4. Inserting Modules with Cords, and Vice Versa . . . . . . . 480
17.1.5. Reordering Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486
17.2. Special Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487
17.2.1. Grid Devices and Thru Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487
17.2.2. Module Pre-cords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488
17.2.3. Making Feedback with "Long Delay" . . . . . . . . . . . . . . . . . . . 492
17.3. On Grid Signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
17.3.1. Signal Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
17.3.2. Stereo By Nature, and 4x Faster . . . . . . . . . . . . . . . . . . . . . . . . 494
17.3.3. Working with Modulators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496
17.3.4. Voicing Management in The Grid . . . . . . . . . . . . . . . . . . . . . . . 496
17.3.4.1. Voicing "FX Grid" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
17.3.4.2. Voicing "Note Grid" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
18. Working on a Tablet Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500

18.1. The Tablet Display Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
18.1.1. Tablet Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502
18.2. The Radial Gesture Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
19. Device Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510

19.1. Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510
19.1.1. Oscilloscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510
19.1.2. Spectrum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510
19.2. Audio FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
19.2.1. Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
19.2.2. Freq Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
19.2.3. Pitch Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
19.2.4. Ring-Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
19.2.5. Treemonster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
19.3. Clap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
19.3.1. E-Clap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
19.4. Container . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
19.4.1. Chain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
19.4.2. FX Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
19.4.3. FX Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
19.4.4. Instrument Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
19.4.5. Instrument Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
19.4.6. Mid-Side Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
19.4.7. Multiband FX-2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
19.4.8. Multiband FX-3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
19.4.9. Note FX Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
19.4.10. Note FX Selector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
19.4.11. Replacer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
x
19.4.12. Stereo Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516

19.4.13. XY FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
19.4.14. XY Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
19.5. Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
19.5.1. Delay+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
19.5.2. Delay-1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
19.5.3. Delay-2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
19.5.4. Delay-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
19.6. Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
19.6.1. Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
19.6.2. Bit-8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
19.6.3. Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
19.6.4. Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
19.6.5. Saturator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
19.7. Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
19.7.1. Drum Machine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
19.8. Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
19.8.1. Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
19.8.2. De-Esser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
19.8.3. Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
19.8.4. Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
19.8.5. Peak Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
19.8.6. Transient Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
19.8.7. Compressor+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522
19.9. EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
19.9.1. EQ+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
19.9.2. EQ-2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
19.9.3. EQ-5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
19.9.4. EQ-DJ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
19.9.5. Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
19.9.6. Sculpt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
19.9.7. Tilt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
19.10. Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
19.10.1. Comb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531
19.10.2. Filter+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531
19.10.3. Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
19.10.4. Ladder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
19.10.5. Resonator Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
19.10.6. Sweep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
19.10.7. Vocoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
19.11. Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
19.11.1. HW Clock Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
19.11.2. HW CV Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
19.11.3. HW CV Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
19.11.4. HW FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
19.11.5. HW Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536
19.12. Hi-hat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536
xi
19.12.1. E-Hat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

19.13. Kick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537
19.13.1. E-Kick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538
19.14. Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538
19.14.1. Chorus+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538
19.14.2. Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
19.14.3. Flanger+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
19.14.4. Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
19.14.5. Phaser+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539
19.14.6. Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540
19.14.7. Rotary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540
19.14.8. Tremolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540
19.15. MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
19.15.1. Channel Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
19.15.2. Channel Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
19.15.3. MIDI CC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
19.15.4. MIDI Program Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
19.15.5. MIDI Song Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541
19.16. Note FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542
19.16.1. Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542
19.16.2. Bend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542
19.16.3. Dribble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543
19.16.4. Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543
19.16.5. Harmonize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543
19.16.6. Humanize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
19.16.7. Key Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
19.16.8. Latch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
19.16.9. Micro-pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544
19.16.10. Multi-note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545
19.16.11. Note Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545
19.16.12. Note Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545
19.16.13. Note Length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546
19.16.14. Note Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546
19.16.15. Note Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547
19.16.16. Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547
19.16.17. Randomize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547
19.16.18. Ricochet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548
19.16.19. Strum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549
19.16.20. Transpose Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
19.16.21. Velocity Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
19.17. Organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
19.17.1. Organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550
19.18. Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552
19.18.1. E-Cowbell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552
19.19. Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
19.19.1. Convolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553
19.19.2. Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
xii
19.20. Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554

19.20.1. Audio Receiver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
19.20.2. Note Receiver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554
19.21. Snare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555
19.21.1. E-Snare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555
19.22. Spectral . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
19.22.1. Freq Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556
19.22.2. Harmonic Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557
19.22.3. Loud Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558
19.22.4. Transient Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559
19.23. Synth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
19.23.1. FM-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560
19.23.2. Phase-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
19.23.3. Polymer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
19.23.4. Polysynth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567
19.23.5. Sampler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
19.24. The Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577
19.24.1. FX Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
19.24.2. Note Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
19.24.3. Poly Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
19.25. Tom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
19.25.1. E-Tom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
19.26. Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
19.26.1. DC Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
19.26.2. Dual Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
19.26.3. Test Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579
19.26.4. Time Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
19.26.5. Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
19.27. Modulators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
19.27.1. Audio-driven Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580
19.27.1.1. Audio Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
19.27.1.2. Audio Sidechain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
19.27.1.3. Envelope Follower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
19.27.1.4. HW CV In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
19.27.2. Envelope Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
19.27.2.1. ADSR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
19.27.2.2. AHD on Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
19.27.2.3. AHDSR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
19.27.2.4. Note Sidechain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
19.27.2.5. Ramp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
19.27.2.6. Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582
19.27.3. Interface Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
19.27.3.1. Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
19.27.3.2. Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
19.27.3.3. Globals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
19.27.3.4. Macro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584
19.27.3.5. Macro-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
xiii
19.27.3.6. Select-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

19.27.3.7. Vector-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
19.27.3.8. Vector-8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
19.27.3.9. XY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
19.27.4. LFO Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
19.27.4.1. Beat LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585
19.27.4.2. Classic LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586
19.27.4.3. Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586
19.27.4.4. LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
19.27.4.5. Random . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
19.27.4.6. Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
19.27.4.7. Wavetable LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
19.27.5. Modifier Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
19.27.5.1. Math . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587
19.27.5.2. Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588
19.27.5.3. Polynom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588
19.27.5.4. Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588
19.27.5.5. Sample and Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588
19.27.6. Note-driven Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589
19.27.6.1. Channel-16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589
19.27.6.2. Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589
19.27.6.3. Keytrack+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589
19.27.6.4. MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
19.27.6.5. Note Counter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
19.27.6.6. Pitch-12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
19.27.6.7. Relative Keytracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
19.27.7. Sequence Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
19.27.7.1. 4-Stage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
19.27.7.2. ParSeq-8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590
19.27.7.3. Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591
19.27.8. Voice Stacking Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591
19.27.8.1. Stack Spread . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592
19.27.8.2. Voice Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
19.28. Grid Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
19.28.1. I/O Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
19.28.1.1. Gate In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593
19.28.1.2. Phase In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
19.28.1.3. Pitch In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
19.28.1.4. Velocity In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
19.28.1.5. Audio In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
19.28.1.6. Audio Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
19.28.1.7. Gain In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
19.28.1.8. Pan In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594
19.28.1.9. Pressure In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
19.28.1.10. Timbre In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
19.28.1.11. CC In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
19.28.1.12. CC Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
xiv
19.28.1.13. Note In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

19.28.1.14. Note Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595
19.28.1.15. Audio Sidechain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
19.28.1.16. HW In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
19.28.1.17. HW Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
19.28.1.18. CV In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
19.28.1.19. CV Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
19.28.1.20. CV Pitch Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
19.28.1.21. Key On . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
19.28.1.22. Keys Held . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
19.28.1.23. Transport Playing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
19.28.1.24. Voice Stack Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
19.28.1.25. Modulator Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
19.28.2. Display Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
19.28.2.1. Label . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
19.28.2.2. Comment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
19.28.2.3. Oscilloscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
19.28.2.4. Spectrum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
19.28.2.5. VU Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
19.28.2.6. XY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
19.28.2.7. Value Readout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
19.28.3. Phase Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
19.28.3.1. Phasor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
19.28.3.2. Ø Bend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 598
19.28.3.3. Ø Pinch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
19.28.3.4. Ø Reset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
19.28.3.5. Ø Scaler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
19.28.3.6. Ø Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
19.28.3.7. Ø Wrap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
19.28.3.8. Pitch → Ø . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
19.28.3.9. Ø Counter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
19.28.3.10. Ø Formant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
19.28.3.11. Ø Lag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599
19.28.3.12. Ø Mirror . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
19.28.3.13. Ø Shift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
19.28.3.14. Ø Sinemod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
19.28.3.15. Ø Skew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
19.28.3.16. Ø Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
19.28.3.17. Ø Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
19.28.4. Data Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
19.28.4.1. Gates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
19.28.4.2. Pitches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600
19.28.4.3. Slopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
19.28.4.4. Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
19.28.4.5. Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
19.28.4.6. Probabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
19.28.4.7. Ø Pulse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
xv
19.28.4.8. Ø Saw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601

19.28.4.9. Ø Sine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
19.28.4.10. Ø Triangle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
19.28.4.11. Ø Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
19.28.4.12. Array . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
19.28.5. Oscillator Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
19.28.5.1. Pulse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
19.28.5.2. Sawtooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
19.28.5.3. Sine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
19.28.5.4. Triangle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602
19.28.5.5. Union . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
19.28.5.6. Wavetable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
19.28.5.7. Sub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
19.28.5.8. Bite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 604
19.28.5.9. Phase-1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605
19.28.5.10. Scrawl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605
19.28.5.11. Swarm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
19.28.5.12. Sampler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
19.28.6. Random Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
19.28.6.1. Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
19.28.6.2. S/H LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
19.28.6.3. Chance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
19.28.6.4. Dice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
19.28.7. LFO Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
19.28.7.1. LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
19.28.7.2. Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607
19.28.7.3. Wavetable LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
19.28.7.4. Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
19.28.7.5. Transport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
19.28.8. Envelope Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
19.28.8.1. ADSR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 608
19.28.8.2. AD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
19.28.8.3. AR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
19.28.8.4. Pluck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
19.28.8.5. Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
19.28.8.6. Follower-RF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
19.28.8.7. Slope ↗ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
19.28.8.8. Slope ↘ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
19.28.8.9. Follower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
19.28.9. Filter Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
19.28.9.1. Low-pass LD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611
19.28.9.2. Low-pass MG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
19.28.9.3. Sallen-Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
19.28.9.4. SVF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
19.28.9.5. XP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
19.28.9.6. Comb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
19.28.9.7. Vowels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612
xvi
19.28.9.8. Fizz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

19.28.9.9. Rasp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616
19.28.9.10. Ripple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617
19.28.9.11. All-pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
19.28.9.12. High-pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
19.28.9.13. Low-pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
19.28.10. Shaper Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
19.28.10.1. Chebyshev . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
19.28.10.2. Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
19.28.10.3. Hard Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
19.28.10.4. Quantizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
19.28.10.5. Wavefolder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 618
19.28.10.6. Diode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
19.28.10.7. Rectifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
19.28.10.8. Saturator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
19.28.10.9. Transfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 619
19.28.10.10. Push . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
19.28.10.11. Heat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
19.28.10.12. Soar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
19.28.10.13. Howl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
19.28.10.14. Shred . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
19.28.10.15. Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620
19.28.11. Delay/FX Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
19.28.11.1. Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
19.28.11.2. Long Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
19.28.11.3. Mod Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
19.28.11.4. Chorus+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
19.28.11.5. Flanger+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
19.28.11.6. Phaser+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
19.28.11.7. All-pass Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621
19.28.11.8. Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
19.28.12. Mix Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
19.28.12.1. Blend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
19.28.12.2. Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
19.28.12.3. Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
19.28.12.4. Stereo Width . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
19.28.12.5. Toggle In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
19.28.12.6. Toggle Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 622
19.28.12.7. Toggle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
19.28.12.8. Crossover-2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
19.28.12.9. Crossover-3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
19.28.12.10. Select In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
19.28.12.11. Select Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
19.28.12.12. Merge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
19.28.12.13. Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
19.28.12.14. LR Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
19.28.12.15. Stereo Merge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
xvii
19.28.12.16. Stereo Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624

19.28.12.17. Voice Stack Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
19.28.12.18. Voice Stack Tog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
19.28.13. Level Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
19.28.13.1. Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624
19.28.13.2. Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
19.28.13.3. Amplify . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
19.28.13.4. Attenuate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
19.28.13.5. Bias . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
19.28.13.6. Gain - dB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
19.28.13.7. Gain - Vol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
19.28.13.8. Velo Mult . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
19.28.13.9. Average . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
19.28.13.10. Lag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 625
19.28.13.11. Bend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
19.28.13.12. Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
19.28.13.13. Level Scaler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
19.28.13.14. Pinch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
19.28.13.15. Value Scaler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
19.28.13.16. AM/RM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
19.28.13.17. Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
19.28.13.18. Sample / Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
19.28.13.19. Shift Register . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626
19.28.13.20. Bi→Uni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
19.28.13.21. Uni→Bi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
19.28.13.22. Poly→Mono . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
19.28.14. Pitch Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
19.28.14.1. Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
19.28.14.2. Octaver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
19.28.14.3. Ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
19.28.14.4. Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
19.28.14.5. Pitch Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
19.28.14.6. by Semitone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
19.28.14.7. Pitch Buss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
19.28.14.8. Pitch Scaler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
19.28.14.9. Zero Crossings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
19.28.14.10. Freq → Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
19.28.14.11. Pitch → Freq . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628
19.28.15. Math Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
19.28.15.1. Constant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
19.28.15.2. Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
19.28.15.3. Reciprocal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
19.28.15.4. Add . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
19.28.15.5. Divide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
19.28.15.6. Multiply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
19.28.15.7. Subtract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
19.28.15.8. Abs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629
xviii
19.28.15.9. Ceil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630

19.28.15.10. Floor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
19.28.15.11. MinMax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
19.28.15.12. Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
19.28.15.13. Round . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
19.28.15.14. Product . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
19.28.15.15. Sum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
19.28.15.16. Exp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630
19.28.15.17. Exponents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
19.28.15.18. Lin → dB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
19.28.15.19. Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
19.28.15.20. Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
19.28.15.21. Roots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
19.28.15.22. dB → Lin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
19.28.16. Logic Category . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
19.28.16.1. Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 631
19.28.16.2. Trigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
19.28.16.3. Clock Divide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
19.28.16.4. Clock Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
19.28.16.5. Gate Length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
19.28.16.6. Gate Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
19.28.16.7. Logic Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
19.28.16.8. Latch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
19.28.16.9. N-Latch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
19.28.16.10. = . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632
19.28.16.11. ≥ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
19.28.16.12. > . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
19.28.16.13. ≤ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
19.28.16.14. < . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
19.28.16.15. ≠ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
19.28.16.16. NOT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
19.28.16.17. AND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
19.28.16.18. OR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
19.28.16.19. XOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633
19.28.16.20. NAND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
19.28.16.21. NOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
19.28.16.22. XNOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
19.29. Legacy Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
19.29.1. Audio MOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
19.29.2. LFO MOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
19.29.3. Note MOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634
19.29.4. Step MOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635
xix
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

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).
1
0. WELCOME TO BITWIG STUDIO
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).
2
› 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.
› Plug-ins are now included in Bitwig's undo history, treating CLAP and
VST plug-ins the same as our native devices.
3
0.2. The Dashboard

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.)
4
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.
5
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.
6
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).
7
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.
8
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.
9
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:
10
› 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.
11
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.)
12
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)
13
› 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.
14
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.
15
The section for Plug-in Locations includes folders to be scanned

for valid audio plug-ins, 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 plug-ins, 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.
› Plug-ins provides options for how third party audio plug-ins 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.
16
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.
17
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

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
18
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.
19
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

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

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
20
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

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.
21
› 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.
22
› 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 plug-ins 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. Time-based 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.
23
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 plug-ins being used.
24
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 On-screen 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
25
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 touch-screen 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 touch-screen interface.
26
› 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
27
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).
28
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.
29
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.
30
› 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.
31
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).
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› 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.
33
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
34
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.
35
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].
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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 On-screen 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
37
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.
38
› ˧ 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
39
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.
40
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.
41
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.
42
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.
43
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.
44
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.)
45
› 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.
46
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
47
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
48
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.
49
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.
50
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.
51
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.
52
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] .
53
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.
54
› 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.
55
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
56
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.
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› 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.
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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
59
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].
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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.
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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.
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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.
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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 plug-ins 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.
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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.
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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."
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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, plug-ins,
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
plug-ins; 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).
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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
68
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.
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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.
70
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).
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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, plug-ins, and presets. It is

the parent source of these individual sound-descriptive sources:
› Drum Presets contains devices, plug-ins, and presets in known drum/

percussion categories (including Clap, Cymbal, Drum Kit, Hi-hat, Kick,
Percussion, Snare, and Tom).
› Basses contains devices, plug-ins, and presets in known bass

categories (including Bass and Synth Bass).
› Keys contains devices, plug-ins, and presets in known keyboard

categories (including Electric Piano, Organ, and Piano).
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› Synths contains devices, plug-ins, 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, plug-ins, 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, plug-ins, and presets.
Note FX contains all note FX devices, plug-ins, and presets.
Music contains all audio files from your chosen music locations.
Multi-samples 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.
› Plug-ins, for CLAP, VST 2, and VST3 plug-ins, installed in one of your
chosen plug-in locations.
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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.
74
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.
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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).
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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.
77
Made to appear only when called, the Pop-up Browser has a larger,
horizontal layout, like most computer screens.
78
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.
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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).
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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.
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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
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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.
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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
Plug-ins 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
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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).
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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 Plug-ins 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.
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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.
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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.
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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
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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.
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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.
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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.
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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.
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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 plug-ins, 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 Plug-ins, 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.
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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.).
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› 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).
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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+
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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.
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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.
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On the Pop-up Browser, they run along its left edge.
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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:
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› 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 re-enters 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
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› 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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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
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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
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.
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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:
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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.
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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).
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› 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
› 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
› 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.
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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
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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.
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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 non-destructive 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
› 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
› 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.
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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:
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› 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.
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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:
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› 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.
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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).
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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.
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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.
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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
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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.
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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).
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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.
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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.
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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.
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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.
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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
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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.
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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.
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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

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's time and his (literally) sacred
music, up to the present day and our attempts to make electronic music
engaging from the stage.
Aside from its unique perspective and purpose, the Clip Launcher
Panel is also the only panel that loads directly into another panel. In this
chapter, we will be learning about the Launcher within the Arranger
Timeline Panel, but it can also be called up inside the Mixer Panel of the
Mix View (see section 7.1.2).
The key difference between Arranger clips and Launcher clips is their
purpose. Arranger clips are played back precisely at the designated time.
But Launcher clips must be available whenever you want them, either for
section-based composition (verse, chorus, bridge), or as pieces for a live
performance, or however else you might use them. Arranger clips must
be rigid, and Launcher clips must follow your whim.
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6. THE CLIP LAUNCHER
6.1.1. Clip Launcher Layout

Let's begin by examining the Clip Launcher Panel beside the Arranger
Timeline that we were just using.
What we see here is the same Arranger Timeline Panel as before, but
now the view toggles for both the Clip Launcher and the Arranger
Timeline are engaged. As a result, we see these two sequencers side by
side within the panel.
The Clip Launcher Panel appears as a series of slots that are arranged
across each track. Since tracks in the Arrange View are oriented
horizontally, the Clip Launcher Panel is also arranged from left to right.
In case more slots exist than can be shown at one time, the horizontal
scroll bar at the bottom of the panel allows you to scroll to view all the
slots.
The slots are made to house clips and have no functionality of their own.
Whenever we refer to a "Launcher clip," we mean a clip that is housed
within this Launcher sequencer.
On each track before the clip slots begin is a Stop Clips button. Each
of these buttons halts all clips that were playing on its track. And on
each track after the last visible clip slot is a Switch Playback to Arranger
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button. Each of these buttons restores the Arranger as the active

sequencer for this track. The last section of this chapter will explain this
relationship in detail.
Each vertical column of clips is a group called a scene. These groupings

can be used for triggering or working with the constituent clips all
together. If additional slots are needed, additional scenes can be created
to provide them. Also note that each scene can be resized horizontally,
providing more space to show the contents of its component clips and
their playheads.
Similar to each track, the displayed scenes begin and end with the
Global Stop Clips button and the Global Switch Playback to Arranger
button, respectively. Each global button is the equivalent of triggering
all track buttons of that kind. Again, the last section of this chapter will
cover these functions in more detail.
Finally, various Clip Launcher settings are grouped within the Play menu.
› Automation Write: Enables automation recording to the Clip Launcher

Panel.
› Overdub: Merges incoming notes onto active clips the Clip Launcher
Panel the next time the transport is started. Otherwise, note data is
overwritten.
› Record as Comping Takes: Enables "cycle recording" on empty

launcher slots at the defined Take Length (set within the Play menu).
This begins writing comping data after the first cycle completes.
› Record on scene launch: Causes a scene launch to trigger recording

into empty slots on all record-enabled tracks.
6.1.2. Within Launcher Clips, Scenes, and Slots

As for the appearance of Launcher clips themselves, there are only a few
things to note.
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The crucial item within each clip and scene is the play button. This is the
means by which you trigger the clip or scene. These play buttons also
serve as indicators of which clips are active.
The top of each clip and scene also leaves space for that item's name,
which is optional. As can be seen in the image above, scenes without
names may be given automatic ones which you can always replace
manually. And the color stripe at the top of the scene reflects the scene's
color, just as the background of each clip shows its set color.
Note
In addition to a name and color, each scene can be given a text

comment for your own use. These parameters are all shown for the
selected scene in the Inspector Panel, or for all scenes in the Sections
tab of the Project Panel (see section 14.2.4).
Below the play button and name of a clip may be a preview of the clip's
contents. Clips that contain either notes or audio events will always have
a preview, but the preview can be shown only when the track height is
set to normal. When the Arranger Timeline Panel has tracks set to half
size (as shown below), there is no room for the preview.
Finally, a couple of different buttons can appear within empty slots.
If the track is record-enabled, a slot record button will appear about

where the play button would within a clip. Clicking this record button
activates recording within the clip.
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If the track is not record-enabled, a slot stop button will appear instead.
This button is just an alias to the track's Stop All clips button, performing
the exact same function.
6.2. Acquiring and Working with Launcher Clips

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 help of the Inspector Panel.
In the Clip Launcher Panel, we will recap inserting clips from the
Browser Panel, look at moving clips between the Launcher and the
Arranger, and see the options available for Launcher clips in the
Inspector Panel.
6.2.1. Getting Clips from the Browser Panel

Getting clips from the Browser Panel onto a track is almost identical for
the Clip Launcher Panel and the Arranger Timeline (see section 5.1.1).
The only difference is where you drop the clip off.
And if the clip is dragged between two tracks, a new track will be
created automatically as well.
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Additionally, an empty Launcher clip slot has a + icon appear when the
slot is hovered over. As in most other situations, clicking + opens the
Pop-up Browser, in this case with a special configuration that offer clips
and samples within your preset library, as well as any defined music
locations.
Note
For more information on working with the Pop-up Browser, see

chapter 4.
6.2.2. Copying Clips Between the Arranger and

Launcher
Copying a clip from one sequencer to the other follows the same pattern
as all other movements that we have made.
To copy an Arranger clip to the Launcher: click and drag the clip from
the Arranger Timeline to the desired slot on the appropriate track.
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If multiple Arranger clips are selected, the clips will be copied into
successive slots.
To copy a Launcher clip to the Arranger: click and drag the clip from the
Launcher to the desired timeline position on the appropriate track.
If multiple Launcher clips are selected, the clips will be placed into the
Arranger consecutively.
Scenes can also be copied from the Launcher to the Arranger Timeline.
And conversely, any combination of Arranger clips can be copied to a
scene by dragging them over.
All of these copy functions can also be done into new tracks.
6.2.3. Sliding Launcher Clip Content

The content of one or multiple clips can also be shifted left and right
from the Clip Launcher Panel. Sliding content in this fashion preserves
the length 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 [ALT]-click ([CMD]+[ALT]-click on Mac) and drag horizontally.
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snapping behavior.
6.2.4. Sub Scenes and Group Tracks in the

Launcher
When working with group tracks in the Arranger, we encountered the
idea of meta clips (see section 5.1.9). In the Launcher, a similar idea exists
in the form of sub scenes.
Each group track has its own row of sub scenes. Each sub scene uses
color blocks to identify which contained tracks have clips that fall within
that sub scene. Just as a scene allows you to trigger a set of Launcher
clips across your project, a sub scene allows you to trigger Launcher
clips contained by that group track's component tracks. And while clips
within a sub scene are playing back, miniature clip playheads are shown
within the sub scene to indicate the current playback position of each of
its clips.
Also similar to meta clips in the Arranger, sub scenes act as aliases
for the clips they contain. Sub scenes 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 sources or destinations for
dragging clips between the Launcher and Arranger.
160
Note
Like regular scenes, sub scenes can also have colors assigned to
them. These color stripes will be shown on screen when you navigate
into that group track (see section 5.1.9).
6.2.5. Launcher Clip Parameters

The Arranger Timeline had a convenient graphical view for visualizing
the length and loop settings of a clip. While the Clip Launcher Panel
does not have its own graphical editor, we will always have the
Inspector Panel.
Launcher clip parameters are generally similar to Arranger clip

parameters with a few important differences. In order to see how the
Inspector Panel represents Launcher clip information, let's revisit the
Arranger clip looping example from the last chapter.
In this case, I have copied the example Arranger clip into a Launcher
slot. The resultant Launcher clip gives us these settings in the Inspector
Panel.
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We can see that the Signature, Loop, Mute, Shuffle, and Seed sections
are identical to their Arranger clip counterparts, and that we have also
seen all the functions available here already (see section 5.4).
We can also see that the initial Start/Stop section differs from the
Arranger clip's Time (Position) model, and that the Launch and Next
Action sections are completely new.
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6.2.5.1. Start/Stop Section
Arranger clips had the Time (Position) section because they are always
triggered at the exact position where they reside. Since Launcher clips
do not share this sense of predestination, their parameters simply
describe what portion of the clip should be played when triggered.
› Start sets the location within the clip that should be played first. This is
very similar to adjusting the Offset of an Arranger clip, changing only
which part of the Launcher clip should play back first.
› Stop sets the end of the clip contents that should be played. This
setting is available only when Loop is disabled.
6.2.5.2. Launch Section
The Launch section controls how and when Launcher clips are triggered,
and what should happen when a clip is released. Clips are usually
triggered with a performance gesture, such as a click of the mouse or
the push of a button, so quantization can be crucial here to keep clips in
time around the Global Playhead.
When any of the parameters in this section are set to Use Project
Setting, the same value from the Settings page of the Project Panel is
in control (see section 14.2.1). When in this state, the icon of the current
project setting will appear here so you know the behavior, but it will
be slightly dim, hinting that the value is being set elsewhere. In a new
project, the launch parameters of clips are set to Use Project Setting,
allowing you to control the whole project's behavior in the Project Panel.
A cluster of three parameters define each launch behavior.
› Launch Q(uantization) sets the interval at which this particular clip

will be triggered. This forces the clips we trigger to enter at the next
appropriate beat grid. Since things that have already started cannot be
shifted backwards in time, we must trigger the clips ahead of time so
they can land on the next beat. (You can think of launch quantization
as a performance-based version of absolute grid snapping.)
Note
While we can't go back in time, we can slightly delay the entire

sequencer, giving you a window within which to trigger things
"on time". This amount of delay / margin for error is set in the
Dashboard under Behavior > Sequencer > Latency.
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A beat-level setting (for example, 1/2, 1/4, 1/8, or 1/16) will play all
newly triggered clips when the Global Playhead reaches the next grid
line of that interval.
A bar-level setting (for example, 1 bar, 2 bars, 4 bars, or 8 bars) will play
all newly triggered clips when the Global Playhead reaches the next bar
of this interval. For example, a setting of 1 bar would wait for beat 1 of
the next bar to play, while a setting of 4 bars would wait for the next
fourth bar (e.g., bar 1, bar 5, bar 9, etc.) to be reached.
Off disables clip quantization, meaning the clip will begin playback the
moment it is triggered.
› Play Mode determines where this clip will begin playback from. All
"legato" modes aim to move from any already playing music's position
to the same relative position in this clip — like jumping from beat 3 of
the playing clip straight to beat 3 of this clip.
Four options are available:
Trigger from Start - Plays the clip from its beginning
Legato from Clip (or Start) - Starts relative to the playing clip's
position (or when nothing was playing, starts from clip start)
Legato from Clip (or Project) - Starts relative to the playing clip's
position (or when nothing was playing, starts relative to the global
transport's position)
Legato from Project - Starts relative to the global transport's position
› on Release defines what you want to happen once you let go of

your triggering gesture, whether it was the mouse you clicked or the
controller pad you pressed. Four options are available:
Continue - Let the clip play and do nothing
Stop - Stops the clip
Return - Returns to the previously playing clip, or to the Arrangement

if it was playing last
Next Action - Trigger the clip's Next Action immediately on release
You will notice that these three settings exist twice, once in a column
labeled Main and again right after, labeled ALT. By defining two
behaviors for how clips are launched (and released), you can create a
more compelling performance by deciding how clips should play in the
moment (see section 6.3.2).
164
Note
Scenes also have this identical layout, of the three Main launch
settings and their twinned three ALT launch settings. When the
scene's Override Launch Settings option is enabled, then triggering
the scene will force its settings on all clips being launched. But when
you directly trigger a clip, its own settings are always used.
One additional parameter lives in this section.
› Q(uantize) to Loop toggles clip quantization to be based on the loop

start point instead of the clip start. This allows you to trigger a clip with
a lead-in that plays once, like musical pick-up notes.
6.2.5.3. Next Action Section
Next Action is the option to determine what should happen after this
clip has played for a set amount of time. The Next Action Function is set
by the drop-down menu (all options are described in the next section),
and if the Enable Next Action toggle is turned on, the function will be
executed at a set time after the clip started playing.
Note
Even if the Enable Next Action toggle it disabled, the Next Action
Function may still be used if set as one of the clip's release actions
(see section 6.2.5.2).
The timing of the next action is set in one of two ways, with its row
offering a toggle to tie timing to the length of the clip. When enabled, a
parameter called Loop Count before Next Action appears, letting you set
a number of whole times that the clip should loop before its next action
is fired. (If the clip is not set to Loop, the next action will simply fire when
the clip finishes playing back once.) And a dim display will appear at the
right, indicating the effective number of bars and beats.
And if the clip timing toggle is disabled, you get a simple Next Action
Time parameter for manually setting the bars, beats, etc. before the next
action fires.
6.2.5.3.1. Local and Global Next Action Functions
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:
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› Stop simply stops the clip.
› Return to Arrangement resumes playback of the Arrangement Timeline

for this track.
› Return to Last Clip resumes playback of the Launcher clip that was
playing immediately before the current clip. If no clip was playing when
this one was triggered, the clip is stopped.
› Play Next triggers the next available Launcher clip. If the current clip is
the last clip on the track, the clip is stopped.
› Play Previous triggers the previous available Launcher clip. If the

current clip is the first on the track, the clip is stopped.
› Play First triggers the first Launcher clip on the track.
› Play Last triggers the last Launcher clip on the track.
› Play Random triggers a Launcher clip from the track at random, which
could potentially retrigger this clip.
› Play Other triggers a different Launcher clip from the track at random.
The current clip will not be retriggered.
› Round-robin triggers the next available Launcher clip. If this is the last
clip on the track, the first Launcher clip on the track is triggered.
6.2.5.3.2. Using Clip Blocks with Next Actions
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 up to you, and each block needn't contain the same
number of clips.
These functions include:
› First in Block triggers the first Launcher clip in the current clip block.
› Last in Block triggers the last Launcher clip in the current clip block.
› Random in Block triggers a Launcher clip from the current clip block at
random, which could potentially retrigger this clip.
› Other in Block triggers a Launcher clip from the current clip block at
random. This clip will not be retriggered.
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› Round-robin in Block triggers the next available Launcher clip in the

current clip block. If the current clip is the last in the block, the first
Launcher clip of the clip block is triggered.
› First in Next Block triggers the first Launcher clip in the next clip block.
If the current clip is within the last clip block, this will act like the Stop
function.
› Random in Next Block triggers a Launcher clip from the next clip block
at random. If the current clip is within the last clip block, this will act like
the Stop function.
› First in Previous Block triggers the first Launcher clip in the previous
clip block. If the current clip is within the first clip block, this block's first
clip will be triggered.
› Random in Previous Block triggers a Launcher clip from the previous

clip block at random. If the current clip block is the first block, a clip will
randomly be triggered from this block.
› First in Other Block triggers the first Launcher clip from a different clip
block.
› Random in Other Block triggers a Launcher clip at random from a

different clip block.
6.3. Triggering Launcher Clips

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 most interesting results — out of Bitwig Studio.
6.3.1. How the Arranger and Launcher Work

Together
When thinking about Bitwig Studio's two distinct sequencers, it helps to
consider the following concepts:
› The transport drives all timing functions, whether it is the playback of

Launcher clips, the recording of Arranger clips, or vice versa.
› The Arranger Timeline's Beat Ruler also has influence over the Clip
Launcher Panel. Launcher clips may be played back whenever you
choose, but the launch quantize feature described above is regularly
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used for the sake of coherence and musicality, aligning launched clips
with arranged ones according to your wishes.
› On each individual track, either the Launcher or Arranger will be active

at any given time.
› By default, each track starts with the Arranger Timeline active. The
Launcher will take over for a track after a Launcher clip is either
triggered or recorded, or the track's Stop Clips button is pressed. The
Arranger will regain control only after the track's Switch Playback to
Arranger button is pressed.
› All tracks can be toggled in unison from the Arranger to the Launcher
and back. The Launcher will take over all tracks when either the Global
Stop Clips button is pressed or a scene is triggered. The Arranger
will regain control of all tracks when the Global Switch Playback to
Arranger button is pressed.
The takeaway is that you can act like Bitwig Studio has just one
sequencer, by using only the Arranger Timeline (to create a completely
composed song, for example) or only the Clip Launcher (to take
elements you have made and freely improvise a structure). You could
also keep most tracks playing what you programmed in the Arranger,
and occasionally shift some tracks to the Launcher for the sake of
improvisation.
Once the two sequencers make sense to you, there is no "right way" to
use them. Only options.
6.3.2. Triggering Launcher Clips

To trigger a Launcher clip normally: click the play button in its top left
corner. Or press a controller pad that is mapped to this clip. This will
trigger the clip using its Main launch behaviors (see section 6.2.5.2).
To trigger a Launcher clip with its alternate (ALT) behavior: hold

[ALT] and then click the play button in its top left corner. Or hold the
controller's [SHIFT] button (see your controller's documentation for
support information) and then press the pad that is mapped to this
clip. This will trigger the clip using its ALT launch behaviors (again, see
section 6.2.5.2).
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If the transport was stopped, triggering a clip immediately activates the

transport. (Otherwise, no clip could play.)
Once a clip is triggered, a black box appears around the play button to
mark this as an active clip. A clip remains active until either a different
clip on that track is triggered, the track's (or the Global) Stop All Clips
button is triggered, or the track's (or the Global) Switch Playback to
Arranger button is pressed. When the transport is activated, all active
clips resume playing.
In the image above, you may also notice a vertical line going thru the
active clip. Each active clip has its own clip playhead that indicates the
play position within the clip while the transport is active.
To release a Launcher clip normally: simply let go of the mouse button

(or controller pad) that you pressed to trigger the clip. Whenever you let
go, the Main Release Action will be executed immediately.
To release a Launcher clip with its alternate (ALT) behavior: hold down
the [ALT] key, and then let go of the mouse button that you pressed
to trigger the clip. Or if using a controller, hold the controller's [SHIFT]
button (etc.), and then release the pad that triggered the clip. Whenever
you let go, the ALT Release Action will be executed immediately.
Note
Triggering a clip is distinct from releasing it; these are two separate
actions. So you can actually mix and match a normal Main trigger
with an ALT release (by adding [ALT] or the controller's [SHIFT]
button while holding the pad). Or use an ALT trigger, then release
the computer keyboard's [ALT] key (or controller's [SHIFT] button)
first, and finally let go of the clip to make a Main release. It may sound
complicated, but your fingers will get used to these new gestures
quickly.
To trigger a scene: click the play button in its top left corner. This will
trigger all clips that exist within the scene and Stop All Clips for tracks
that contain no clip for the scene.
Identical to clips, a normal click/press will execute a Main trigger of the

scene; holding [ALT] will make an alt trigger; and so on with releases,
etc. etc.
Note
If the Record on scene launch setting is enabled, empty slots on

record-enabled tracks will also begin recording (see section 6.1.1).
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And if the scene's Override Launch Settings option is enabled, all clips
will launch with the scene's defined Main or ALT trigger behaviors.
This can be especially useful to align the Launch Q(uantization) timing
for all of a scene's clips, etc.
To stop all clips on a track: click either the track's Stop All Clips button or
a stop button within an empty slot.
This stops Arranger clips as well since the Launcher is given control of
the track. Each Stop All Clips button will take effect at the default launch
quantize interval.
To stop all clips: click the Global Stop All Clips button.
While this will stop all clips after the default launch quantize interval, the
transport remains active.
To return control of a track to the Arranger: click the track's Switch

Playback to Arranger button.
This will take effect immediately, regardless of the default launch

quantize setting.
To return control of all tracks to the Arranger: click the Global Switch
Playback to Arranger button.
This will take effect immediately, regardless of the default launch

quantize setting.
6.3.3. Launching Time Signature Changes

Just as you can insert time signature changes in the Arranger Timeline
(see section 5.5.2), you can also trigger time signature changes from the
Clip Launcher. This method of automation can be achieved by placing a
Launcher clip with a set Signature parameter (see section 5.4.1) on the
master track. Whenever a clip like this is triggered, the transport's time
signature will be overridden.
6.4. Recording Launcher Clips

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.
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6.4.1. Recording Clips

All the same requirements apply for recording Launcher clips as
Arranger clips (see section 5.6).
To record a Launcher note clip: enable the track's record arm button,
click a blank slot's record button, and then begin playing notes.
If the transport was inactive, it will automatically start once you click the
slot record button. If the transport was already active, it will continue
moving, and recording will commence after the default launch quantize
interval.
Note
The scene play buttons can also trigger empty Launcher slots to
record clips when the Record on scene launch setting is enabled (see
section 6.1.1).
6.4.2. Comp Recording in the Launcher

When recording audio in the Launcher, you can also do comp recording.
This mode works like "cycle recording," where new recording is broken
up into takes at a set interval.
To do cycle recording in the Launcher: enable Record as Comping Takes

from the Play menu, and set the desired Take Length right beside it (see
section 6.1.1). As long as your audio source is selected and the audio
track is armed (see section 5.6.3.1), clicking a blank slot's record button
will now start "cycle recording."
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Note
For information on editing comping expressions within a clip, see

section 10.1.4.1.
6.4.3. Record to Arranger Timeline

As one more form of interaction between the Launcher and Arranger,
the result of all triggered Launcher clips can be recorded directly to each
Arranger track. This is a way to capture an improvisation, whether from
an early production phase, a stage performance, or whatever else you
can imagine.
To capture clips and/or scenes triggered from the Launcher into the
Arranger: enable the Global Record button, activate the transport, and
then trigger the clips/scenes.
A few notes that may be helpful here.
› If you activate the transport by triggering your first clip or scene,

recording will begin from the Play Start Marker.
› If you deactivate the record arm buttons of individual tracks, you will
avoid recording empty clips to the Arranger tracks.
› Control changes can also be captured, making for a fully editable

transcription.
› All Launcher clips recorded into the Arranger will create clips with
defined Seed values (see section 5.4.7). If the Launcher clip had a set
Seed value, that value is maintained. And if the Launcher clip was fully
Random, the seed value used during recording will be set in the new
Arranger clip. The result is that randomized elements connected to the
Seed value will be replayed exactly as you heard them while recording.
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7. The Mix View
For three of the last four chapters, we have dealt exclusively with the
Arrange View, and more particularly with the Arranger Timeline Panel
that is housed there. And while we are not done with the Arrange View
(it will be back), it is time to see another of Bitwig Studio's views.
In this chapter we will take up the Mix View and its central Mixer Panel.
As the purpose of each view is to provide tools organized around a
musical task, the clear task of this view is mixing, the necessary art
of adjusting and blending your tracks so that they play well together.
This happens first at the master track, and then on to the real world, in
headphones and on speakers.
We will begin by taking stock of the Mixer Panel, examining various

functional details along the way. We will also look at places outside
of the Mix View where mixing functions crop up. Finally, we will see
how the master track's output can be easily controlled with the Output
Monitoring Panel.
7.1. The Mixer Panel

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 vertically like a traditional
mixing board, with each available section stacked one atop the other.
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The first and next to last sections (track headers at top, channel strip
sections near the bottom) will always be visible. The View Toggles on the
bottom left allow you to decide whether each of the eight other sections
are shown or hidden, with another two options for whether the FX tracks
and deactivated tracks should be displayed.
We will take the sections of the Mixer Panel in order, starting at the top.
7.1.1. Track Headers

The track headers in the Mixer Panel contain the same information as
the track headers of the Arranger Timeline Panel.
Each track header consists of at least three parts:
› Track Color field: The track's assigned color.
Note
You can also right-click in the Mixer view toggles toggle for a Fill
header backgrounds option. Disabling this view preference will
change the painting style to just show a track color stripe at the top
of each channel.
› Track Fold button: Available for tracks whose primary signal path
includes certain container devices (such as Drum Machine, Instrument
Layer, or FX Layer). These devices all contain layers, which have some
of the attributes of tracks — channel strip elements when appropriate
(volume, pan, sends, etc.) and comments. When a fold button is
enabled, the track's channel strip expands to the right, exposing all
layers in the top-level of the container.
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7.1.2. Clip Launcher Panel

The Clip Launcher Panel contains all of its usual elements and
functionality when loaded into the Mixer Panel (see chapter 6).
Its elements have just been rearranged to fit the vertical orientation of
tracks in this view. Also note that each track can be resized horizontally
to provide more screen space for viewing the track's clips.
7.1.3. Big Meters Section

These high-resolution stereo audio meters — aka the big meters —
liberates each channel's output level meters from the channel strip
section (see section 7.1.8).
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Note that the big meters section is only available when the Clip
Launcher Panel is disabled inside the Mixer Panel.
7.1.4. Track Remotes Section

The track remotes section gives you the remote controls for each track
directly on the Mixer Panel.
This is a unique opportunity to have parameter controls from different

tracks appear side by side, both for visualization and interaction. Right-
clicking in this section offers relevant options.
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7. THE MIX VIEW
Delete Remote Control will remove the control you clicked on, replacing
it with the Wi-Fi icon to map a different parameter in its place.
Alias preset remotes on tracks sets whether tracks should borrow certain
device remote control pages until you create your own track remote
controls. (Track remotes will always win, but if you want to work with an
aliased device, just keep it.)
Track remotes shown in mixer sets the number of remote controls you
want displayed here. So if this was set to 3, only the first three remotes
would be displayed for each track.
7.1.5. Devices Section

The devices section provides a list of all the top-level devices on each
track.
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7. THE MIX VIEW
This is not to be confused with the Device Panel (see section 8.1), where
parameters can be accessed and edited. This section can be used to
call up the Device Panel, move/copy the devices present, and add new
devices.
To focus on a track's device within the Device Panel: double-click the

device.
To move a device: click and drag the device to the desired location.
You can also hold [ALT] to copy the device.
To layer a device with another: [SHIFT]-click and drag the device over
top of the device where the layer should be inserted.
To add a device: click the track's Add Device button (the + icon) to pull
up the Pop-up Browser (see chapter 4).
Also note that certain devices include mini displays within this interface.
This includes EQ curves (for EQ+, EQ-5, and EQ-2) or gain reduction
amounts (for Compressor, De-Esser, Dynamics, Gate, and Peak Limiter).
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7. THE MIX VIEW
Finally, when mousing over the devices section, any device with an
Expanded Device View (see section 8.1.4) will offer a button for opening
it.
To access a device's Expanded Device View from a mixer interface:

hover over the device and click the Expanded Device View button.
Bitwig will then reveal the Device Panel, scroll the device chain so the
selected device is on screen, and open the Expanded Device View in the
window's central panel area.
The same is true when viewing the devices within a track's Inspector
Panel, except most Expanded Device View buttons will always be
shown.
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7. THE MIX VIEW
The exception is devices with both mini displays and an Expanded

Device View (like EQ+ and EQ-5), which must still be hovered over.
7.1.6. Send Section

The send section provides a level knob for each FX track in your project.
Other than the master, this section is available on all tracks and any
visible layers.
The send section is the block of right-aligned knobs beneath the device
section. In the image above, there are four FX tracks present, with
corresponding send knobs on each track. These sends allow us to pass
a portion of each track's audio into the various FX tracks. Using a send
does not affect a track's main output level.
For each individual send, you can decide whether the audio being sent
is taken before the track's volume fader has been applied or after. Since
this setting is relative to the track's fader, the settings are called Pre
(for pre-fader) and Post (post-fader). A third choice of Auto is selected
by default, permitting the FX track targeted to decide whether Pre
or Post should be used (see section 7.2.3). To make this immediately
readable on the mixer, the indicator ring around each send knob is
painted correspondingly — normal Post sends are colored yellow, and
Pre sends are blue.
To set a send's source setting: right-click the send, and then select the
appropriate setting from the context menu.
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7. THE MIX VIEW
Finally, each send can also be disabled. This can be a useful way to
'bypass' a routing without losing your level setting, and it is also a CPU
saver.
To toggle a send: click on the name of the particular send. It will toggle
between bright text and a regular knob (when activated) and dim text
and a dim knob (when disabled).
To toggle all sends on a particular track: [SHIFT]-click any send of that

track. If the particular send you clicked on was activated, then all of the
track's sends will be disabled, and vice versa.
There is also a Disable All Unused Sends function, to save CPU — and to
make the mixer easier to read. (For assigning shortcuts to functions, see
section 0.2.2.5.)
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7. THE MIX VIEW
Note
New projects started in Bitwig Studio v4.3 or later have all sends
disabled by default. The first adjustment of any send knob (even
clicking on it) will automatically activate the send. This keeps all sends
available with just one click, and keeps CPU usage to a minimum until
each send is needed.
7.1.7. Track I/O Section

The Track I/O section allows you to assign the input and output paths
for each track. This is exactly the same as it appears in the Arranger
Timeline Panel (see section 5.6.1).
7.1.8. Channel Strip Section

The channel strip section contains most of the same control items as the
track headers of the Arranger Timeline Panel.
› Record Arm button: Record enables the track.
› Solo button: When any channel has its solo button enabled, only those
with solo enabled will output their audio.
› Mute button: Disables the channel's audio output.
› Pan knob: A stereo placement control for the channel.
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7. THE MIX VIEW
› Peak Hold level: A readout of the strongest momentary level received

since transport play started. Clicking the peak hold level on any track
will reset this value for all tracks (as will stopping and restarting the
transport).
Also note that hovering over this indicator will present a pop-up
showing current Peak and RMS levels in stereo.
› Volume level: A readout of the channel's current volume setting.
› Level meters: Stereo audio meters that display the channel's output
level.
› Volume fader: A final level control for the channel.
7.1.9. Crossfader Section

The crossfader section contains a Global Crossfader on the master
track. Every other track has a Track Mix Selector, which allows you to
designate whether that track belongs to the Amix, both mixes, or the B
mix, respectively.
› When a track mix selector is set to the A position, that track will be
unaffected when the Global Crossfader is anywhere between the
leftmost and center positions, but that track's level will be gradually
faded out as the Global Crossfader moves from the center position to
the far right.
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7. THE MIX VIEW
› When a track mix selector is set to the B position, that track will be
unaffected when the Global Crossfader is anywhere between the
rightmost and center positions, but that track's level will be gradually
faded out as the Global Crossfader moves from the center position to
the far left.
› When a track mix selector is set to the both mixes option (the diamond
button at center), that track is completely unaffected by the Global
Crossfader.
Note
Realize that the crossfader settings are active regardless of whether

the crossfader section is visible or not.
In addition, the Global Crossfader's current position is also available

as a modulator signal for any device on any track to use (see section
19.27.3.3).
7.1.10. Comments Section

The comments section shows all track and unfolded layer/drum chain
comments side-by-side. These could be used for recording settings,
content reminders, mixing notes, or keeping track of to-do items — it is
your choice.
Clicking in the comment area allows for adding comments on that

object, or you can select and edit text as usual.
7.2. Other Mixing Interfaces

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
secondary panel in other views. We will briefly examine this version of
the panel within the Arrange View.
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7. THE MIX VIEW
To load the secondary Mixer Panel: click the Mixer Panel button in the
window footer, or press either [M] or [ALT]+[M] .
Note
Not every view supports every panel. The available panels within a
particular view will have their buttons shown in the window footer.
For a review of these buttons and how to load the various panels, see
section 2.2.1.
Again the left edge of the panel includes the Mixer view toggles. But
while all the toggles appear enabled, there are curiously few sections
being displayed.
By looking closer at the view toggles, you will notice that they are
mostly enabled but also grayed out. Bitwig Studio is acknowledging that
you have these sections enabled, but is also letting you know that there
isn't enough vertical space to display them all. While not all panels are
resizable, this one is.
To resize a panel: mouse over the panel's border that faces the middle
of the Bitwig Studio window. When the cursor becomes a bidirectional
arrow, click and drag the border.
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7. THE MIX VIEW
More of the enabled sections will progressively become visible (only the
track remotes section is missing in the image above), each working the
same as they did in the central Mixer Panel.
The only difference in this secondary version of the panel is that the Clip
Launcher Panel and the big meters section are unavailable.
7.2.2. Mixing in the Inspector Panel

Finally, the Inspector Panel will also display certain mixing parameters
whenever a track is selected. Whether in the Arranger Timeline Panel
or the Mixer Panel, clicking on the track header will focus the Inspector
Panel on that track.
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7. THE MIX VIEW
The device section is available in the central panel, as well as the track
remotes section if you switch to the second tab. And the track I/O and
channel strip sections below are largely as they were in the Mixer Panel.
The send section is also similar, offer a clickable menu for each
send's source setting (again, either Auto which inherits the FX tracks
preference, or an explicit Pre- or Post-fader setting) just below the
send's name.
7.2.3. Inspecting FX Tracks, and FX Track Sends

Everything just shown regarding the Inspector Panel holds true for FX
tracks, but one additional parameter is worth noting: the button labeled
Pre-fader (Cue).
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7. THE MIX VIEW
We have spoken of FX track's having their own send source preference,

hence the Auto option on track sends. FX tracks default to the post-
fader model, which is more common for mixing.
To switch an FX track's preference to pre-fader: simply enable an FX

track's Pre-fader (Cue) button. Whether this is for cueing, monitor
mixing, or some other special effect, any send to this track using the
Auto source will follow and immediately start sending its signal pre-
fader.
Finally, FX tracks (and FX layers within Drum Machine) also have sends.
And since this means FX tracks can be routed to other FX tracks, the
visualization is a little different on these tracks, and the logic could use a
little explanation.
To avoid feedback mayhem, one simple rule is in place: FX tracks

sending to their right are processed normally, and FX tracks sending to
their left ('backwards') are delayed by one audio buffer. So let's walk
thru the previous image as an example case.
The highlighted FX track (named Delay-2) is the second of four FX

tracks in that project. The bottom two sends, labeled Distortion and
Reverb, are sending to the right, so they appear the same as all other
tracks' sends 3 and 4. The send to FX 1 (Pasture) is going to the
left, however. So the little left facing triangle is reminding us of this
relationship and the delay added to keep us safe. Finally, the send to FX
2 is indeed a feedback routing, hence the feedback icon. This routing
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7. THE MIX VIEW
also uses a one buffer delay, and like all other send labels, the icon is
clickable to enable or disable this send.
7.3. Master Track Routing

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 default output of the master
track is set to Studio, which refers to the output set in the Output
Monitoring Panel. We will now examine this panel and then see an
example setup where a multichannel audio interface is used.
7.3.1. Output Monitoring Panel

Clicking the Output Monitoring Panel view toggle (the speaker icon) in
the window footer will call up the panel.
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7. THE MIX VIEW
The top area of the panel displays the following audio settings:
› The Output Monitor Selector lets you select which pair of speakers
and/or sets of headphones are being used for any track whose output
is set to Studio.
The monitoring options are those you have defined under Settings >
Audio in the Dashboard (see section 0.2.2.2) using the same interface.
To toggle a monitor: click the monitor's icon.
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7. THE MIX VIEW
Only one pair of speakers can be active at a time, and any number of
headphones may be used.
A fuller example with multiple monitoring options is presented in the

next section.
› The Mono button toggles your studio output(s) from stereo to a

mixed-down mono output.
› The Local Solo button applies when working with container devices
that have discrete layers that include their own solo buttons, such as
Drum Machine. When this function is enabled, solo logic is applied at
the local device level. In this case, soloing one instrument layer/chains
only mutes that device's other layers. This is the default behavior.
When this function is disabled, solo logic is applied at the global level.
In this case, soloing one chain of a Drum Machine would effectively
mute all other tracks in your project.
The middle area of the panel displays the following cue and preview
settings:
› The Cue / Preview output menu sets the monitoring destination for
both cue signals (when the Solo as Cue button is active) and Browser
Panel previews.
This is particularly useful for performance situations. For example, this

allows you to cue up certain signals in your headphones before adding
them to the main mix.
› The Solo as Cue button alters how solo works. When this function is
enabled, all solo-enabled tracks are also routed to the cue output, and
all other tracks are routed as usual. Solo buttons themselves will be
switched from S to C to reflect this.
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7. THE MIX VIEW
When this function is disabled, normal solo rules apply (see section
3.1.3). When enabled, two additional parameters available:
The Post-Fader toggle applies each track's volume level before

routing the signal to the set cue path.
The Cue Mix control is a crossfader, blending between the output

Studio buss output on the left and the cue signals on the right. This
allows you to set a mix of the two on your cue monitor.
› The Cue Level controls sets the volume out for cue monitoring. As this
buss is also used for previews in the browser panels, it is relevant even
when the same audio path (say, headphones) is used for both your
Studio and Cue / Preview outputs.
7.3.2. Multichannel Audio Interface

Most audio settings in the Output Monitoring Panel are only useful when
you have more than one audio output option. To show one use case, I
have connected a multichannel audio interface and made the following
configuration in the Audio tab of the Preferences window.
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7. THE MIX VIEW
Let's walk thru the example shown above.
Under Audio Inputs, three paths have been set up:
› Mic In is a mono input path that uses input 1 of our audio interface.
› Guitar In is a mono input path that uses input 2.
› Synth In is a stereo input path that uses inputs 3 and 4.
› FX Unit 1 is a stereo input path (for a hardware effects unit) that uses
inputs 5 and 6.
Under Audio Outputs, four paths have been set up:
› Phones is a stereo output path that uses outputs 1 and 2 of our audio
interface. This path has a role of Headphones.
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7. THE MIX VIEW
› 5-inchers is a stereo output path (for my 5" speakers) that uses outputs
3 and 4. This path has a role of Speakers.
› 8-inchers is a stereo output path (for my 8" speakers) that uses

outputs 5 and 6. This path has a role of Speakers.
› FX Unit 1 is a stereo output path (for a hardware effects unit) that uses
outputs 7 and 8. This path has a role of Output.
The audio input paths will now be available in various places in the
program, such as audio tracks' input choosers.
The audio output paths will be available from every track's output
chooser, but they will also appear in the Output Monitoring Panel.
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7. THE MIX VIEW
You will notice that only the monitoring options (Speakers and
Headphones) are available here. Setting a path to an Output role makes
it available for signal routing, but not for monitoring.
So in this example, my project's master track is routed to Studio.

Because the Output Monitor Selector of the Output Monitoring Panel
is set to 8-inchers, anything reaching the master track is getting passed
to my 8-inch speakers. And because Solo as Cue is enabled, any track
that is solo-enabled (and any Browser Panel content being previewed) is
routed to Phones.
If you have a simple setup and never click any of these options, audio
will be routed to the right place. But if you have more sophisticated
requirements, the settings shown here and Bitwig Studio's routing
options will cater to your needs as well.
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8. Introduction to Devices
The word "devices" has come up a few times now. For one thing, we
have already been using them on instrument tracks and know how to
load them (see chapter 4). For another, we have seen how other Bitwig
Studio interfaces give us access to devices we were already using (see
section 7.1.5). But in this chapter, we are finally dealing with the nuts and
bolts of loading and using devices. This small exploration will benefit
users of all levels.
Note
More "advanced" device concepts are covered in chapter 16, which

assumes familiarity with the concepts found in this chapter.
The purpose of this chapter is not to teach you the particulars of any
device. Instead, it is to acquaint you with accessing devices, their general
interface concepts, and the layout of the Device Panel. A short section
about the Bitwig devices themselves can be found at the end of this
document (see chapter 19).
To expand slightly on chapter 1, each track in Bitwig Studio is equipped

with a device chain. Each track passes all played-back audio, note, and
MIDI signals to this device chain, which passes the messages from one
device to the next, like a bucket brigade. The final device in the chain
returns its audio output back to the track so that the mixing board
controls (volume, panning, etc.) can be applied before the audio is
passed to the track's assigned output buss.
Devices are grouped into the following descriptive categories:
› Analysis. Devices that merely visualize the signals that reach them.
They make no effect on the audio chain they are a part of.
Examples include Oscilloscope and Spectrum, which both have mini

views and Expanded Device View options.
› Audio FX. Devices that manipulate incoming audio signals before

passing them onward.
Examples include Blur, Freq Shifter, Ring-Mod, and Treemonster.
› Clap. Clap drum element instruments that use incoming note signals to
synthesize audio.
Examples include the electronic drum emulator, E-Clap.
› Container. Utility devices whose primarily function is to host other

devices.
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8. INTRODUCTION TO DEVICES
Examples include Instrument Layer (for stacks), Instrument Selector

(for cycling notes [via Round-robin, Keyswitches, etc.] to various
instruments), and Multiband FX-2 (for multiband audio processing).
› Delay. Delay line-based processors that operate on their incoming

audio signals.
Examples include various configurations of single tap delay lines

(Delay-1 and Delay-2) and multitap delay lines (Delay-4).
› Distortion. Shapers and other mangling processors that operate on

their incoming audio signals.
Examples include Amp, Bit-8 (a signal degrader) and Saturator.
› Drum Kit. Drum kit-oriented devices that work with other instruments.
Examples include the container-style Drum Machine (for separate

chains trigger by each note pitch that comes in).
› Dynamics. Processors that operate on their incoming audio signals,

based off of those signals' amplitude levels and trends.
Examples include Compressor, Gate, Peak Limiter, and Transient

Control.
› EQ. Sets of frequency-specific processors that operate on their

Examples include various configurations of equalizers (such as EQ+

and EQ-DJ).
› Filter. Frequency-specific processors that operate on their incoming

audio signals.
Examples include Filter+ (for combining one of ten filter modules with
any of 14 waveshapers), his performance-friendly companion Sweep
(with two filter slots and clever macro controls), a layered Resonator
Bank, and an endlessly configurable Vocoder.
› 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.
Examples include HW Clock Out, HW CV Instrument, and HW FX.
› Hi-hat. Hi-hat drum element instruments that use incoming note signals
to synthesize audio.
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Examples include the electronic drum emulator, E-Hat.
› Kick. Kick drum element instruments that use incoming note signals to
synthesize audio.
Examples include the electronic drum emulator, E-Kick.
› MIDI. Transmitters for sending various MIDI messages via the track's
device chain. This is useful for sending messages to plug-ins or to
external hardware (when used in conjunction with Bitwig's hardware
devices).
Examples include MIDI CC, MIDI Program Change, and MIDI Song
Select.
› Modulation. Processors that manipulate incoming audio signals with an

LFO, etc., influencing their function.
Examples include the high-level Chorus+, Flanger, and Phaser+-type

processors, as well as moving Rotary and Tremolo effects.
› Note FX. Devices that manipulate incoming note signals before passing
them onward.
Examples include Arpeggiator (for animating held notes), Multi-note

(for using single notes to trigger multiple notes), and Note Repeats (for
repeating held notes at a timing interval, with optional chance, accents,
Euclidean rhythmic pattern, and more).
› Organ. Yes, organ emulators that use incoming note signals to

synthesize audio.
Examples include the drawbar-based Organ.
› Percussion. Percussion instruments that use incoming note signals to

synthesize audio.
Examples include the electronic drum emulator, E-Cowbell.
› Reverb. Time-based processors that operate on their incoming audio

signals.
Examples include the eponymous Reverb device and the open-ended

Convolution.
› Routing. Devices that divert a track's signal path, allowing signals to

exit and/or reenter the track.
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Examples include Audio Receiver (for bringing in audio signal from

other track or input) and Note Receiver (which does the same for note
signals).
› Snare. Snare drum element instruments that use incoming note signals
Examples include the electronic drum emulator, E-Snare.
› Spectral. Devices that operate in the frequency domain, working with

hundreds of individual frequency bands.
Examples include Transient Split (for separating the percussive, noisy

parts of a sound from the tones [see section 19.22.4]), Loud Split (for
adjusting the quiet, mid, and loud parts of any individual moment [see
section 19.22.3]), and Harmonic Split (for taking odd harmonics, even
harmonics, and non-harmonics into three different signal paths [see
section 19.22.2]).
› Synth. Synthesizer instruments that either generate their audio from

rudimentary source material or use audio samples. Incoming note
signals are used to synthesize audio.
Examples include Polysynth, FM-4, and Sampler.
› The Grid. Devices utilizing The Grid, Bitwig's modular sound-design

environment (see chapter 17).
Examples include FX Grid (for building audio effects, etc.), Note Grid
(for creating note processors or even note generators) and Poly Grid.
› Tom. Tom drum element instruments that use incoming note signals to
synthesize audio.
Examples include the electronic drum emulator, E-Tom.
› Utility. An assortment of devices sporting various generating,

processing, and time-shifting functionality.
Examples include signal generators (such as Test Tone), processors

(such as Tool), and the unique Time Shift device, for moving audio and
notes signals either later or (relatively) earlier in time.
So while devices aren't always necessary, they can make things a whole
lot more interesting and open up possibilities that you may not have
previously thought of.
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8.1. The Device Panel

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 Device Panel and see
what it has to offer.
8.1.1. The Panel Itself

Let's take a simple example of a track that contains two devices: one
instrument and one audio FX.
Note that the above image shows the instrument on the left and the
audio FX on the right. In the Device Panel, signal always flows from left
(input) to right (output). While you could swap the position of these
devices, you probably would not get the desired outcome.
Starting with the outer rounded rectangle, we find on its left edge an
abbreviated, vertical track header. Included here are the familiar track
color stripe and track name.
Other than the group (including project) and track headers, all space in
the Device Panel is reserved for devices. But before the first device (and
after every device) comes a vertical column containing three items:
› The note indicators light up when at least one note signal is active at
that stage. (This is similar to a MIDI "note on" message that has not yet
been followed by a corresponding "note off.")
› The Add Device button calls up the Pop-up Browser window.
› The audio meters indicate the presence and level of audio signal being
received and transmitted by each device.
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The Add Device button is present in all these locations so that you
can insert additional devices at any point within the device chain. The
note indicators and audio meters are present at every device handoff
to visually inform you of signals that are changing as the signal flow
progresses. As relevant texts and your own experimentation will teach
you, the order in which devices are connected is critical to the outcome.
Each device has its own vertical header on its left edge. Common
elements in device headers are:
› Device Enable button: Toggles the device between on (engaged) or

bypass mode (temporarily disabled).
› Device Name: The official name of the device, or a substitute name that
you have selected (see section 16.2.4).
› Remote Controls button: Toggles to reveal the Remote Controls pane

for the device (see section 15.1.1).
› Modulators button: Toggles to reveal the Modulators pane for this

device.
Finally, the body of each device contains its own various parameters.
They can take the form of knobs, sliders, numerics, text and graphical
lists, buttons, curve controls, clickable graphic interfaces, and more. All
parameters can be set with the mouse by simply clicking and dragging.
8.1.2. Player Mode

Some instruments and other devices are limited to specific versions
of Bitwig Studio. But even so, your license may include presets that
make use of these devices. In this case, the preset will be loaded in a
player mode, with the preset's remote controls available as the way to
manipulate the sound.
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As with this Poly Grid patch from Bitwig's Essentials package, notes
can be sequenced, remote control automation draw and edited, audio
bounced, etc.
Additionally, this makes it possible to collaborate with any Bitwig Studio

user because project files work in a similar way — giving you can access
to remotes and free sequence editing for devices that are not part of
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your license. You can then do work, save your changes, and send the
project back and forth.
8.1.3. Track Headers in the Device Panel

The Device Panel also contains headers for each level from this track up
to the master track. This will usually just include one project header and
one for the track, allowing remote controls and modulators to be added
at either level.
If group tracks are involved, you will also get a header for each level
within the hierarchy.
To show the Inspector Panel for any track in the Device Panel: select
that track's device header. Since the track inspector includes the track's
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meter and mixer controls, this can be a very helpful short for viewing the
master output level, or focusing on any other track.
To show/hide the higher-level track headers from the Device Panel:

right-click on any device header to expose the Show group headers in
Device Panel option.
When disabled, every Device Panel will simply start at the local track
level.
8.1.4. The Expanded Device View

Certain devices have an optional Expanded Device View. This list
currently includes several instruments (FM-4, Phase-4, Polysynth, and
Sampler) and some audio effects or analyzers (Compressor+, EQ+,
EQ-5, Resonator Bank, as well as Oscilloscope and Spectrum Analyzer),
and all devices that give access to The Grid (Poly Grid, FX Grid, and
Note Grid), as well as devices that are Grid-powered (including the
Polymer synth, and the audio FXs Filter+ and Sweep). Each of these
devices has an Expanded Device View button in its device header.
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Clicking the Expanded Device View button covers the central panel area
with additional controls and visualizations for the device.
The Expanded Device View can also be loaded as a separate floating

window by clicking the undocking button (the box with an arrow
ascending out of it) in the top right.
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Once floating, the Expanded Device View will remain visible regardless
of what track is selected. You can always close the window or click the
re-docking button (the box with an arrow, propelling the window back
to Earth) to rejoin the view within the main window.
Note
This behavior can be changed with Floating windows follow current

track setting. This preference can be found in the Dashboard under
the Settings tab on the Behavior page in the Device category.
Enabling this setting will hide any floating Expanded Device View
windows when a different track is selected and restore them when
you select their track again.
Additionally, this setting provides a thumbtack toggle at the top

right of the window, allowing you to make some floating windows
persistent while the others only appear when their track is selected.
These views can also be accessed via mixer and Inspector Panel
interfaces in Bitwig (see section 7.1.5).
8.1.5. FX Tracks and Send Amounts

FX tracks have one unique feature in the track header of the Device
Panel.
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When the effects sends button is enabled, the effect sends pane is
visible within the track header area. This resizeable pane shows a list of
all instrument, audio, hybrid, and nested group tracks in your current
project. Each track is listed along with a meter showing its current
output level and a control for the send amount targeting this FX track.
Essentially, this is a "mixer" view of the buss that feeds the FX track. And
tracks that have track fold buttons on the mixer (see section 7.1.1) have a
similar fold button here.
Additionally, clicking on the name of any send toggles whether it is

active or not, saving processing when unneeded or allowing for a
'bypass' while keeping your level setting.
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8.2. Plug-ins
The other kind of devices that can be used in the Device Panel are plug-
ins, such as VST or CLAP plug-ins. Aside from setting up Bitwig Studio
to recognize the plug-ins 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 with Bitwig devices, and both generally
function in the same way, but the interface for plug-ins is a bit different.
The bulk of the panel is reserved for the plug-in's Parameter area, but
the parameters are in the form of a long scrollable list of knobs. And
above this list is a single joker knob, which is really an alias (or wild card)
which follows the last plug-in parameter that you touched. So after you
scroll halfway down a very long parameter list, the last parameter you
adjusted will still be accessible just above the list.
The top row of most plug-in devices has three important controls:
› The Plug-in Parameters button (with a knob icon) is lit up whenever the
joker knob and list of parameters are being shown below.
› The next button varies depending on the type of plug-in your have
loaded:
Most plug-ins then have a Post FX chain button (with a single right-
facing arrow for an icon), as was shown in the above image. Clicking
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this button expands the right edge of the plug-in interface to display
a chain where other devices and plug-ins can be loaded.
The advantage of loading devices within a plug-in's Post FX chain is

that when you store a preset for this plug-in, that preset will include
all attached devices as well as their settings. So in the example above,
saving a preset for Surge would include the Chorus device and the
MasterVerb 5 plug-in along with all of their current settings, but the
Blur device would not be included.
Note
For more information on nested device chains, see section 16.1. And
for specific information on Post FX chains, see section 16.1.3.
Multichannel plug-ins do not have a Post FX chain button and

corresponding chain. Instead, they have a Multi-out chain button (with
two right-facing arrows for an icon). Clicking this button toggles the
parameter area below to instead show the Multi-out chain selector.
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This chain mixer gives you mixing controls for all the various outputs
of this multichannel plug-in within the current stereo track. Clicking
on the plug-in parameters button will return the parameter area to its
normal joker knob and parameter list.
To access audio channels from a multichannel plug-in on a different

track: either from a track's audio input chooser or from an Audio
Receiver device's SOURCE menu, select the track of the multichannel
plug-in, then select its Chains submenu, and finally select the desired
audio source.
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› The Parameter Search field is provided in the top of the plug-in area to
let you filter the parameter list and find what you are looking for.
This is useful as the parameter list for a complex plug-in can be

exceedingly long.
The parameter search field's magnifying glass icon also doubles as a

menu. By clicking on this icon, you can thin the parameter list to Show
only automated and modulated parameters. You can also revisit your
recent SEARCH HISTORY from this menu.
If remote controls are configured for your plug-in (see section 15.1.1),
an active controller may show parameter mappings here using small
colored circles in both panes.
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Finally, in the device header for any plug-in is a Plug-in Interface button.
Clicking this button calls up the plug-in's custom interface in a floating
window.
(As all plug-ins have their own custom interface, please don't expect
anything else to look like Surge, shown as the example above.)
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8.3. Working with Devices

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 affect the operation of
any device.
To select a device: single-click its track header.
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The currently selected device is indicated with a dashed white border.

Once selected, all regular Edit functions apply, such as cut, copy,
duplicate, and delete.
To move devices around: click and drag the device header to the desired
position within the Device Panel.
As the status message in the footer suggests, [CTRL] ([ALT] on Mac)

can be added to toggle the move to a copy function.
To replace one device with another: drag the desired device or preset
from the Browser Panel onto the device to be replaced.
Once the mouse is released, the device will be replaced.
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To layer a device with another: [SHIFT]-click and drag the device over
top of the device where the layer should be inserted.
Depending on the type of devices being layered, an appropriate

container device will be created and populated with your selections.
Note
For more information on container devices and other advanced

device concepts, see chapter 16.
To rename a device: select the device and then change its name from
the Inspector Panel (see section 16.2.4).
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9. Automation
With the mixer interface (chapter 7) and our introduction to devices
(chapter 8), we examined both track and device parameters that you will
want to set as your own tastes dictate. But fixing these parameters to
certain values is probably not enough.
If you can think about how a song develops — from the arrangement
growing as parts gradually fade in and find their place in the stereo
field, to instruments becoming more animated as their tones morph
and brighten, to parts gradually fading away by both losing volume and
increasing reverb — then you can visualize the series of long and short
curves that represents a piece of music and its structure.
Automation is the animation of any defined parameter over time. It is

usually thought of as narrative and rigid (in the same way the Arranger
Timeline defines a particular musical progression), but Bitwig Studio also
supports both a clip-oriented approach to automation, and techniques
for having multiple layers of control cooperate to shape individual
parameters in a relative way.
We will start our look at modulation back in the Arranger Timeline

Panel, where we can work directly with traditional track-based
automation. Then we will meet the Automation Editor Panel, whose
sole purpose is displaying and manipulating automation. We'll then see
how clip-based and relative automation can enhance our workflows
and music in ways both novel and powerful. And finally, we'll look at
keyboard editing workflows for automation.
Let's get those parameters dancing.
9.1. Automation Basics

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 2.88 kHz or 124 %, that exact
value will be set and preserved until the automation dictates otherwise.
Bitwig Studio can accommodate this kind of automation, and it can be

achieved with our old friend, the Arranger Timeline Panel.
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9. AUTOMATION
9.1.1. The Arranger's Automation Lane Section

The one item in the Arranger that we have not looked into yet is the
Automation Lane button within each track header. When a track has this
button enabled, the Automation Lane section for that track becomes
visible.
The Automation Lane section appears just below the track header and
extends across the Arranger Timeline area as a place to show its own
time-based data. Like all automation lanes, this one is resizable.
This track header section contains the following controls:
› Parameter chooser: Indicates and selects which parameter is displayed

in this primary lane.
› Pin Parameter button: Maintains this lane's focus on the current

parameter. This is disabled by default, which causes focus to follow the
last clicked parameter.
› Add Lane button: Creates an additional automation lane that is fixed on

the currently selected parameter.
› Show Favorites/All button: Toggles between displaying additional

lanes for either your favorite parameters or for all parameters that are
automated.
By clicking on the Parameter chooser, we will see a list of all automation

targets for the selected track.
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9. AUTOMATION
The list is displayed in signal-flow order, starting with any MIDI

automation lanes that are present. Listed next in order are all devices
directly on the track's device chain. (Nested devices appear within their
parent device's menu.) After that are Mixer elements, including track
Volume and other parameters shown above. The last item, Add MIDI
lane…, calls up a window.
In order to add a MIDI automation lane, you have to set the MIDI Channel
and the Type of message for this lane. Message types include Pitch
Bend, Ch. Pressure (sometimes called aftertouch), and Control Change
(which also requires a Controller Number).
The background of the Automation Lane in the Arranger Timeline faintly

hints at notes or audio events on the current track. These cannot be
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9. AUTOMATION
selected or edited; they are just illustrations to help you define your
automation in relation to the track's contents.
This area is where our automation functions will be defined. And while
this lane might seem empty, one subtle datum is present.
As the picture above shows, there is a light gray line just above the note
outlines. This is the current automation curve of the track's volume. And
since there are no additional automation points, that curve is a flat line at
the current setting of +0.00 dB. If we were to grab the volume fader in
the track header and make it quieter (by dragging it to the left), the gray
line would follow.
9.1.2. Drawing and Editing Automation

We will start with manipulating single points of automation. Similar
processes will also work when multiple values are selected.
To create a single point along the automation curve: click in an area

along the curve, and then drag the point to the desired value and
position. Or single-click anywhere within the automation lane with the
Knife tool.
We can repeat this a few times to create a small shape.
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9. AUTOMATION
Note that dragging your mouse along the automation curve displays the
parameter value beside your cursor for that song position. Also note the
blue circle that has appeared near the top of the volume fader's range.
This automation indicator — which looks like a misplaced automation
point — indicates that the parameter in question is under the control of
automation.
To create a single point outside the automation curve: double-click any

area of the automation lane.
To move an automation point: click and drag the point with the mouse.
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9. AUTOMATION
Note
The absolute grid setting constrains the movement of automation

points. To temporarily toggle this setting off, hold [SHIFT] while
placing points.
To adjust the transition between two automation points: [ALT]-click and

drag the curve between two points.
To reset a transition (to linear interpolation): [ALT]-double-click the

transition.
To shape both transitions around an automation point: [ALT]-click and

drag the point.
To delete an automation point: double-click it. Or single-click the point to

select it, and then press [DELETE] or [BACKSPACE].
To delete all automation for a parameter: right-click on the parameter

and select Delete Automation from the parameter's context menu.
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9. AUTOMATION
To redraw an automation curve: click and drag horizontally with the Pen
tool.
Once you release the mouse, the curve will be optimized to maintain its
shape with the minimum number of points.
To select multiple points: either click and drag a selection rectangle

around the points of interest, or switch to the Time Selection tool and
click and drag horizontally.
To time scale a range of automation points: first make a time selection

(with the Time Selection tool), and then [ALT]-drag on the left or right
boundary of the selection.
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9. AUTOMATION
9.1.3. Parameter Follow and Automation Control

While you could use the Parameter chooser every time you need to
find a parameter, the chooser can help you. Its default behavior is to
focus on whichever parameter you select with the mouse. We call this
initial automation lane the joker lane because like a wild card, it takes on
whatever function you want it to.
For example, clicking the track's mute button will now focus on the
primary lane for that parameter.
If you then click on the track's volume fader, focus will return to the
volume parameter.
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As you can see, the automation that was drawn a minute ago has not
been lost. This primary lane is simply shifting its focus with each mouse
click.
To lock the Parameter chooser to its current selection: enable the Pin
Parameter button.
In the example shown, the Parameter chooser will now stay focused on
the Volume parameter even if you click on the track mute button or any
other parameter.
Additionally, Bitwig Studio will let you temporarily override the

automation values you have set. This will automatically occur whenever
you grab an automated parameter and adjust it.
The automation indicator for the volume parameter has switched from
blue to green, indicating that the automation's control of this parameter
has been broken for the time being. At the same time, the Restore
Automation Control button within the display section of the window
header is now tinted green, indicating that it is armed.
To restore the control of automation over all parameters: click the

Restore Automation Control button.
The Automation Follow button, beside the beat grid settings in the
bottom right corner of the panel, is worth mentioning here. This button
toggles whether track automation is moved in tandem with Arranger
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clips or not. The setting is enabled by default so moving a clip would

have the following effect.
Disabling the button and moving the clip back would leave any and all
track automation behind.
The would hold true for movement functions, such as copy, duplicate,
etc.
9.1.4. Additional Automation Lanes

At times it will be useful to view the automation curves of several
parameters at once. To achieve this, Bitwig Studio supports fixed
automation lanes that appear beneath the dynamic primary lane.
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9. AUTOMATION
To create a fixed automation lane for a parameter: select the desired

parameter in the chooser, and then click the Add Lane button.
While it looks as though the lane just duplicated itself, there are some
key differences here.
Only the top lane has a parameter chooser. The new lane — and any
subsequent lanes — only has a text label indicating the device and
parameter being automated so it cannot change focus.
You will also notice that the new lane has two slightly different interface
buttons beneath.
› Favorite button: Marks the parameter to be displayed in the favorites

list.
› Delete Automation button: Deletes all automation for the lane's

parameter and removes the lane.
As the Show Favorites/All button above is indicating with its star icon,
tracks default to displaying favorite parameters. When favorites are
being shown, clicking the Add Lane button both creates the fixed lane
and automatically marks this parameter a favorite. The enabled Favorite
button of our new lane demonstrates its status.
To remove a fixed lane's favorite status: disable the lane's Favorite

button.
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9. AUTOMATION
This essentially puts us back to where we started.
Please do not confuse the Delete Automation button for a "close"

button. Clicking it instead of the Favorite button will collapse the
additional lane, but it will also delete the automation for that parameter.
To display all parameters that have automation: toggle the Show

Favorites/All button to the All setting and icon.
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9. AUTOMATION
The list of automated parameters can also be accessed from the top of
the Parameter chooser list.
9.1.5. Recording Automation

The automation write mode is set within the Play menu in the window
header's transport section.
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There are three modes for recording automation.
› Latch mode begins recording automation values as soon as you begin

changing parameters. Recording then continues until the transport is
stopped.
› Touch mode also waits until you have begun changing parameters
to begin recording automation values, but once you stop interacting
with a parameter, recording is halted and any preexisting values are
preserved.
› Write mode is the most destructive, recording automation values from

the time the transport is launched until it is stopped. Any preexisting
automation points that are passed will be overwritten.
Automation recording is separately included in both the Arranger

Timeline Panel and the Clip Launcher Panel.
To record automation in the Arranger Timeline: enable the Automation

Record button in the transport controls section of the window header,
and then start the transport.
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9. AUTOMATION
Whether the transport is playing or recording, any parameter

adjustments made on this track will be printed as automation. Once the
transport is stopped, the automation curve will be optimized and the
Automation Record button will be disabled.
Note
In the Dashboard under the Settings tab on the Recording page in the
Recording section is an option called Write Automation on Record.
If this option is enabled, the Arranger's Automation Record button
will automatically be enabled whenever the Global Record button is
armed.
To record automation in the Clip Launcher Panel: enable the track's

record arm button and the Launcher's Automation Record button, and
then begin recording a clip.
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9. AUTOMATION
If the Automation Lane button is enabled for the track, the clip's
automation will be displayed in the bottom of the clip.
9.2. The Automation Editor Panel

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 Editor Panel.
9.2.1. Track Editing Mode

When the Automation Editor Panel is initially called up within the
Arrange View (by clicking the Automation Editor Panel button in the
window footer), it opens in track editing mode.
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9. AUTOMATION
In this mode, the interface should look quite familiar. Due to the
presence of the Beat Ruler (see section 3.1.1), unique beat grid settings
(see section 3.1.2), and unique snapping settings (see section 5.1.2), this
looks a lot like the Arranger Timeline Panel. The difference is that the
general purpose Arranger Timeline area has been replaced with the
Automation Lane area for our currently selected track.
And the Automation Lane area is essentially an enlarged version of

the primary automation lane we just saw in the Arranger Timeline
Panel. This one also has a Parameter chooser on the left side, and the
Automation Lane area is being used to display the automation curve of
this parameter over a backdrop of the track's contents.
All of the automation drawing and editing functions we learned in the

Automation Lane section of the Arranger Timeline Panel will work
identically here. But there are a couple differences.
› The Automation Editor Panel contains only one automation lane. If you
are looking to view multiple parameters from one track, the Arranger
Timeline Panel is the way to go.
› The clip aliases (that float above the Automation Lane area in the Beat
Ruler) are indicators of where the track's clips are starting and ending.
But these aliases are also editable.
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In the same way that Arranger clips can be moved (see section
5.1.2), edited (see section 5.1.3), and looped (see section 5.1.8), these
same actions will work on the clip aliases. Just remember that the
Automation Follow setting (see section 9.1.3) will determine how
automation is affected by any clip movements or edits.
So this track editing mode of the Automation Editor Panel is a focused

way to work with standard track-based automation. And for less
standard, less track-based automation, there is the Clip Editing button in
the top left of the panel.
9.2.2. Clip Editing Mode

At times it will be useful to have automation attached to a clip rather
than to a track's timeline. This is ideal, for example, whenever you want
the automation to repeat each time the clip does, or when you are
working with the Clip Launcher.
When you want automation to be attached to an Arranger clip instead

of the track's timeline, you can switch the Automation Editor Panel from
track editing mode to clip editing mode by enabling the Clip Editing
button.
When you are working with Launcher clips, all automation is done in clip
editing mode with the Automation Editor Panel.
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9. AUTOMATION
Once we break out of the track-based mindset, the same considerations

come up as when we talked about the Clip Launcher Panel originally.
Without the context of a track, our clips are essentially untethered to
any fixed timebase or duration. And for this reason, clips viewed here
generally use position 1.1.1.00 (often spoken as "bar 1, beat 1") as the
relative start of the clip.
This is also where the Launcher's notion that clips should loop by default
comes into play. In the clip editing mode of the Automation Editor
Panel, we now get to decide if a clip's automation data should be
tethered to its musical content or should play more freely.
The Free Running button contains an icon of a man running with the
word Free. Once enabled, the clip's automation data can now be
adjusted to play back differently from the clip's notes/audio. Once the
Free Running button is enabled, the Start parameter below can now be
adjusted, determining which part of the clip's automation will play back
first.
Beside the Free Running button is the Custom Loop button. When
enabled, this allows you to set different values for the automation's Loop
Start and loop Length settings. When disabled, the clip's automation will
loop just as the clip's musical content does.
These options can create some very dynamic situations, as in the

example shown below.
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9. AUTOMATION
Aside from the Free Running and Custom Loop buttons being enabled,
the only change made was increasing the automation's loop Length from
1.0.0.00 (one bar) to 1.1.0.00 (one bar and one quarter). By making the
automation loop repeat every five beats while the clip's notes repeat
every four beats, the automation and notes will only line up in every fifth
bar (every 20 beats).
Note
When any of these parameters are changed, you will need to

retrigger the clip for the changes to be registered.
This example is just one way to create rich variation among a single
clip's musical content and automation. With the options available, you
are free to find your own preferred usage.
9.2.3. Relative Automation

All the work we have done so far involved absolute automation. In this
paradigm, the automation values specified map to exact values in the
parameter's units. A series of examples was already given at the top of
this chapter: -9.43 dB, 2.88 kHz, and 124 %.
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Bitwig Studio also has the capability to adjust most parameters in a

relative way. With relative automation, you can move a parameter ±50%
of its total range (additive automation), or scale a parameter toward
zero, anywhere from 100% of its current value to 0% (multiplicative
automation).
When we started working in clip editing mode, three buttons appeared

beside the Autom. Type label.
These three icons represent our automation mode choices of absolute

automation (A), additive automation (+), and multiplicative automation
(x).
When any of these icons are shaded in, this indicates the presence of
that type of automation. So the image above is displaying that absolute
automation was present for the selected parameter. An unshaded icon
suggests that none of that automation type is present.
Note
All forms of automation can be present for a single parameter. In this

case, the absolute automation is applied first and then modulated by
the additive automation. Multiplicative automation is applied last and
has the final word, as multiplication always does.
For one example use, I will take a one-bar Launcher clip. I want its filter
cutoff to move up a little, down a little, and then back to the middle in
each bar. I can draw this with additive automation.
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We can see that this automation is ending at 0.00% so this additive

automation is bipolar, moving up to about 20.0% and dipping evenly to
about -20.0%. We can also see that the additive modulation icon is the
only one shaded so it is currently the only form of automation for this
parameter.
Next, I will drag this Launcher clip into the Arranger and loop it so that it
lasts for eight bars.
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9. AUTOMATION
By viewing the absolute automation — the track automation here, since

we are back in the Arranger — the automation curve has been extend
for our eight bars, but it doesn't appear to be balanced around zero
anymore. Let's look at both our automation and Filter device together.
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9. AUTOMATION
We can see now that the default value of the Cutoff parameter is a good
deal below the center of the range. Since the automation is relative, we
can move the Cutoff knob to recenter where the automation lands.
I will leave you here with two ideas. The first idea is to now draw
absolute automation over the course of these eight bars, taking the
Cutoff from low to high and then back to low. I will do this by double-
clicking to add three automation points, and then [ALT]-clicking and
dragging the center point to reshape the curve.
The solid blue line represents the absolute automation curve. The
shaded curve is showing the final parameter value, which is the result
of both the absolute and relative automation together. By activating
the transport, you would see the Cutoff control animated to match the
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9. AUTOMATION
absolute automation curve, and the Cutoff knob's indicator ring would
be moving to match the final parameter value.
The second idea is to not use absolute automation. Instead, use relative
automation to give a sense of motion. And then during playback move
the parameter control itself in realtime, perhaps with a MIDI controller
(see chapter 15). This could be a very strong performance technique.
Note
Whenever a parameter's level indicator is moving separately from its

control (as with the Cutoff knob and its indicator ring in the previous
example), modulation is taking place. Relative automation is one form
of modulation, and several others are discussed in section 16.2.
9.3. Keyboard Editing with Automation

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 between your selection type.
[CTRL]+[T].
Note
0.2.2.5).
9.3.1. Object Navigation with Automation

With automation points selected directly, the default left–right behavior
is for making a selection.
To select the previous or next automation point: press [LEFT ARROW]

or [RIGHT ARROW].
To extend your current selection to include the previous or next

automation point: press [SHIFT]+[LEFT ARROW] or [SHIFT]+[RIGHT
ARROW].
240
9. AUTOMATION
While modifying selection is the default behavior when working directly

with automation points, selected points can be moved as well.
To move selected automation points by the current editor's beat grid

value: press [ALT]+[LEFT ARROW] or [ALT]+[RIGHT ARROW].
To move selected automation points by a fine amount (one-sixteenth

of the current editor's beat grid value): press [SHIFT]+[ALT]+[LEFT
Additionally, the value of automation points can be directly adjusted.
To move selected automation points up by a coarse (larger) amount:

press [UP ARROW] or [DOWN ARROW].
To move selected automation points up by a fine (smaller) amount: press

[SHIFT]+[UP ARROW] or [SHIFT]+[DOWN ARROW].
9.3.2. Time Selection Navigation with Automation

Making a time selection in an automation lane is as simple as clicking
anywhere with the Time Selection tool (or with the Pointer tool, clicking
away from the current automation line). Once time is selected, key
For automation lanes, these events include:
› The times of all automation points on the current lane
› Arranger Loop start and end times
editor)

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:


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9. AUTOMATION
To move using the current editor's beat grid marker value: press
To move by a fine amount (one-sixteenth of the current editor's

beat grid value): press [SHIFT]+[ALT]+[LEFT ARROW] or
On automation lanes within the Arranger Timeline Panel, [UP ARROW]

or [DOWN ARROW] move the selection between neighboring
automation lanes of the current track. And adding [SHIFT] would extend
the current selection to include the neighboring lane.
› Split ([CTRL]+[E] [[CMD]+[E] on Mac]) inserts a new point at the

current time for all selected automation lanes, preserving playback as it
was but with new breakpoints in place.
When a longer time selection is made, this function will create new
points at the start and end of the time selection, and then make an
object selection these points, as well as any points in between on this
lane. You can then directly adjust the value of these points with the
arrow keys (see section 9.3.1).
Finally, [CTRL]+[UP ARROW] or [CTRL]+[DOWN ARROW] ([CMD]+[UP

ARROW] or [CMD]+[DOWN ARROW] on Mac) jumps to the first or last
automation lane of the current track. And again, adding [SHIFT] extends
your current selection to include all lane between the current track and
the first or last, even if only a single point in time is selected.
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10. Working with Audio Events
We spent a healthy amount of time in the early chapters of this
document talking about clips and their centrality to music production
in Bitwig Studio. Even as the last few chapters have focused on other
facilities of Bitwig Studio, clips are still a central part of the conversation.
They are the vessels which hold our musical ideas, allowing us to
manage, manipulate, copy, and vary these fragments into something
greater.
And while we can call the clip our "musical atom," science tells us that
atoms are made up of even smaller pieces and particles. In this chapter
and the next, we will discuss the audio events and note events that clips
are made of. (Whenever we refer to the "musical content" of clips, we
are referring to the same audio events and notes.)
We have already examined the various capabilities for manipulating

whole clips, whether they are Arranger clips (see section 5.4) or
Launcher clips (see section 6.2.5). By using the Detail Editor Panel, we
will begin working at the event level and seeing what tools are available
to us at this deepest level of musical arrangement. Then we'll examine
keyboard editing workflows, audio event-specific functions, and seeing
how all this connects to the Inspector Panel, putting everything for
audio right under our fingertips.
So let us begin the detail work of creating and preparing music. Next
stop: audio events.
10.1. The Detail Editor Panel, Audio Clip Edition

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 that every timeline-based panel has its own tool palette menu
(see section 3.1.4). This allows each of these panels to have its own
tool selection. This may seem like a small gain, but it really adds up. For
example, if you find yourself making selections in the Arranger Timeline
Panel and then going straight back to the Detail Editor Panel for making
fine touches, you could be saving several mouse clicks (and a modicum
of sanity) per edit.
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10. WORKING WITH AUDIO EVENTS
10.1.1. Layout of the Detail Editor Panel

By double-clicking a clip, the Detail Editor Panel will be called up with
its focus on that clip. For the examples in this chapter, we will use
audio clips, and we will start by double-clicking an audio clip from the
Arranger Timeline.
After working with the Arranger Timeline Panel and the Automation
Editor Panel, many of these interface elements should be familiar,
including the Beat Ruler (see section 3.1.1), and the clip aliases (see
section 9.2.1), as well as this panel's own beat grid settings (see section
3.1.2), snapping settings (see section 5.1.2), and Follow Playback button
(see section 3.1.4). Even the currently inactive Clip Editing button (see
section 9.2.2) is here, indicating that we are starting in track editing
mode.
But as with the previous timeline-based panels, the sections that have
changed are substantial and unique to the operation of this panel.
The central Audio Event area is where all audio events are displayed in
this panel. Audio events that appear here have their own headers, which
can look redundant right below the clip's alias.
244
One example will illustrate the relationship between the clip and the
contained audio event.
To adjust the length of a clip: mouse over the top right edge of the
clip alias so that a half-bracket cursor appears. Then click and drag the
mouse horizontally.
By shortening the clip, you can see that the audio event is also
shortened. The clip is the parent in this relationship, and the children
(audio events, in this case) can exist only where the parent is there to
allow it.
To adjust the length of an event: mouse over the top right edge of the
event so that a bracket cursor appears. Then click and drag the mouse
horizontally.
By shortening the event, you can see that the clip itself is unaffected.
You can do anything you want with this empty clip space: insert a short
audio event/sample, duplicate as much of the previous event as will fit,
or leave it blank as a rest. Nothing placed in the clip will be allowed to go
beyond its boundaries, but all the available space can be used.
As you may also have noticed, no looping cursor appears when

navigating the audio event's header. Clips are the smallest units where
most arranging tasks are carried out. Accordingly, looping can be
applied as an arrangement gesture for clips, but not for audio events (or
notes). But fades can be applied to individual audio events, just as they
were applied to audio clips (see section 5.1.7). And event stretching also
works the same as it does for clips (see section 5.1.4).
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10.1.2. Audio Event Expressions

To the left of the Audio Event area is a space for specifying which audio
event expression is being displayed — and potentially edited. The images
shown a moment ago displayed a menu in this area. But if you prefer a
list of all available audio event expressions, drag the top border of the
Detail Editor Panel so that it grows.
Audio event expressions — also called expressions — are parameters

that can be set within each individual audio event. Several of these
parameters can change over the course of the event, making them like
specialized automation curves. Others are a series of location markers
that are used to affect the playback of the audio event.
Only one expression can be focused on at a time, and you pick which
expression to view by clicking its name in the list. We will examine
them in order, starting at the top of the list. We will then see how
programmable expression points can be given a random Spread range,
and finally look at comping in Bitwig Studio.
Note
Two expression are not covered here as they are not always available.
When in track editing mode, a Clips expression view is available first,

which is largely similar to working with clips on the Arranger Timeline
(see section 5.1).
When in clip editing mode, a Comping expression view is available

second. This unique mode for weaving a pile of takes into the perfect
performance is covered in its own section (see section 10.1.4).
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10.1.2.1. Event Expressions
Audio Events presents a simple display of all audio events.
No actual expression curve or other data is shown here. This allows

you to freely move and edit the audio events themselves without
inadvertently changing other values.
Audio events are moved and adjusted in the same way as clips (see
section 5.1.3) except that the range of motion is limited to the length of
the parent clip. When compared to the Arranger Timeline Panel, all tools
function equivalently in this panel except for the pencil tool. And a quick
sliding gesture is also available.
To slide the content of an audio event: mouse over the bottom edge of
the waveform and drag horizontally. Or hold [ALT] and drag horizontally
from any point on the waveform.
snapping behavior.
10.1.2.2. Stretch Expressions
Stretch expressions determine how the playback speed is altered,

thereby stretching the audio file.
247
Note
This expression will take effect only with certain audio event playback
modes (see section 10.4.1.2).
The stretch function of this expression is achieved by inserting beat

markers, which dictate the points in the audio event that are locked to
their position. The playback speed of the area between beat markers is
then altered to ensure that those beat markers occur at their assigned
times.
When audio is dragged into a project, onset analysis occurs, as well

as beat detection, determining where beats are occurring within the
audio. Depending on your Audio Import Settings and various keyboard
modifiers that can be used (see section 0.2.2.1), the audio may receive
beat markers on import. But these can always be edited, or new markers
added.
To create a beat marker: double-click any area of the event. Or mouse

around the bottom of the event, and then single-click any white marker
that appears.
248
To move a beat marker and its surrounding audio: along the bottom half
of the event, click and drag a beat marker with the simple, double-arrow
cursor.
To keep a beat marker in place and fine-tune the position of the audio
around it: [ALT]-drag on any beat marker. A cursor with radiating audio
on either side will appear for this gesture.
The combination of moving beat markers and then "sliding" them

precisely will speed up any workflow involving audio stretching.
To convert a trio of onsets to beat markers: hold [ALT] and mouse

around the top of the event until the desired three markers appear. Then
click and drag the mouse horizontally.
249
This allows you to stretch a particular area of your audio event while
keeping the rest of the event unaffected.
To freely stretch the size of a region: [ALT]-click a region while in Stretch

view and drag horizontally.
And note that just as with clips, [ALT]-dragging a border of a time

selection will scale the entire selection, and [ALT]-dragging an event
edge will scale that side — the start or end — of all selected events (see
section 10.1.1).
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10.1.2.3. Onsets Expression
The Onsets expression represents locations in an audio event where the

sound's envelope substantially changes, often where individual sounds
occur.
Onsets are used both as data to help preserve the sound quality of
single audio events, and as demarcations when splitting the component
parts of one event into multiple, individual events.
When a sample is initially dragged into a Bitwig Studio project, it is

analyzed for its tempo, its musical length, and where onsets occur in the
file. Each onset is represented by a vertical blue line that reaches a small
blue triangle at the top of the event. (When other expressions are being
shown, onsets are usually shown with only a smaller blue triangle.)
Note
When using a stretch Mode that is set to follow Onsets and an Onset
Intensity Threshold that is greater than zero (see section 10.4.1.2),
onsets that are below the threshold will be dimmed in the Onsets
expression view. (In other views, these lower onsets will simply be
hidden.)
You can also manually insert or manipulate onsets, either because the
automatic results were imprecise or to manipulate how stretching is
done during playback (see section 10.1.2.2), etc.
To insert an onset: double-click any area of the event away from a

current onset.
To move an onset: click and drag the point with the mouse.
251
Note
Onsets are colored blue. The more vivid the shade of blue, the
stronger the onset. Selected onsets are tinted white.
To delete an onset: double-click it. Or single-click the point to select it,

and then press [DELETE] or [BACKSPACE].
10.1.2.4. Gain Expressions
Gain expressions represent a level control for the audio event.
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This expression can be made up of a series of points that are created

and edited in the same way that automation points are (see section
9.1.2).
The gain expression is measured in units of decibels with the center line
representing zero decibels of change (unity gain).
A gain expression is identical in function to volume automation. The

difference is that the expression is applied to the audio source itself, and
volume automation is applied as the last stage of a track's signal flow
(after the track's device chain and everything else).
Since the gain expression affects the source material, the waveform is
helpfully redrawn to show the effect of this expression.
Finally, you can also quickly access a gain handle when working with
Audio Events in the Detail Editor Panel by mousing just beneath the
event's title and then clicking and dragging up or down. This handle is
also available when working with Clips either in the Detail Editor Panel
or directly in the Arranger Timeline Panel.
253
10.1.2.5. Pan Expressions
Pan expressions represent a stereo placement control for the audio

event.

9.1.2).
A pan expression is measured as a bipolar percentage with the center

line at 0.00% (center placement, or no panning adjustment), 100% for
hard right, and -100% for hard left.
As with the gain expression, the pan expression is applied to the audio
source itself. This has no direct interaction with pan automation, which is
applied by the track mixer after the device chain.
10.1.2.6. Pitch Expressions
Pitch expressions represent a frequency transposition control for the

audio event.
254
Note
modes (see section 10.4.1.2). When an incompatible playback mode
is selected, any expression data will be stored but shown with very
small dots, to indicate it is not currently being used.

9.1.2).
A pitch expression is measured in semitones (or half steps) with the

center line at 0.00 (zero semitone shift for no transposition), a maximum
of 96.00 (eight octaves up), and a minimum of -96.00 (eight octaves
down).
Note
Unlike the other expressions, the pitch expression's vertical axis is

scrollable and zoomable (by clicking and dragging it). Because of
this, it will not automatically compact itself to fit a small Detail Editor
Panel.
The semitone snapping option causes pitch point changes to snap to

whole number semitones. As with the position snapping options (see
section 5.1.2), holding [SHIFT] will toggle this behavior.
10.1.2.7. Formant Expressions
Formant expressions represent a shift of the formants in audio event via

the selected playback mode. Like Pitch, it is set in semitones and has a
scrollable editor.
Note
modes (see section 10.4.1.2). When an incompatible playback mode
is selected, any expression data will be stored but shown with very
small dots, to indicate it is not currently being used.
10.1.3. Expression Spread

The Spread option offers randomization of expressions points, so it is
available for those that are programmed like automation — for audio
255
events, this includes Gain, Pan, Pitch, and Formant. This turns any
defined point into a range of possible values.
For this example, we'll start with some pitch expression points in a single
audio event.
To define a Spread range for any expression point: [ALT]-drag the

expression point up and down.
Note that the POINT section of the Inspector Panel allows you to see
and type the Spread value, or to use the Histogram when multiple values
are selected (see section 10.4.2.2).
While interacting with expression points, the black horizontal dashes are
shown above and below, clearly indicating the extremities of the range.
When no points are selected, the highlighter-style gradients remain.
256
When the parent clip begins playback, the values selected for playback
during that cycle will all be visualized immediately.
And new random values will be selected for the next cycle (assuming
the clip loops), or the next time the clip starts to play again.
257
Finally, a few notes on the nature of random playback.
› Randomized expression points are traveled to smoothly, as if they

had been drawn manually with a slope connecting it to the previous
and following points. So even in the pitch examples at the top of this
section (which look like a flat line), the slope value between sections is
still used.
› As these values are randomized, they are tied to the clip's Seed setting
(see section 5.4.7). If Seed is set to Random, then new values will be
selected each time the clip restarts, which includes each loop cycle. If
a Seed value is set, then the random pattern produced will repeat for
each playback.
› If you want to print the randomness into a clip, you could try the
Consolidate function (see section 12.2.3). And if you want to generate
new and/or longer clips from the original, you could try the Expand
function (see section 12.2.2).
10.1.4. Comping in Bitwig Studio

When in clip editing mode, audio clips offer a Comping expression
view. If you are recording audio, you can "cycle record" takes straight
in, whether working in the Arranger (see section 5.6.3.3) or in the
Launcher (see section 6.4.2). The material may look flat at first, but after
a few swipes, drags, and arrow key taps, the composite will clearly and
pleasantly indicate the source takes used.
258
The following sections cover the expansive workflow for comping, as

well as some ways to insert and work with takes themselves.
10.1.4.1. Comp Editing Workflow
Comping in Bitwig Studio is based on the idea of defining comp regions,

and then selecting which of the available take lanes (if any) is played
within that region.
When using "cycle recording" to create takes, newly recorded comping

material will tend to look like this at first.
To define a comp region: click and drag over a portion of any take lane.
259
Once the click is released, the region will be shown as active in its take
lane and painted into the composite lane at top.
To slide a comp region: mouse over the bottom of the region's

waveform in the composite lane. Then click and drag left or right.
260
To change the gain of a comp region: mouse over the top of the region's
waveform in the composite lane. Then click and drag up or down.
To adjust a comp region border: mouse over the boundary and then click
and drag. This moves both adjacent regions together, and it can also be
done on the edge of a region in any take lane.
261
To point a comp region to a different take lane: click on any inactive

portion of a take lane.
Or when a comp region is already selected, you can press the [UP
ARROW] and [DOWN ARROW] keys to activate one of the nearest
take lanes. The [LEFT ARROW] and [RIGHT ARROW] keys also move
selection to the previous or next comp region. So once your comp
regions are defined, a lot of auditioning and editing can be done with
just the arrow keys.
To adjust a comp region border in one direction: mouse near the

boundary so that a one-sided bracket cursor appears, and then click and
drag.
262
When the click is released, the excluded portion will be deleted from the
composite.
All comping gestures can be applied to multiple comps, keeping them in

sync. This is available in layered editing mode (see section 11.1.5).
10.1.4.2. Adding and Working with Takes
Some comping functions are provided within the take lanes.
263
While slide is available for single comp regions, it is also available for a
full take, or even to shift all takes.
To slide a take: hold [ALT] and drag any part of the take lane
horizontally. In this example, the red take lane is being dragged to be
later.
To slide all takes: hold [SHIFT]+[ALT] and drag any take lane
horizontally. In this example, all take lanes are being dragged to be
earlier.
264
To copy the current composite as a unique take: click the plus (+)
button.
To add an audio file to a comp as a new take: navigate to the desired

audio file in the Browser Panel, and then drag it into the comp.
265
And finally the Fold to Takes… function for wrapping an audio clip into
successive take lanes (see section 5.3) is available on take lanes as well.
Start by right-clicking on the take you want to divide.
After selecting Fold to Takes… and filling out the dialog as desired,
successive takes will be placed at the top of the comp.
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10.2. Keyboard Editing with Audio Events

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.
[CTRL]+[T].
Note
0.2.2.5).
10.2.1. Object Navigation with Audio Events

Key commands for working with audio events in the Detail Editor
Panel default to action, allowing you to directly move events. Once you
have selected an audio event, various functions are available from the
computer keyboard.
To move selected audio events by the current beat grid value: press
[LEFT ARROW] or [RIGHT ARROW].
To move selected audio events by a fine amount (one-sixteenth

of the current beat grid value): press [SHIFT]+[LEFT ARROW] or
[SHIFT]+[RIGHT ARROW].
While action is the default behavior in the Detail Editor Panel, events
can be selected as well.
To select the previous or next audio event: press [ALT]+[LEFT ARROW]

or [ALT]+[RIGHT ARROW].
To extend selection to include the previous or next audio event: press

[SHIFT]+[ALT]+[LEFT ARROW] or [SHIFT]+[ALT]+[RIGHT ARROW].
To make the selected audio events shorter or longer by the current beat
grid value: press [CTRL]+[LEFT ARROW] or [CTRL]+[RIGHT ARROW].
To make the selected audio events shorter or longer by

a fine amount (one-sixteenth of the current beat grid
267
value): press [CTRL]+[SHIFT]+[ALT]+[LEFT ARROW] or

[CTRL]+[SHIFT]+[SHIFT]+[RIGHT ARROW].
Additionally, events can be acted on directly to create or change their

pitch and gain expressions.
To transpose selected audio events by ±1 semitone (a half-step): press

[UP ARROW] or [DOWN ARROW].
To transpose selected audio events by an octave (±12 semitones) : press

To adjust gain for the selected audio events by ±6 dB: press [ALT]+[UP
ARROW] or [ALT]+[DOWN ARROW].
To adjust gain for the selected audio events by ±1 dB: press

[SHIFT]+[ALT]+[UP ARROW] or [SHIFT]+[ALT]+[DOWN ARROW].
When an event already contained one of these expressions, all points are
shifted when these functions are used. And when an event contained no
expression points, one is created at the beginning of the event and then
set accordingly.
As with automation points, direct expression point editing is also

possible via the computer keyboard.
To select the previous or next expression point within the current audio
event: press [LEFT ARROW] or [RIGHT ARROW].
To extend selection to include the previous or next expression point:

When an expression point is selected, all expression points of the

same type for the current event can be selected via Select All, with
[CTRL]+[A] ([CMD]+[A] on Mac).
While modifying selection is the default behavior when working with

expression points, selected points can be moved as well.
To move selected expression points by the editor's current beat grid

To move selected expression points by a fine amount (one-sixteenth of

the current beat grid value): press [SHIFT]+[ALT]+[LEFT ARROW] or
Additionally, the value of expression points can be directly adjusted.
To adjust selected expression points by a course value: press [UP

ARROW] or [DOWN ARROW]. Different expressions will move by the
following course amounts.
268
› Gain expressions: ±2.5 dB
› Pan expressions: ±10 %
› Pitch expressions: ±1 semitone (same as a half-step)
› Formant audio expressions: ±1 semitone (same as a half-step)
To adjust the selected expression point by a fine value: press

[SHIFT]+[UP ARROW] or [SHIFT]+[DOWN ARROW]. Different
expressions will move by the following fine amounts.
› Pitch expressions: ±0.1 semitones (same as ±10 cents)
› Formant audio expressions: ±0.1 semitones (same as ±10 cents)
When the Detail Editor Panel in Clip editing mode, additional items in
the header of the panel can also be selected and moved.
To move the clip's loop Start time by the current beat grid value: select
the clip loop indicator, and then press [LEFT ARROW] or [RIGHT
ARROW]. This will preserve the loop's length.
To move the clip's loop Start time by one bar: select the clip loop
indicator, and then press [SHIFT]+[LEFT ARROW] or [SHIFT]+[RIGHT
ARROW].
To move the clip's Offset time by the current beat grid value: select
the clip start indicator, and then press [ALT]+[LEFT ARROW] or
[ALT]+[RIGHT ARROW].
To move the clip's Offset time by one bar: select the clip start
indicator, and then press [SHIFT]+[ALT]+[LEFT ARROW] or
When Looping is disabled, the same commands can move the clip end
marker (representing the clip Length).
And 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):

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10.2.2. Time Selection Navigation with Audio Events

Making a time selection is as simple as clicking anywhere in the Detail
Editor Panel with the Time Selection tool. Once time is selected, key
For working with audio, these events include:
› 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
› Expression points currently being shown
› Loops start and end times
editor)

To move to the next or previous relevant event: press [LEFT ARROW] or

[RIGHT ARROW].
To create or extend a selection to the next or previous relevant event:



ARROW].
270
In layered editing mode, [UP ARROW] or [DOWN ARROW] move the

selection between adjacent clips or tracks. And adding [SHIFT] would
extend the current selection to include neighboring ones.
› Split ([CTRL]+[E] [[CMD]+[E] on Mac]) separates audio events at the

current time selection line(s), preserving playback as it was, but leaving
the objects as distinct blocks.
› Set Clip Start slides the audio event so that its current time is now
aligned at the beginning of the parent clip.
time for the event happening here, removing any earlier material.
for the event 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 event happening here.
› Fade Out to Here ([SHIFT]+[0]) makes the current time the end of a
fade out for the audio event happening here.
Finally when in layered editing mode, [CTRL]+[UP ARROW] or

[CTRL]+[DOWN ARROW] ([CMD]+[UP ARROW] or [CMD]+[DOWN
ARROW] on Mac) jumps to the first or last clip or track. And again,
adding [SHIFT] extends your current selection to include all tracks from
the current one to the first or last, even if only a single point in time is
selected.
10.3. Audio Event Functions

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 continuous series
of events.
The following images demonstrate a group of selected events both

before and after the Legato function is applied:
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› Slide Waveform to Previous Onset moves the selected event so that

it begins at the previous onset marker, effectively shifting this area to
play earlier material. This affects only the content of the selected event.
The following images demonstrate a selected event both before and

after the Slide Waveform to Previous Onset function is applied:
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› Slide Waveform to Next Onset moves the selected event so that it

begins at the next onset marker, effectively shifting this area to play
later material. This affects only the content of the selected event.

after the Slide Waveform to Next Onset function is applied:
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› Reverse flips the selected event around, causing it to play backwards.

This also flips any event expression curves.
› Reverse Pattern flips the order of a group of selected events. This does
not cause each event and its expressions to play backwards, but rather
causes the last event to be played first, etc.
Note
This function will work only when multiple events are selected.

before and after the Reverse Pattern function is applied:
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› Content Scaling > Scale… requires a set Amount of scaling to be typed

in, along with an option to Scale each (keep position), which preserves
the start time of each selected audio event.
› Content Scaling > Scale 50% halves the length of the selected event,
effectively causing it to play back twice as fast. All onset and beat
markers are also proportionally shifted.

after the Scale 50% function is applied:
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› Content Scaling > Scale Each 50% is similar to Scale 50%, except the
start time of each selected audio event is preserved.
› Content Scaling > Scale 200% doubles the length of the selected
event, effectively causing it to play back half as fast. All onset and beat
markers are also proportionally shifted.

after the Scale 200% function is applied:
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start time of each selected audio event is preserved.
› Quantize > Quantize… moves the start and/or end times of selected
events in relation to a beat grid.
› Grid Mode: Determines whether to adopt the grid settings from the
current Editor or to allow Custom grid settings.
› Custom Grid: Exclusive beat grid resolution and beat grid subdivision
settings (see section 3.1.2) for the quantize function.
Note
This is available only when Grid Mode is set to Custom.
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› Shuffle: Amount of swing/groove (see section 2.3.2) applied to the

beat grid for the quantization function.
› Humanize: Amount of randomness added to the quantize function,

with the intention of mimicking human imperfection.
› Start Amount: Amount of quantization applied to each selected

event's start position.
For example, a setting of 50.0% would move a selected event's start

position halfway to the closest grid point. A setting of 100% places
the event exactly on the closest grid point.
› End Amount: Amount of quantization applied to each selected event's

end position.
Note
Humanize is the last factor applied in the quantize function. So even

Start Amount of 100% might not place events directly on the grid if
Humanize is enabled.

› Quantize > Quantize Audio… is a high-level variation on the Quantize…

function. 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. The dialog has three sections.
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The dialog's left section sets the beat grid interval to aim for. The
options here are identical to other quantization functions, choosing
between the current Editor grid interval or definable Custom grid
settings.
The dialog's central section focuses on the Onset Threshold parameter,

which limits the process to only use the strongest onsets. If an Onset
Intensity Threshold for set for this event (see section 10.4.1.2), then that
value will be used. A setting of 0 % will use all onsets.
If the Detail Editor Panel is onscreen, it will stay bright even when the
dialog is open to visualize which onsets will be used. If the dialog's
Onset Threshold is changed — by adjusting the numeric control or
dragging the vertical slider within the histogram representation — the
shown/dimmed onsets in the Detail Editor Panel will update.
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And the option to Keep Existing Beat Markers partially overrides the
quantize process, preserving any present beat markers in their current
place.
The dialog's right section offers similar Humanize, Shuffle, and Amount
controls as other quantize functions.
Once the function is committed via the OK button, an onscreen Detail

Editor Panel will switch to the Stretch expression view, showing the
beat markers that now exist.
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› 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 expression of each selected audio event.
› Transpose > Transpose a Semitone Down shifts the pitch down by

one half step by adjusting the pitch expression of each selected audio
event.
› Transpose > Transpose an Octave Up shifts the pitch up by twelve

semitones by adjusting the pitch expression of each selected audio
event.
› Transpose > Transpose an Octave Down shifts the pitch down by

twelve semitones by adjusting the pitch expression of each selected
audio event.
› Slice / Fold > Slice In Place… divides the selected event into multiple
events. A dialog allows slicing either at Onsets (the detected
transients), at Beat Markers (defined stretch points that you may have
changed), or at a regular note interval (on Beat Grid). This can be an
extremely efficient way to do audio edits, especially by splitting at
onsets and then working with the returned audio events.
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If Onsets is selected, an optional Onset Threshold parameter is

provided, which will default to the event's current playback setting.
And like the Quantize Audio… dialog, an open Detail Editor Panel will
remain bright to preview which onsets will used.
Note
When an audio event is split (either by this function with the Knife
tool), fade ins and outs will be added to split points if the option
Automatically create fades on audio clip/event edits is enabled. This
preference can be found in the Dashboard, under the Settings tab,
on the Behavior page, in the Fades section.
› Slice / Fold > Slice At Repeats splits any selected audio event using
the Repeats Operator into individual events (see section 12.2.1). When a
selected event does not have Repeats enabled, no change is made.
› Tempo > Detect Event Tempo… runs the tempo- and beat-detection
analysis on selected audio clips, with additional parameters.
Note
› Tempo > Set Event Tempo… sets a fixed tempo for the contained audio
events, which is one way to "unstretch" audio you have worked with.
Note
› Normalize makes non-destructive level adjustments to each selected

audio event 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
events.
› Auto-Fade applies a quick, relative fade in and fade out to all selected
audio events.
› Auto-Crossfade applies a quick, relative pre-fade and fade out to all

selected audio events, creating crossfades between adjacent events.
› Loop Selected Region both enables the parent clip's Loop setting and
sets its time range to match that of the currently selection.
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10.4. Inspecting Audio Clips

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 Inspector Panel on Audio Events

By selecting a clip, certain parameters are revealed in the AUDIO EVENT
section, but when selecting an audio event itself (by single-clicking the
audio event's header in the Detail Editor Panel), the Inspector Panel
provides all settings relevant to the selected event(s).
Several of these settings will be familiar. Since there are many of them,
we will take them one section at a time. And we will also look at the
functions available in the Event menu when audio events are selected.
10.4.1.1. Timing Section
These settings generally relate to the musical position of the selected

event and its optional fades:
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› Start sets the start position of the event within its parent clip or track.
Adjusting this position will move the audio event as it exists, the same
as clicking and dragging the event within the Detail Editor Panel.
Note
Remember that audio events will be always be truncated by the

boundaries of their parent clip.
› Length sets the duration of the event within its parent clip. Adjusting
this duration will simply lengthen or shorten the event, the same as
using the bracket cursor to adjust the right edge of the event's header.
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› Mute toggles whether or not the event is disabled on playback.
10.4.1.2. Stretch Section
These settings relate to the behavior of Bitwig Studio's audio playback.
› Mode sets the audio playback algorithm for the audio event. The
settings are grouped under categories that describe the general
method being used to produce audio stretching.
› GRANULAR modes work in the time domain, allowing independent

control of pitch and time.
Stretch is an optimized algorithm that time-stretches audio to match

the project's tempo. When your settings match the original audio
(targeting the original pitch and tempo), this algorithm is completely
neutral, preserving your original audio at output and lowering your
processor's load.
Stretch HD is a similar algorithm to Stretch but is applied in a

multiband fashion, splitting the original signal into several frequency
areas and stretching those.
Slice divides audio into chunks and then stretches those chunks
(when appropriate) using the method set in the Tail parameter.
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Cyclic adds overlaps to stretched audio in the fashion of classic

hardware samplers.
Elastique Solo syncs its grain size to the wavelength of the audio.
This makes it especially useful for voice or other monophonic sound
sources. But any source material may yield interesting results and/or
robots.
› SPECTRAL modes work in the spectral domain, allowing independent

control of pitch and time.
Elastique preserves transients, making it appropriate when rhythmic

accuracy is important.
Elastique Eco focuses more on harmonic content, making it more

useful for less rhythmically-active sounds (like pads).
Elastique Pro also preserves transients but has formant controls as

well. This comes at the cost of additional CPU resources.
› UNSTRETCHED modes do not provide independent control over pitch

and time.
Raw ignores all stretch expression data. Events are played back at
their original speed, regardless of the project tempo or any other
considerations.
Repitch ties pitch and playback speed together (as a tape recorder
would). Stretch expression data is respected while pitch expressions
are ignored.
Each stretching mode has up to three of the following parameters

available:
› Grain Size adjusts the length of each audio segment that is stretched
in the selected audio event. The three relative options are for short,
medium, or long portions of the audio to get processed at a time.
› Transients controls how the onsets expression (see section 10.1.2.3) is

used to adjust playback. There are three options to choose between
and one optional mode:
› The first option is off, represented by an x icon. In this mode, the

onsets expression is completely ignored for playback purposes.
› The second option is soft, represented by a centered vertical line with

both a "fade out" triangle on the top left and a "fade in" triangle on
the top right. This mode emphasizes smoothness by blending the
audio before an onset with that that comes after.
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› The third option is hard, represented by a centered vertical line with

only a "fade in" triangle on the top right. This mode emphasizes
rhythmic accuracy by focusing on the audio that comes after the
onset.
› The separate button with the speaker icon represents preview mode.
When toggled on, this mode plays the audio at each onset, but turns
the volume down for all other parts of the event. This is a useful
audible indicator of where the onsets are currently placed.
› Rate sets the interval at which audio is divided for processing and
stretching. Options include:
Transient Rate connects processing to the occurrence of Onsets by

default (shown with a small calendar icon). But his can also be set to
regular beats intervals (such as every 1/16 note), which could be useful
for material without clearly discernible onsets.
Onset Intensity Threshold is available when Transient Rate is set to

follow Onsets. This threshold control is set in percentage, allowing the
exclusion of onsets that are weaker than this set level.
› Tail sets a method for overlapping audio tails when stretching is

needed. Settings include None, standard Granular stretching, and
stacked Ping-Pong delays (as used by some vintage samplers).
› Formant offers two controls for shifting the formants of the affected
audio:
The button showing a keyboard with outward-facing arrows toggles

the automatic shifting of formants based on the pitch expression.
The numeric control allows you to set a fixed shift amount in

semitones.
Note
When a Formant parameter is available for the current playback

mode, that value can also be automated via the audio events'
formant expressions (see section 10.1.2.7).
› Resolution sets the relative size of the spectral envelope used for
formant shifting. Larger values create larger windows (which are better
tuned for lower frequencies), etc.
› Play Stop allows you to set an end time (in

MINUTEs:SECONDs.MILLISECONDs) for the audio event. Regardless of
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clip length and anything else, the audio event will not play beyond this
point. (Setting the value in time keeps tempo changes from interacting
with this playback value.)
10.4.1.3. Tempo Section
Tempo defines the original tempo of the audio event. Knowing

this enables Bitwig Studio to properly play back the data in any
circumstance.
When an audio file is brought into a project, the program first checks
the filename for an indication of tempo (such as the word 154bpm). If
nothing is found there, the program determines the tempo as best it can.
This value can be corrected at any time, but changing it will impact the
placement and timing of the audio event.
10.4.1.4. Fades Section
The Fade In and Fade Out parameter sets allow you to define
independent fades at the beginning and end of each audio event. When
set in tandem with an overlapping clip, you can also create crossfades in
this way.
All of the parameters and methods of operation are the same as when
applied at the clip level (see section 5.1.7).
10.4.1.5. Operators Section
Unlike the other sections in the Inspector Panel, the section displaying
Operators is only shown when events (and not clips) are selected.
Operators are covered extensively in their own chapter (see chapter 12).
10.4.1.6. Expressions Section
This section exposes three of the expressions we have covered: Gain

(see section 10.1.2.4), Pan (see section 10.1.2.5), and Pitch (see section
10.1.2.6). While these expressions have completely different functions,
they are programmed in the same fashion.
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Following the Gain and Pitch numeric controls are incrementer and
decrementer buttons that will adjust the expression value by the
declared amount. For the Gain expression, these buttons express decibel
changes. For the Pitch expression, the unit is semitones.
These are the automation-type expressions, each able to be defined by

a curve made from several values. Because of this possibility, each value
in this section of the Inspector Panel is actually representing the average
of points in that expression. Let's examine the Gain expression as an
example.
The Gain value listed of -0.58 dB is an average of the five points defined
in this audio event expression.
To adjust an expression curve: change its listed average value, or click

one of the expression's incrementer/decrementer buttons.
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This method will work for any expression in this section, whether it is
defined by a curve or a single value.
Finally, while right-arrow buttons at the edge of parameter fields are

normally reserved for the Histogram interface for working with multiple
events selected (see section 10.4.2.2), these buttons are also present
when any number of expression points or even a clip is selected.
This provides a way to both see the average Spread value for all
selected points, and a way to adjust them relatively.
10.4.2. Working with Multiple Audio Events

The Inspector Panel also works with selections of multiple events.
Functions are straightforward, as most of them listed in this chapter

allow the selection of multiple events. (In the case of Reverse Pattern, it
is not available unless you have multiple events selected.)
Parameters can be a little trickier when several events are selected at

once. Bitwig Studio has a couple tricks of its own for both displaying and
working with chunks of parameter data.
10.4.2.1. Mixed Settings
We saw expressions summarized earlier with a single average of all their

points. That works well when you are dealing with numbers, but some
parameters simply toggle on and off. For these discrete parameters, the
Inspector Panel will diagonally stripe any indicator whose settings are
mixed.
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In the above image, the Mute, fade IN, fade OUT, and both of the Onset
buttons (Preserve and preview) have the orange and gray striping to
suggest that some of the selected events are enabled, some are not.
Additionally, the Mode menu is listed as (mixed), which is its way of

suggesting that not all selected events have a uniform setting.
10.4.2.2. Using the Histogram
Finally, Bitwig Studio provides a special interface called the Histogram

for working with a selection of multiple numeric values. The purpose of
a histogram is to display the number of times that different possibilities
occur over a span of time. In our case, the span of time being considered
is the length of the current selection and the possibilities being
considered are different values of the targeted parameter.
But our Histogram can also modify values, or even produce them from
scratch. We will now demonstrate the option of creating values and then
tweaking them.
I will begin with the drum loop you have seen all across this chapter.
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By applying the Split at Onsets function, this single event will now be
divided at each onset point, giving us a collection of events that add up
to the same loop.
From here, I will select all of the events. This can be done in the standard
ways, by either pressing [CTRL]+[A] ([CMD]+[A] on Mac), or by
choosing Select All either from the Edit menu or from the context menu.
And once all events are selected, I will switch the Detail Editor Panel to
focus on the Pitch expression.
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A few things to note before we proceed.
First, the Inspector Panel now labels this section of the panel as AUDIO
EVENTS (19). The 19 in the title is indicating exactly how many audio
events are currently selected and will be acted upon when changes are
made here.
Second, the event headers are now reflecting fades where each onset
point was split. This is because I have Automatically create fades
on audio clip/event edits enabled, which is the default setting. (This
preference is found in the Dashboard, under the Settings tab, on the
Behavior page, in the Fades section.)
The only places where fades do not exist are at the start of the first
event and at the end of the last one because no splitting occurred at
these two places. And because these events lack a fade of each kind,
both of the Fades buttons are now striped.
Third, in the expression section of the Inspector Panel, each numeric

control is now followed by a right-arrow button. Since we now have
multiple events selected, these arrows appear to give us access to the
Histogram.
With these few observations made, we can now proceed.
The pitch expression is currently empty, containing no points. Now I will

simply single-click on the Pitch parameter control. I am not changing the
setting, just clicking on it once.
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By just clicking on this parameter, an expression point has been created

at the start of each event. So even though every point is currently set to
0.00 (semitones), we now have something to work with.
By clicking the right-arrow button beside the Pitch parameter, we can

now see the Histogram.
The Histogram is comprised of four elements:
› The large display on the left is the actual histogram, which will present
a count of the different values occurring across our selection. It is blank
right now as we don't have any values yet.
› Mean represents the average of all selected values.
› Spread is a control for modifying the range of the selected values.
› Chaos is a control for injecting random variations to the selected

values.
Adjusting the Spread of these points would do nothing as they are all
currently identical. And adjusting the Mean would only adjust them all
by an identical amount keeping them the same. So I will click the Chaos
control and drag it upward.
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And now we have some variation in this expression.
You can see that the Histogram display now has some life in it. The
horizontal positions are indicating the pitch values for various events —
from -24 semitones on the left, to zero semitones in the middle (no pitch
shift), to +24 semitones on the right. The vertical position of the chart
roughly indicates the number of events found near that value.
The distribution shown here is weighted toward the left (negative) side,
and indeed, the Mean is telling us that -1.31 semitones is the current
average of all values. The Inspector Panel displays an identical Pitch
value, showing that these two controls are identical.
The Chaos value is set in the units of the selected parameter, so it is

25.25 semitones of shift in this case. And because the pitch expression
has a bipolar range, 25.25 semitones represents a distribution between
-12.125 and +12.125 semitones.
Looking at the newly formed Pitch expression in the Detail Editor Panel,
you can see that the highest point is right around +12 semitones (in
the second audio event), and that the lowest point is right around -12
semitones (in the fourth event).
If we liked the shape of the expression but felt it was a little too extreme,
we could call the Histogram back up and bring down the Spread value
to narrow the overall range.
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As the Spread value goes below 100%, the range is indeed being shrunk,
causing the histogram curve to become narrower and grow upwards —
an indication that more of our 20 points are landing close to each other.
But the shape of the curve is comparable to where it started.
Interestingly, the Chaos value was back at 0.00 when we brought the
Histogram back up. Actually, this happened immediately after the Chaos
setting was made and the mouse was released. And the same was true
of the Spread function just now, as it will return to 100% once you let go.
Each of these values represents an amount to change the current

distribution of points. Unlike Mean, these values reflect only the future
action and nothing about the present situation.
Finally, we can indeed use the Mean function to shift the whole
expression so that zero is no longer near the center.
By moving the Mean to 12.00, the average value is now a shift of one
octave up with all variation landing just around that. (Again, we could
have used the Pitch parameter to make the exact same adjustment.)
So that is a brief overview of how the Histogram works and an example

of what you can do with it. We have spent this much time on it because
the Histogram is available all across Bitwig Studio, whenever a group of
numeric values can be selected together.
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11. Working with Note Events
As we work with Bitwig Studio to assemble music, there are two forms
of source material that we can use. One form is audio events, which was
covered thoroughly in the last chapter. The other is note events — or
simply notes — which we will investigate in this chapter.
As the introduction to the last chapter suggested, these two chapters

are really parts one and two of working with the contents of clips.
Accordingly, the format of this chapter is highly similar to the previous
one, with many of the same issues and concerns being presented from
the perspective of notes. And consistent with the rest of this document,
ideas that reappear will reference the section where they were first
discussed.
We will begin by revisiting the Detail Editor Panel to see how it works
with note events, as well as the vast per-note modulation capabilities
of Bitwig Studio. We then will see the last face of this panel as it allows
us to work with multiple clips and tracks simultaneously. Next we'll get
our note-specific helping of keyboard workflows and available functions.
And after revisiting the Inspector Panel in the context of notes, we will
take a look at the Edit View, the third and final panel set.
Let's sharpen our tools for working with that other type of musical
content: note events.
11.1. The Detail Editor Panel, Note Clip Edition

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.
To better understand the incarnations of the Detail Editor Panel, let's

take a moment to differentiate the structure of audio events and notes.
(They are clearly made of different materials, but the way they are
stored and structured is critical here.) The most important distinction is
that while audio events are all of one kind, note events have pitches that
allow us to distinguish them and make them overlap.
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11. WORKING WITH NOTE EVENTS
Only one audio event can occur at a time within a single clip, so while
audio events can be arranged sequentially, they cannot be played
simultaneously. And because no audio event has inherent priority over
another, the last event placed in a certain position will "win."
If you move an audio event to a position already occupied by another

event, the new event will effectively clear the position that it now
occupies, leaving behind no trace of what was here.
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This is because audio events cannot coexist. (Clips of all kinds behave in
exactly the same fashion.) To illustrate this, moving the new event back
to its original position will leave a hole where you had placed it.
The most important characteristic of each note is its pitch. This

characteristic immediately gives us a way to distinguish notes from one
another. And once we can distinguish notes by type, we can now have
overlapping notes.
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Chords and other overlapping gestures are a part of music, and note
clips support them by allowing notes of different pitches to overlap. So
while audio events are the smallest workable unit (and have their own
headers to work with them), individual notes are the fundamental units
here.
We will discuss the many similarities between how audio events and
notes are edited. And they start in the Detail Editor Panel.
11.1.1. Layout of the Detail Editor Panel

Double-clicking a note clip in either the Clip Launcher Panel or the
Arranger Timeline will call up the Detail Editor Panel and place its focus
on that clip.
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Much of this is familiar, such as the Beat Ruler (see section 3.1.1), the
clip aliases (see section 9.2.1), and the Clip Editing button (see section
9.2.2), as well as this panel's own beat grid settings (see section 3.1.2),
snapping settings (see section 5.1.2), and Follow Playback button (see
section 3.1.4). The panel itself can still be vertically resized, but the y-axis
can also be zoomed by clicking and dragging in the dark gray field just
to the left of the piano keyboard.
The view we are seeing above is the piano-style view. Clicking the drum
pads icon will switch to a drum-style editor. For nearly all instruments,
only notes which are used on the current track (while in track editing
mode) or for the current clip (while in clip editing mode) will be shown.
If the track's primary instrument is Drum Machine, then all notes with
populated drum cells will be shown.
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In either case, everything else about the panel continues to work as

usual.
Three other new buttons have also appeared in the bottom left corner of
the Detail Editor Panel.
› When the Audition button is enabled, clicking and dragging any note to
a new pitch will send a corresponding note to the track's device chain.
This provides an audible preview of the action being considered.
Additionally, clicking the piano keyboard to the left of the note event
area will trigger a note when the Audition button is enabled.
› When the Note Expression toggle is enabled, the Note Expression area
becomes visible below the Note Event area.
› When the Micro-pitch toggle is enabled, Micro-pitch editing mode will

be active (see section 11.1.3). Note that this button and mode are only
available with the piano-style editor.
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11.1.1.1. Drawing Notes and Quick Draw
In addition to recording or importing note clips, you can also draw notes
into a clip from the Detail Editor Panel.
To draw an individual note within a note clip: either double-click while

the Pointer tool is selected, or switch to the Pen tool and then single-
click within a note clip.
Notes will be given a velocity of 78.7 % (the equivalent of 100 out of 127)
and a length of the beat grid value. You can also adjust these values
while drawing each note.
To set velocity while drawing a note: continue to hold the mouse down,
and then drag up or down to adjust the velocity.
To set note length while drawing a note: continue to hold the mouse
down, and then drag left or right to shorten or lengthen the note.
After drawing a note with an adjusted velocity or note length, these

values will be the new defaults for notes drawn into this particular clip.
Quick Draw is a feature that allows you to draw multiple notes at once.
The requires the Pen tool to be selected.
To draw successive notes within a note clip: hold [ALT], and then click at
the position of the first note and drag to the position of the last note.
The current beat grid value (1/16 notes, above) will set the length of each
note and quantized start position of the series. And again, dragging up
and down will adjust the velocity used for all notes. If you would prefer
instead to draw notes on different pitches (kind of like step sequencing
pitches), you can do that too.
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To draw successive notes with different pitches within a note clip: hold
[ALT] and click to initiate Quick Draw mode. Then add the [SHIFT] key
to free the pitches being drawn.
11.1.1.2. Note Color Options
When dealing with notes in the Detail Editor Panel, various options for
how notes are colored are available from the panel's context menu.
Right-click a blank area of the editor to see the NOTE COLORS options.
› Clip uses the color of the parent clip for each note, and the velocity of
each note scales the relative saturation.
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› Note Channel colors each note by the channel it is on, and the velocity
of each note scales the relative saturation. To illustrate this range in
the image below, the chords shown are spread across all 16 channels
with the chord on the far left on channel 1 and that at the far right on
channel 16.
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› Pitch Class colors each note by its pitch class (for example, all Cs are
treating the same, as are all C#s, Ds, etc.) and the velocity of each note
scales the relative saturation. The colors are based on the musical circle
of fifths, with harmonically-related intervals colored similarly and more
dissonant intervals using contrasting colors.
To illustrate this range in the image below, each chord is a succession

of fifths (C-G, then G-D, then D-A, and so on). This shows how
consonant intervals, such as fifths, looks alike and how more tense
intervals, such as half-steps (for example, G to G#) and tritones (C# to
F), contrast strongly.
› Velocity colors each note exclusively by its velocity. This provides a

clear contrast, particularly when doing detail work on your notes.
The range used is similar to a level meter on a mixing board, with the
velocities progressing from pale green to solid green, then yellow,
orange, and eventually red. The range of velocities in the image below
help illustrate this.
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11.1.2. Note Event Expressions

Like audio event expressions, note expressions are parameters that can
be set for each individual note. Many of these parameters can change
over the course of the note, making them like specialized automation
curves.
Only one note expression can be focused on at a time, and you pick
which expression to view by clicking its name in the list. We will take
them from top to bottom.
Note
For all of the note expressions including Micro-pitch (see section

11.1.3), Spread is available for each expression point (see section
10.1.3).
11.1.2.1. Velocity Expressions
Velocity expressions represent the strength with which each note should
be triggered.
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Similar to the MIDI specification, a velocity expression consists of a single

value that is transmitted at the note's start. Each device determines how
velocity will be used. Any device or plug-in can use the Expressions
modulator device to route velocity expressions. See section 16.2.1 for
information on using the modulator devices and section 19.27.6.2 for
more on the Expressions device.
To adjust a velocity expression: mouse over the velocity expression so

that a double-arrow cursor appears. Then click and drag the expression
vertically.
Notes are colored to match their clip's color, with the saturation of each
note set relative to the strength of the note's velocity. A note at full
velocity (100 %) will be shown as the full color of the clip. As a velocity
lowers, the color of that note will change.
11.1.2.2. Chance Expressions
Chance expressions represent the likelihood that any note will be played
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Like Velocity, Chance is only set at the beginning of each event.
All other expressions can be programmed like automation across the

length of each note, which we will look at next.
11.1.2.3. Gain Expressions
Gain expressions represent a level control for each note event.
To start with, each note's expression contains no individual points. By

initially clicking and dragging an expression, you are both creating an
initial point within the expression and defining the entire expression's
value.
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Once an initial point has been defined, additional expression points can
be created and edited in the same way that automation points are (see
section 9.1.2).
A gain expression is measured in units of decibels with the center line

representing zero decibels of change (unity gain).
A gain expression is identical in function to volume automation. The

difference is that the expression is applied at the beginning of the audio
signal path — in this case, at the output of the instrument device (pre-
FX Chain) that initially synthesizes audio signal. Volume automation is
applied as the last stage of a track's signal flow (after the track's device
chain and everything else).
11.1.2.4. Pan Expressions
Pan expressions represent a stereo placement control for each note

event.
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section 9.1.2).
A pan expression is measured as a bipolar percentage with the center

line at 0.00 % (center placement, or no panning adjustment), 100 % for
hard right, and -100 % for hard left.
As with the gain expression, the pan expression is often applied at the
beginning of the audio signal path. The pan expression has no direct
interaction with pan automation, which is applied by the track mixer
after the device chain.
11.1.2.5. Timbre Expressions
Timbre expressions represent an assignable modulation source for each

note event.
section 9.1.2).
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The word timbre refers to a sound's tone color, but the timbre
expression here has no fixed purpose. Rather, it can be used to freely
modulate one or more parameters of the track's instrument device (see
section 16.2). Mapping is done with the TMB modulation source, which is
available on any device or plug-in via the Expressions modulator device.
See section 16.2.1 for information on using the modulator devices and
section 19.27.6.2 for more on the Expressions device.
A timbre expression is measured as a bipolar percentage with the center

line at 0.00 % and the extremes at values of 100 % and -100 %.
Similar to the gain and pan expressions, the timbre expression is often
applied within the instrument at the beginning of the audio signal path.
11.1.2.6. Pressure Expressions
Pressure expressions represent an assignable modulation source for

each note event.
section 9.1.2).
As the word pressure suggests, this expression is similar to the idea of

polyphonic key pressure (or aftertouch) from MIDI. But the pressure
expression here has no fixed purpose. Rather, it can be used to freely
modulate one or more parameters of the track's instrument device (see
section 16.2). Mapping is done with the PRES modulation source, which is
available on any device or plug-in via the Expressions modulator device.
See section 16.2.1 for information on using the modulator devices and
section 19.27.6.2 for more on the Expressions device.
When working with external MIDI via the HW Instrument device (see
section 19.11.5), any pressure expressions are directly transmitted as
polyphonic key pressure MIDI messages.
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A pressure expression is measured as a percentage with default values

set at 0.00 % and a maximum level of 100 %.
Similar to the gain, pan, and timbre expressions, the pressure expression
is often applied within the instrument at the beginning of the audio
signal path.
11.1.3. Micro-pitch Editing Mode

When working with notes, the Detail Editor Panel appears as a standard
"piano roll" editor, with notes placed on their vertical pitch at the
appropriate horizontal time. The notes can be created and edited in
the exact same fashion as clips are (see section 5.1.1, section 5.1.2, and
section 5.1.3).
By default, the Detail Editor Panel works with notes in the standard,
discrete semitone fashion. But by enabling the Micro-pitch toggle, we
enter Micro-pitch editing mode.
Note
Micro-pitch editing relies on Bitwig Studio's unique per-note

modulation capabilities. Micro-pitch expressions will function properly
with Bitwig's instrument devices, and they can work with CLAP plug-
ins as well.
Micro-pitch editing mode is not available while the Fold Notes button
is enabled.
Thin lines are now drawn across the center of each note event. We can
zoom in to make this easier to work with.
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These lines are Micro-pitch expressions. Like all other note expressions,
Micro-pitch expressions are per-note events, allowing the specific pitch
of each note to be set precisely, or even to change the pitch of the note
while it is played. You can think of Micro-pitch expressions as a precise,
polyphonic version of MIDI pitch bend, where each note played has its
own pitch curve.
Micro-pitch expressions are measured in semitones, with the center line

at 0.00 (for no pitch shift), a maximum of 24.00 (two octaves up), and a
minimum of -24.00 (two octaves down).
Just a few examples of how this might be used:
› Building a chord with one of its notes bent while all others are held
steady.
› Shaping a lead line with graceful transitions, where each note fades
(perhaps with a gain expression) while gliding to the pitch where the
next note will begin one.
› Carving out a solo, where the shape of the vibrato is precisely drawn.
› Structuring a microtonal part, where each note's pitch is meticulously

defined.
› Creating a part that combines any of these ideas, or something else

altogether.
Like the other note expressions that can be automated, each Micro-pitch
expression is blank to begin with. The centered line represents that the
note is tuned only by its standard pitch assignment.
By initially clicking and dragging the Micro-pitch expression, you are

both creating an initial point within the expression and defining the
entire expression's value. In most cases, you will want to single-click the
expression to start.
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Once an initial point has been defined, additional Micro-pitch expression

points can be created and edited in the same way that automation
points are (see section 9.1.2).
The semitone snapping option causes Micro-pitch expression points to

snap to whole number semitones. As with the position snapping options
(see section 5.1.2), holding [SHIFT] will toggle this behavior. Semitone
snapping is enabled by default.
11.1.4. Layered Editing Mode

We have seen the Detail Editor Panel work at various levels. We
examined the panel while it focused on a single clip at a time in clip
editing mode. We have also (and primarily) explored the panel while it
focused on all contents of a track in track editing mode. And now there
is one, larger level left to explore.
Layered editing mode still has a clip editing button for letting us toggle
between clip or track editing mode. But once we have chosen that
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mode, entering layered editing mode allows us to view and edit several
clips or tracks together. So once we pick the clip or track paradigm, we
can then zoom out and work with several of those side by side.
We enter layered editing mode by enabling the Layered Editing button.
In the image above, we are in track editing mode, as set by the vertical
track editing button.
Note
In the image above, the button at the top of the left column labeled
TRACKS must also be selected. This indicates that layers are being
shown by track content, and reads CLIPS when the clip editing button
is enabled instead.
The alternate option, CHANNELS, is available when editing notes

show layers by note channel (see section 11.1.4.3).
When we were previously in track editing mode within the Detail Editor
Panel, the top of the panel displayed a clip alias. While track editing
in layered editing mode, we now have a clip indicator instead. This
indicator still shows us the start and end times of displayed clips, but
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the clip's name is no longer present and its length and position can no
longer be manipulated.
Other than that, the right side of the panel is unchanged. The left side of
the panel, however, contains several new items.
On the top left edge of the Detail Editor Panel are two buttons — the
Track Editing button and the Clip Editing button — which are already
familiar. And if as in the image above the Clip Editing button is disabled,
below it will be two new buttons that form a toggle pair.
If the Note Editor button is enabled, the Detail Editor Panel will focus
on note containers as we have examined in this chapter. If the Audio
Editor button is enabled, the Detail Editor Panel will focus on audio
containers as we examined in the previous chapter. Only one of these
can be enabled at a time so clicking either button toggles the current
selection.
Taking all this together, we must select whether we want to use clip or
track editing mode, and also choose whether we want to work with note
or audio clips. For the current example, we will continue with note clips
in track editing mode.
11.1.4.1. Layered Editing in Track Mode
Now that our modes are set, the resizable track controls section houses
editor parameters for each instrument and hybrid track in the current
project. These controls include:
› Track Color stripe: A swatch of the track's assigned color.
› Target button: A pencil icon that sets this track as the target layer,
making it the destination for newly drawn or pasted notes. Also note
that clicking on a layer's name or editing its contents will make that
layer the target layer.
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Note
By right-clicking anywhere in the track controls area and toggling on

the Selected Layer Becomes Target Layer option, clicking a layer's
header will no longer make it the target layer.
› View toggle: This thumbtack icon keeps the layer visible, even when it
is not selected.
› Lock button: When enabled, the layer’s data is protected from being
selected or altered. When a locked track is visible, its contents are still
shown but significantly dimmed.
To make a layer visible: either select it or enable its view toggle.
All aspects of unlocked visible tracks are editable with the techniques we
have seen. Data from various tracks can also be edited together in this
fashion, and objects can even be placed in relation to one another with
object snapping (see section 5.1.2).
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Any clip indicators for the target track will also shade the note event
area to indicate both the boundaries you are working within and how
those boundaries might change by moving notes into empty space.
While in the Note Editor, the background display setting is the final
interface item. The menu labeled Background appears below the track
controls and allows you to pick a background for display behind the
note event area. The choices are either None (for no background) or any
of the audio or hybrid tracks in the current project.
This setting is purely visual but can serve as a helpful reference.
11.1.4.2. Layered Editing in Clip Mode
Switching from track editing mode to clip editing mode presents a few
structural differences.
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Again, the right side of the Detail Editor Panel is largely unchanged from
its standard clip editing mode layout.
On the left side of the panel, the track controls have been replaced by
clip controls. The primary difference here is that only clips which are
currently selected in the active sequencer (either the Arranger Timeline
or the Clip Launcher Panel) will be shown as options.
Because your selection is made in the sequencer, no view toggles are

needed. Also the Note Editor and Audio Editor buttons will appear only
when both clip types are selected.
Otherwise, this configuration works as expected.
11.1.4.3. Layered Editing by Channel
When working with note events, you can also layer them by their
channel for editing purposes.
Note that the vertical track and clip editing buttons are still present on
the far left, allowing you to specify whether you are viewing one entire
track or one clip at a time.
The interface itself is mostly a streamlined version of what we have

seen already. The layers here are listed by channel, with used channels
shown at the top of the list in a bright white. The only real difference is
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the menu of editing/display modes, just below the layer listing. Options
include:
› All channels displays all notes, keeping them all editable.
› Selected channels allows only selected channels to be edited. Non-

selected channels are still displayed but greatly dimmed.
› Selected channels (hide others) allows only selected channels to be

edited. Non-selected channels hidden.
11.1.4.4. Layered Editing with the Audio Editor
Switching from the Note Editor to the Audio Editor also presents a few
structural differences.
In track editing mode, audio events can be freely worked with as

described in the previous chapter. In clip editing mode, both audio
events and clips can be worked with.
Audio expressions can also be worked with in both modes. A single

audio event expression menu appears above the track headers to
determine which expression is globally displayed.
And again, events and/or expressions can even be set in relation to one
another with object snapping (see section 5.1.2).
The last new interface option is the Lane Resize toggle. When enabled,
resizing the Detail Editor Panel also tries to resize each individual track/
clip lane in order to fit the available space.
Otherwise, this editor works as expected.
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11.1.5. Layered Comping

Layered editing mode also serves as a way to perform layered
comping, or to use all comp editing gestures (see section 10.1.4) on
multiple comps at once. This is ideal for comps that were recorded
simultaneously, but it can work on other material of similar length and
configuration.
To work in layered comping mode: select multiple clips that contain

comping data, then open the Detail Editor Panel and click the layered
editing button.
All composite tracks will be shown up top (three in this case), with the
takes visible for only one of the comps.
To edit only one comp while in layered editing mode: hold [CTRL]
([CMD] on Mac) and start your edits on the desired comps.
11.2. Keyboard Editing with Note Events

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
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remember that you are free to switch back and forth between your
selection type.
[CTRL]+[T].
Note
0.2.2.5).
11.2.1. Object Navigation with Note Events

Key commands for working with note events in the Detail Editor Panel
default to action, allowing you to directly move notes. Once you have
selected a note event, various functions are available from the computer
keyboard.
To move selected note events by the current beat grid value: press
[LEFT ARROW] or [RIGHT ARROW].
To move selected note events by a fine amount (one-sixteenth

of the current beat grid value): press [SHIFT]+[LEFT ARROW] or
[SHIFT]+[RIGHT ARROW].
While action is the default behavior in the Detail Editor Panel, events
can be selected as well.
To select the previous or next note event: press [ALT]+[LEFT ARROW]

or [ALT]+[RIGHT ARROW].
To extend selection to include the previous or next note event: press

[SHIFT]+[ALT]+[LEFT ARROW] or [SHIFT]+[ALT]+[RIGHT ARROW].
To make the selected note events shorter or longer by the current beat
grid value: press [CTRL]+[LEFT ARROW] or [CTRL]+[RIGHT ARROW].
To make the selected note events shorter or longer by

a fine amount (one-sixteenth of the current beat grid
value): press [CTRL]+[SHIFT]+[ALT]+[LEFT ARROW] or
[CTRL]+[SHIFT]+[SHIFT]+[RIGHT ARROW].
Additionally, events can be acted on directly to create or change their

pitch and gain expressions.
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To transpose selected note events by ±1 semitone (a half-step): press

[UP ARROW] or [DOWN ARROW].
To transpose selected note events by an octave (±12 semitones) : press

To adjust gain for the selected note events by ±6 dB: press [ALT]+[UP
ARROW] or [ALT]+[DOWN ARROW].
To adjust gain for the selected note events by ±1 dB: press

[SHIFT]+[ALT]+[UP ARROW] or [SHIFT]+[ALT]+[DOWN ARROW].
When an event already contained gain expressions, all points are moved
by the prescribed amount when these functions are used. And when
an event contained no gain expression points, one is created at the
beginning of the event and then set accordingly.
As with automation points, direct expression point editing is also

possible via the computer keyboard.
To select the previous or next expression point within the current note
event: press [LEFT ARROW] or [RIGHT ARROW].
To extend selection to include the previous or next expression point:

When an expression point is selected, all expression points of the

same type for the current event can be selected via Select All, with
[CTRL]+[A] ([CMD]+[A] on Mac).
While modifying selection is the default behavior when working with

expression points, selected points can be moved as well.
To move selected expression points by the editor's current beat grid

To move selected expression points by a fine amount (one-sixteenth of

the current beat grid value): press [SHIFT]+[ALT]+[LEFT ARROW] or
Additionally, the value of expression points can be directly adjusted.
To adjust selected expression points by a course value: press [UP

ARROW] or [DOWN ARROW]. Different expressions will move by the
following course amounts.
› Pitch expressions: ±1 semitone (same as a half-step)
› Timbre expressions: ±10 %
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› Pressure expressions: ±5 %
To adjust the selected expression point by a fine value: press

[SHIFT]+[UP ARROW] or [SHIFT]+[DOWN ARROW]. Different
expressions will move by the following fine amounts.
› Pitch expressions: ±0.1 semitones (same as ±10 cents)
› Timbre expressions: ±2 %
› Pressure expressions: ±1 %
When the Detail Editor Panel in Clip editing mode, additional items in
the header of the panel can also be selected and moved.
To move the clip's loop Start time by the current beat grid value: select
the clip loop indicator, and then press [LEFT ARROW] or [RIGHT
ARROW]. This will preserve the loop's length.
To move the clip's loop Start time by one bar: select the clip loop
indicator, and then press [SHIFT]+[LEFT ARROW] or [SHIFT]+[RIGHT
ARROW].
To move the clip's Offset time by the current beat grid value: select
the clip start indicator, and then press [ALT]+[LEFT ARROW] or
[ALT]+[RIGHT ARROW].
To move the clip's Offset time by one bar: select the clip start
indicator, and then press [SHIFT]+[ALT]+[LEFT ARROW] or
When Looping is disabled, the same commands can move the clip end
marker (representing the clip Length).
And 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):
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11.2.2. Time Selection Navigation with Note Events

Making a time selection is as simple as clicking anywhere in the Detail
Editor Panel with the Time Selection tool. Once time is selected, key
For working with notes, these events include:
› Note start and end positions
› Expression points currently being shown
› Loops start and end times
editor)

To move to the next or previous relevant event: press [LEFT ARROW] or

[RIGHT ARROW].
To create or extend a selection to the next or previous relevant event:



ARROW].
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› Split ([CTRL]+[E] [[CMD]+[E] on Mac]) separates notes at the current

time selection line(s), preserving playback as it was, but leaving distinct
notes to work with.
time for the event happening here, removing any earlier material.
for the event happening here, removing any later material.
11.3. Note Event Functions

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
begins, creating a continuous series of events.

before and after the Legato function is applied:
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› Reverse flips the selected event around, causing it to play backwards.

before and after the Reverse function is applied:
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Notice that the expressions are also reversed.
› Reverse Pattern flips the order of a group of selected events. This does
not cause each event and its expressions to play backwards, but rather
causes the last event to be played first, etc.
Note
This function will work only when multiple events are selected.

before and after the Reverse Pattern function is applied:
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Notice that the expressions are preserved.
› Content Scaling > Scale… requires a set Amount of scaling to be typed

in, along with an option to Scale each (keep position), which preserves
the start time of each selected note event.
› Content Scaling > Scale 50% halves the length of the selected event,
effectively causing it to play back twice as fast. All expressions are also
proportionally adjusted.
The following images demonstrate selected note events both before

and after the Scale 50% function is applied:
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start time of each selected note event is preserved.
› Content Scaling > Scale 200% doubles the length of the selected event,
effectively causing it to play back half as fast. All expressions are also
proportionally adjusted.
The following images demonstrate selected note events both before

and after the Scale 200% function is applied:
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Note
Remember that events must fit within their parent clip.
start time of each selected note event is preserved.
› Quantize > Quantize… moves the start and/or end times of the selected
note in relation to a beat grid. The parameter pane for this function
appears when the right-arrow button is clicked.
› Grid Mode: Determines whether to adopt the grid settings from the
current Editor or to allow Custom grid settings.
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› Custom Grid: Exclusive beat grid resolution and beat grid subdivision
settings (see section 3.1.2) for the quantize function.
Note
This is available only when Grid Mode is set to Custom.
› Shuffle: Amount of swing/groove (see section 2.3.2) applied to the

beat grid for the quantization function.
› Humanize: Amount of randomness added to the quantize function,

with the intention of mimicking human imperfection.
› Start Amount: Amount of quantization applied to each selected

event's start position.
For example, a setting of 50.0 % would move a selected event's start

position halfway to the closest grid point. A setting of 100 % places
the event exactly on the closest grid point.
› End Amount: Amount of quantization applied to each selected event's

end position.
Note
Humanize is the last factor applied in the quantize function. So a

Start Amount of 100 % might not place events directly on the grid if
Humanize is enabled.

› Transpose > Transpose a Semitone Up slides the selected event(s) up a

semitone. This function is also available by pressing [UP ARROW].
› Transpose > Transpose a Semitone Down slides the selected event(s)

down a semitone. This function is also available by pressing [DOWN
ARROW].
› Transpose > Transpose an Octave Up slides the selected event up 12

semitones (in musical notation, 8va). This function is also available by
pressing [SHIFT]+[UP ARROW].
› Transpose > Transpose an Octave Down slides the selected event down
12 semitones (in musical notation, 8vb). This function is also available
by pressing [SHIFT]+[DOWN ARROW].
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› Slice / Fold > Slice In Place… divides the selected event into multiple
events at a selected regular note interval (on Beat Grid).
› Slice / Fold > Slice At Repeats splits any selected audio event using
the Repeats Operator into individual events (see section 12.2.1). When a
selected event does not have Repeats enabled, no change is made.
› Loop Selected Region both enables the parent clip's Loop setting and
sets its time range to match that of the currently selection.
11.4. Inspecting Note Clips

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 select multiple notes: click a blank area and drag a rectangle around
the desired notes.
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Other ways to select multiple notes include:
› After selecting one note, [CTRL]-click ([CMD]-click on Mac) additional

notes to grow the selection.
› Click a note on the piano keyboard to select all displayed notes of that
pitch.
› With the Time Selection tool, click and drag over the time area for
which all displayed notes should be selected.
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(To normally click and drag the notes after they are selected in this
way, you can switch back to the Pointer tool.)
To select the next note: press [ALT]+[RIGHT ARROW].
To select the previous note: press [ALT]+[LEFT ARROW].
If you have one note selected, you can similarly grow the selection by
pressing [SHIFT]+[ALT]+[RIGHT ARROW] or [SHIFT]+[ALT]+[LEFT
ARROW] .
Once a note selection is made, the Inspector Panel will display relevant
settings and functions.
11.4.2. The Inspector Panel on Note Events

As with audio clips and events, selecting a note clip makes certain
parameters and functions available in the NOTE section of the Inspector
Panel, but by selecting a note event itself, the Inspector Panel provides
all settings relevant for the selected event(s).
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We will take these one section at a time and also examine the functions
available in the Event menu when note events are selected.
11.4.2.1. Timing and Mute Section
These settings relate to the musical position of the selected note and
whether it is muted:
› Start sets the start position of the event within its parent clip or track.
Adjusting this position will move the note event as it exists, the same as
clicking and dragging the event within the Detail Editor Panel.
› Length sets the duration of the event within its parent clip. Adjusting
this duration will simply lengthen or shorten the note event, the same
as using the bracket cursor to adjust the right edge of the note.
› Muted toggles whether or not the event is disabled on playback.
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11.4.2.2. Note Properties Section
These parameters relate to how each selected note is sounded:
› Channel sets the internal channel that the note will play back on. This
can act as a routing control within an Instrument Layer device, or when
being sent directly to a VST plug-in or a hardware MIDI device that
respects multiple channels.
› Key sets the root pitch that the note is set to. This is shown as a MIDI
note value, where C3 is roughly 261.262 Hertz ("middle C") and A3 is
440 Hertz. Adjusting this value is the same as moving the note higher
or lower.
Any Micro-pitch expressions are applied relative to the note's Key

setting.
› Velocity sets the strength with which the note should be initially
triggered. It is set on a scale from 0.00 % to 100 %, and this is just
another representation of the note's velocity expression (see section
11.1.2.1).
› Vel Spread sets the bipolar spread range for the note (see section
10.1.3). So if a note has a Velocity of 78.7 % and a Vel Spread of 10.0 %,
the note will trigger with a velocity between 68.7 % and 88.7 % each
time it plays.
› R-Velocity stands for release velocity, and it sets the speed with which
the note should be released. It is set on a scale from 0.00 % to 100 %.
This parameter is implemented in whatever way the instrument device
desires.
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11.4.2.3. Operators Section
Unlike the other sections in the Inspector Panel, the section displaying
Operators is only shown when notes (and not clips) are selected.
Operators are covered extensively in their own chapter (see chapter 12).
11.4.2.4. Expressions Section
This section exposes five of the expressions we have covered: Gain (see
section 11.1.2.3), Pan (see section 11.1.2.4), Pitch (also known as the Micro-
pitch expression; see section 11.1.3), Timbre (see section 11.1.2.5), and
Pressure (see section 11.1.2.6). While these expressions have completely
different functions, they are programmed in the same fashion.
Most of these expressions have their units defined, with Gain set in
decibels, and both Pan and Timbre set with bipolar percentages. The
unlabeled Pitch is set in semitones, indicating the relative shift.
These are all automation-type expressions, so each is able to be defined

by a curve made of several values. Because of this possibility, each value
in this section of the Inspector Panel actually represents the average of
points in that expression. We can see this in action with the Gain setting.
This note has a gain expression consisting of two points and a curve. The
-6.81 dB listed for the Gain parameter is an average of these two points.
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To adjust a note expression curve: change its listed average value.
This would work similarly if multiple note events were selected.
11.4.3. Working with Multiple Note Events

As it was with audio events, the Histogram becomes available when
multiple note events are selected (see section 10.4.2.2).
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In this example image, the Inspector Panel has labeled its bottom
section as NOTES (18), indicating that 18 notes are currently selected.
And with this selection of multiple note events, the Velocity, R-Velocity,
Gain, Pan, Pitch, and Timbre parameters all can now use the Histogram
interface for editing.
The Histogram works exactly the same as it did in the audio event
context (again, see section 10.4.2.2). The Histogram can be useful in the
note context, for example, when notes were programmed without much
diversity in their velocities.
It doesn't take much to add subtle — or less subtle — variety with

the Histogram. If you look, you will find places where it can aid your
workflow.
11.5. The Edit View

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.
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As we've discussed before, each view is a curated layout of Bitwig

Studio's panels that is meant to serve a particular musical task. The
Arrange View is purposed for assembling music, placing the important
Arranger Timeline Panel centrally and giving you access to all panels
around it. The Mix View centers around the Mixer Panel, focusing on the
mixing board capabilities of each track while also streamlining the Clip
Launcher Panel to facilitate improvisation.
Both of these views are oriented to show your project's tracks side by
side, letting you craft a balance between them. But the Edit View is
focused on the details of single tracks and clips.
The description just given and the image above should both be familiar
at this point. The Edit View has two central panels: the Detail Editor
Panel with an optional Automation Editor Panel fused beneath it. Aside
from their positioning and the Automation Editor Panel view toggle,
these panels work exactly as we have already learned them.
This combination allows you to focus on either the track or clip level
so that you can work with the note/audio events contained there, the
attached expressions, and the automation all beside each other. And
putting the Detail Editor Panel front and center gives you much more
display space for seeing more notes at a time — or, in the case of layered
editing mode, more tracks. These are all welcome additions to the
toolbox.
As a final point, the Edit View also strengthens the utility of display
profiles. Since these profiles are meant to enable you at various stages of
music production, you can probably imagine situations for having the full
project on one screen (the "big picture") so that you can select a single
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clip or track and have its contents presented on the second screen (the
"close up"). Again, once you scratch the surface, you will find uses for
these functions in your workflow.
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12. Operators, for Animating Musical
Sequences
Music is normally conceived in a rough, fuzzy way and then programmed
into the computer as an expression of stark certainty. If only some of the
composer's thought process could be entrusted to the computer, so that
changing circumstances might yield different, symmetric results. And
this is why Bitwig has Operators.
Operators change when or how notes and audio events are triggered.
In other words, Operators allow you to take sequenced events and
animate them with randomness, cycle-aware logic, performance
controls, and other interrelationships that expand what a clip is capable
of.
Let's spend a moment with this pile of various and sundry ideas.
› Randomness, weighting any event to be more or less likely each time

the play head arrives.
› Cycle-aware logic, considering how many times a clip has looped. So

events can be triggered only on (or after) a clip's initial loop, or an
event can think in a number of cycles (say, six loops per cycle) and
then trigger on the first, second, and fourth loops each time.
› Performance controls, mapping events to play (or not) when the

mappable Fill button is on.
› Interrelationships between events, so events play only when the

previous event did (or didn't).
› Even the simplest idea — turning a single event into countless, ramping
retriggers — multiplies your sound design possibilities while keeping
the mayhem manageable.
These are strong ideas individually (and they do make appearances

all thru Bitwig Studio). But they are together within Operators, which
can shift the compositional process a bit, allowing you to program
conditional relationships between events and much more.
We'll start by examining each of the four Operator modes. Then we'll
look at a few functions that relate to Operators in one way or another.
And after you've played with the Operators one at a time, do try them
together (maybe Chance on one event, followed by without Previous on
the next). Because while each mode has its charms, simple combinations
can yield exquisitely musical results.
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12. OPERATORS, FOR ANIMATING MUSICAL SEQUENCES
12.1. Operator Modes

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. — all Operators are set to
neutral states, which have no effect other than to play back a normal
event each and every time the playhead passes it. These default values
will be noted below.
But note that mode icons also double as toggles. So if you try something
new with Occurrence settings, you can always click the if button to
temporarily bypass just the Occurrence behaviors for the selected
events. By default, all of these modes are enabled, which means that
trying out any Operator is as simple as selecting some notes or audio
events, and setting a value in the Inspector Panel.
As each mode is unique, let's spend a moment with each of them.
12.1.1. Chance
Chance sets the likelihood that any event will occur, adding a mercurial
element to your events.
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Chance only has a single parameter, which represents the probability

that this event will play. So if an event's Chance value is set to 50 % (half
of the time) and the clip plays four times, the event is most likely to play
two of the times and to not play the other two times.
Chance is visualized on each event like the face of a die (dice). The
number of dots or spots shown represents the current setting:
› 5 dots - 80 % to almost 100 %
› 4 dots - 60 % to almost 80 %
› 1 dot - 0 % to almost 20 %
For example, the following series of notes goes from high to low
probability, and then back up again.
And when working with notes, the Chance expressions have their own
editor, appearing right after the velocity expressions (see section 11.1.2.2).
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All this talk of "most likely" and what is "probable" reminds us that
Chance is random. So other than its default value (a neutral 100 %,
meaning always) or a setting of 0 % (read: never), every other value is
perfectly unpredictable for any single moment.
As the one randomized Operator, Chance is determined by the clip's

Seed parameter (see section 5.4.7). This makes its behavior identical to
expression Spread (see section 10.1.3).
And if only using the Chance Operator on an event, you will see at the
start of each clip cycle whether that event will play or not. For notes,
a full stroke around the note shows that it will play this time. For audio
events, a normal, bright color stripe in the audio event header indicates it
will trigger.
Note
Not all Operators produce playback visualization. So when multiple

Operators are in use, you may see the visualization for a positive
Chance outcome, but the event might not trigger for other reasons.
12.1.2. Repeats
Repeats causes retriggers within the original event, letting any single
event create (and control) myriad more.
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Repeats has at least two parameters.
› Repeat Rate determines when the retriggers will happen. It defaults to

Off (no effect; the same as typing in 1 or 0 [zero]), and this parameter
actually has two modes.
When dragging upward, you scroll thru positive numbers (2, 3, up

to 128). This sets the number of pieces that the event is divided into.
This also means that changing the length of the event will change the
placement of its repeats.
If you drag downward, you go thru fractions (1/2, 1/3, up to 1/128).

This sets the rate at which repeats will occur in beat time, which is not
affected by the length of the event. And while any value is available,
some standard musical intervals are available in a pop-up menu by
right-clicking on the Repeat Rate parameter itself.
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› Repeat Curve is represented by the horizontal slider beside Repeat

Rate. The default value is centered (0 %), which keeps all repeats in
their original position. Negative values (to the left of center) set the
repeats to be closer together at the start of the event, and positive
values (to the right of center) bunch the repeats closer together
toward the event's end.
These two parameters determine the placement and timing of the

repeats. Each event retrigger acts like a restart of the note or audio,
with a visualization that clearly shows the placement and effect. For
audio events, the waveform is shown restarting to match the playback
behavior.
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For notes, Repeats has two additional parameters related to velocity.
› Repeat Velocity End sets the target velocity for the end of the repeats.
Since velocity is only used at the beginning of each note, this level may
never be reached, but the curve will be maintained if the rate or timing
of repeats is changed. The parameter range is a bipolar percentage,
mapping the end point relatively across the full velocity range.
So let's assume a note with a velocity of 40 %. A Repeat Velocity End

setting of 0 % would represent no change, starting every repeat with
the original note velocity. A Repeat Velocity End value of 50 % would
initially trigger at velocity 40 % with the successive repeats ramping up
to a velocity of 70 %. And a Repeat Velocity End value of -75 % would
initially trigger at velocity 40 % with the successive repeats tapering
down toward a velocity of 10 %.
› Repeat Velocity End is found at the right end of the Repeats line in
the Inspector Panel, beside the vertical velocity pin icon (when notes
are selected). It is also visualized in the velocity expressions lane as a
draggable handle at the end of the note.
› Repeat Velocity Curve is available inside the velocity expression lane.

By holding [ALT] and dragging the velocity end handle up or down,
the curve of any repeated event can be bent to move toward the
target velocity sooner or later.
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One final note. Any note or audio event using the Repeats Operator is
still a single event — at least until you choose to Slice At Repeats (see
section 12.2.1). And as a single event, expressions can be draw across the
length of each event, including across repeats.
12.1.3. Occurrence
Occurrence sets conditions for each event. The choice of Condition is
presented in a single menu.
For any event using Occurrence, the icon for the selected Condition is
shown on the event. And as we go thru each Condition, keep in mind
that they are each self-contained with no additional parameters.
› Always - The event will play every time. This is the default, neutral
state.
› on First - Plays on the first pass (including retriggers) of the clip
› never First - Plays every time except on the first pass (including
retriggers) of the clip
› with Previous - Plays if the immediately previous event did
› without Previous - Plays if the immediately previous event didn't
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› with Prev Key [note events only] - Plays if the immediately previous
note on this key did
› without Prev Key [note events only] - Plays if the immediately previous
note on this key didn't
› with Prev Chan. [note events only] - Plays if the immediately previous
note on this channel did
› without Prev Chan. [note events only] - Plays if the immediately

previous note on this channel didn't
› Fill on - Plays when Fill mode is on, in the global transport (see section
2.3.2)
› Fill off - Plays when Fill mode is off, in the global transport (see section
2.3.2)
So thinking of the list from the start of this chapter, Occurrence includes
cycle-aware options (the two First modes), interrelationships (all modes
using the Previous idea), and performance controls (Fill on and Fill off).
Note
Of the Occurrence modes, only the two First modes provide playback
visualization.
12.1.4. Recurrence
Recurrence gives each event its own looping timeline.
As shown above in the Inspector Panel, there are two parameters along
with one visualization element that make this work.
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› Recurrence Length sets the number of loops per cycle for this event.
This can be set between 1 (the default, neutral value, shown as Off) and
8.
› Following the length value is a matching number of toggle boxes. Each

Recurrence Step is clickable to toggle whether the event will trigger on
that particular loop of the cycle.
› You'll also notice an underline beneath one of the step toggles. This
little indicator tells you which loop of the cycle is currently playing
back.
This pattern is also shown on the right edge of events themselves, with a
series of shaded (on) and empty (off) rectangles.
And finally, Recurrence does provide playback visualization on each

event when a loop cycle is started.
12.2. Operator-related Functions

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 Repeats

The charm of Repeats is that the original event houses all of the repeats,
with the parameters remaining adjustable. This is usually better than
slicing the original event into new ones, but for certain cases, that might
be exactly what you want to do. While it works for notes too, we can
visualize it with audio event.
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To turn an event's Repeats into individual events: select the event and
then choose Event › Slice At Repeats .
This is the same as if you had taken the knife tool and manually sliced
the event at each repeat — except each new region has Repeats turned
off. But all other expressions and Operators will be preserved in each
new event, potentially changing the playback (for example, Chance in
the above image).
12.2.2. Expand, from the Clip Launcher

With Operators, the number of bars you see in a clip is much smaller
than the unique output you can get when the clip is looping. Depending
on the modes used, each loop could be unpredictable and unlikely to
repeat their pattern, or spread out so that repeats only happen every
dozen (or few hundred) loops, or both. This is a lot to keep in mind.
The Expand function takes any Launcher clip and supports printing out
two, twenty, or however many cycles of the original as a new clip (with
all possible Operators removed and printed as permanent events). And
unlike "bounce" functions, Expand outputs the same kind of clip you
started with — note clips remain note clips, audio clips remain event-
based audio. 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.
For this example, here is a one-bar note clip as our source material.
To print several repetitions of a Launcher clip with Operators removed:

select the original Launcher clip and then choose Clip › Expand…. A
dialog will appear with three settings.
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› Number of repeats represents the number of cycles of the clip that will
be printed. So if our example is one-bar long, setting a value of 8 will
create a new eight-bar clip on the next available clip slot.
› Preserve Chance keeps all events' Chance Operator settings. This

will maintain that random element on playback. This is off by default,
flattening all Chance values to events that either happen or do not.
› Preserve Spread keeps all events' expression Spread values (see

section 10.1.3). This will maintain that random element on playback. This
is off by default, flattening all Spread occurrences to discrete values.
By taking our example source above and choosing to Expand with 8

repetitions, I got this clip.
And if I try expand with exactly the same settings, the presence of
Chance may take things in a different direction.
Only a few things remain unchanged (for example, events without any
Operators, and events that can't be known ahead of time, such as events
that rely directly or indirectly on a Fill mode state). Some things come
and go depending on the loop count (like the blue-ish notes on the
top row, which only use Recurrence settings). Other events are purely
randomized (like the yellow note within beat one of each bar). And other
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events are chained together (notice that the early beat-one yellow note
OR a green note appear, due to an Occurrence of without Previous on
that first green note; never both).
Whether Expand is just providing a visual readout or the plan is to lock-

in the randomness of Operators and expression Spread as printed notes,
that is up to you.
12.2.3. Consolidate
The clip Consolidate function has come up in previous chapters as a way
to lock in or solidify a clip. So Consolidate is also an option to flatten
settings. Where Expand is oriented toward taking a Launcher clip and
making something much bigger, Consolidate can flatten any clip at its
current size, which makes it particularly useful on the Arranger where
looping clips of defined length might live.
And just as Expand had options for how to handle the randomized
Chance and expression Spread elements, Consolidate can either flatten
or preserve these as well. It just depends on whether the clip in question
is behaving randomly on each pass, or if it has a consistent Seed value
For this example, I've taken the same clip we were using to look at
Expand in the previous section. I've just dragged it to the Arranger and
set it to loop three times.
This clip's Seed value is currently set to Random, which means Chance
and expression Spread elements will be freshly randomized at the
moment this clip starts playing. And this is preserved if Consolidate is
used on this clip, as shown below.
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So the looping regions have become real copies, as is always the case
with Consolidate. And Operators that are unpredictable remain on their
events. Only settings expressing certainty (like cycle-aware Recurrence
settings or First-related modes used in isolation) will be flattened to
regular events with the original Operators removed.
If the clip has a replayable Seed value, then that seed will be used to
permanently print all randomized Chance and expression Spread values.
So fewer notes exist now because of the direct and indirect random
relationships, and the only Operators that now remain are those
considering the Fill mode state (and any following events tied to those
with Previous logic), and events using Repeats, which are never touched
by either Expand or Consolidate.
And if a new Seed value is requested for the original clip, using
Consolidate again might yield a different result.
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And it did. This time.
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13. Going Between Notes and Audio
The previous two chapters dealt extensively with audio events and note
events, which you could think of as our primary states of musical matter.
And those last two chapters are the longest in this document because
there is quite a lot to do in Bitwig Studio with audio and note events.
Working with notes has inherent advantages, as does working with

audio. Without trying to tell you how either of these types "should"
be used, it is fair to say that notes allow for a greater level of flexibility
and control, and audio is both highly portable and can be wonderfully
mangled.
But occasionally, matter changes state. This happens in the physical

world when water freezes, and it also happens when you use Bitwig
Studio to bounce a note clip in place. And just as ice sometimes melts,
even audio can be sliced into note events.
This chapter will explore ways of taking audio materials into the note
domain, ways of transforming note events into audio ones, and places
where both coexist. We may not be altering nature here, but these
options will only afford you more opportunities to customize your
workflow and sound.
13.1. Loading Audio into a New Sampler

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 space between any two existing tracks.
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13. GOING BETWEEN NOTES AND AUDIO
When importing an audio file, Bitwig Studio provides one additional

option worth mentioning here.
To load an audio file into a new Sampler device on a new instrument

track: click and drag the clip from the Browser Panel to the space
between two existing track headers.
Once the mouse is released, a new instrument track will be inserted in

that place, and the track will be selected.
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With the track record enabled, you can now use notes to trigger the
audio that was just loaded.
Rather than exploring the Sampler in any great detail, we'll look at just
a few parameters that affect how the notes you play are interpreted by
Sampler.
› Keyboard Tracking: When disabled, any note triggers the sample at its
original pitch. When enabled, each note's pitch setting will change the
playback speed and pitch of the sample.
› Root Note: The note which will play the sample at its original pitch. This
setting takes effect only when Keyboard Tracking is enabled.
› Fine Tuning: A small interval adjustment for the Root Note setting, in
units of cents (hundredths of a semitone). This setting takes effect only
when Keyboard Tracking is enabled.
› Velocity Sensitivity: The amount that each note's velocity affects the
loudness of the sample. At the lowest setting (+0.00 dB), velocity is
ignored.
Note
For detailed information about Sampler, see section 19.23.5.

(Descriptions for all Bitwig devices can be found in chapter 19.)
13.2. Bouncing to Audio

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

context menu. (These same options also appear in the Edit menu.)
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13.2.1. The Bounce Function

The simple Bounce function presents a dialog box.
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The Source choices refer to different places in the track's signal flow,
and you get to select which point you would like the audio to come
from.
The options include:
› Pre-FX: The raw audio signal from the primary instrument's output.
› Pre-Fader: The audio signal after the track's device chain but before
the track's volume setting is applied.
› Post-Fader: The audio signal after the track's device chain and volume
setting.
› Custom: A special menu of options that includes every top-level signal

junction in the track, including from within the device chain.
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In this example, the instrument track in question has three top-level

devices: Drum Machine, Delay-2, and Bit-8. Selecting one of these
options chooses the audio output of that device for the bounce.
Three additional parameters follow:
› Bit depth: The resolution of the bounced audio file.
› Dither: A toggle for whether shaping is applied for the selected bit
depth.
› Real-time: A toggle to bounce at the actual speed (and time duration)

of the selection. This setting is necessary if you are bouncing external
hardware, etc.
After making your selections, click Ok to bounce the audio onto a new
track.
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If you want a standard pre-fader bounce, you can also click and drag a
clip while holding [ALT] ([SHIFT]+[CTRL] on Mac).
13.2.2. The Bounce in Place Function and Hybrid

Tracks
The Bounce in place function is similar to the Bounce function with two
key differences.
First, it presents no dialog box, taking the audio output from the primary
instrument (Pre-FX).
Second, it replaces the clip you are bouncing with the bounce itself.
Note
Since Bounce in place deletes your source clip, it is a good practice

to copy the clip (perhaps to the Clip Launcher) before using this
function.
Note
When using Bounce in place on a metaclip within a group track (see

section 5.1.9), the newly bounced clip is placed on the group track's
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internal master track instead of replacing the source clip. Accordingly,

the group track will now ignore its component tracks for that section,
outputting only the audio of that bounced clip.
Since this was the only note clip on the track, Bitwig Studio has
converted it from an instrument track to an audio track while preserving
the entire device chain.
If there were other note clips on the track, it would have been converted
from an instrument track to a hybrid track.
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Since hybrid tracks allow both audio and note clips to be present, the
Detail Editor Panel now has its Audio Editorand Note Editor buttons
to keep things straight. These buttons (and the panel) work as they
did when we first saw them in layered editing mode (see section 11.1.4).
Otherwise, hybrid tracks work the same as instrument and audio tracks.
Note
To enable this workflow of hybrid tracks, 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.
And instrument and audio effect devices send on the note signals
they receive, as following audio devices or modulators may take
advantage of them.
The primary exception to this rule are devices using The Grid, which
have some routing parameters for defining their "thru" behaviors (see
section 17.2.1).
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13.3. Slicing to Notes

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.)
13.3.1. The Slice to Multisample Function

The Slice to Multisample... function presents a dialog box.
The dialog begins with two options regarding the source to be sliced:
› Bounce and Slice: Executes a bounce function of the clip before slicing
it. If this is selected, the signal flow options from the Bounce dialog are
shown below (see section 13.2.1).
› Slice Raw: Simply slices the raw source event.
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After these choices comes the critical Slice at setting, which determines
at what interval slices will be made. The choices are self-explanatory,
including event-based intervals (Beat Marker, Onset, and Audio Event)
and time-based intervals (Bar, 1/2 note, 1/4 note, 1/8 note, 1/16 note, and
1/32 note).
When Onset is selected, an additional histogram view appears in the

dialog, showing the current selection's onsets based on their strength.
The Onset Threshold parameter lets you use only use the strongest
onsets. If an Onset Intensity Threshold for set for this event (see section
10.4.1.2), then that value will be used. A setting of 0 % will use all onsets.
Additionally, if the Detail Editor Panel is onscreen, it will stay bright even
when the dialog is open to visualize which onsets will be used. If the
dialog's Onset Threshold is changed — by adjusting the numeric control
or dragging the vertical slider within the histogram representation — the
shown/dimmed onsets in the Detail Editor Panel will update.
The final option in the dialog is to Limit number of slices or not. This
does not alter the Slice at setting, but simply stops slicing if the
maximum slice count has been reached.
Choosing to Slice Raw at each Onset and clicking OK would lead to a

new instrument track with a new note clip.
On this new instrument track, a Sampler device has also been created
with the corresponding slice of audio assigned to each note seen in the
note clip.
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The original audio clip could now be rearranged by editing the note
events, or it could be reinterpreted on the fly by playing any of these
notes in real time.
13.3.2. The Slice to Drum Machine Function

The Slice to Drum Machine... function leads to the exact same dialog
as Slice to Multisample... and produces a new instrument track with a
new note clip in the same way, but the instrument track is given a Drum
Machine device with each slice loaded into its own separate Sampler.
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The choice between Sampler and Drum Machine is really one of

workflow. While Sampler places all slices in the same signal chain, the
Drum Machine gives you independent chains (and a unique Sampler) for
each slice. If you want to process individual slices in different ways, you
might favor the Drum Machine.
In the end — like so many things in Bitwig Studio — the choice is up to

you and your personal preference.
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14. Working with Projects and Exporting
The title of this chapter isn't meant to cause confusion. Yes, we have
been working with projects for the majority of this document, but there
are a few details about projects that we haven't covered yet, including a
few details about how Bitwig Studio manages project files.
Each Bitwig Studio project file uses the BWPROJECT extension. When
you save a Bitwig Project file, the project file itself is placed in a new
project folder. Whenever new content files are generated in a project,
the program will automatically place them in the project folder within
new sub-folders (such as samples, plugin-states, recordings, bounce,
etc.).
While Bitwig Studio has its own preferences and settings, there are also
project-based parameters that are stored within each project. And while
preferences do apply across the entire program, these settings have to
be reconciled with the content of your actual project file and folder.
Note
For information about storing project-specific mappings for computer

keyboards and MIDI controllers, use the Mappings Browser Panel (see
section 15.4).
In this chapter, we will see how to save project templates, either for
your own use or for sharing with the wider world. We will look at the
Project Panel, which manages your project's metadata and the status of
files and plug-ins being used. We will talk a bit about the global groove
settings and how they impact your project. We will show ways to share
content between projects. And finally, we will examine exporting audio,
MIDI, and even your entire project content from Bitwig Studio.
14.1. Saving a Project Template

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 Save as
Template… option. Selecting this option pulls up a dialog.
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14. WORKING WITH PROJECTS AND EXPORTING
There are six fields that you can set for your template.
› Name: The title of the template.
› Author: The name of the template's author (by default, your Bitwig user
name is used).
› URL: A web address for the author.
› Category: Whether you would consider this project a Template, Demo,

or Tutorial.
› Tags: Metadata pieces that can be used for choosing or sorting

templates later. To finalize a tag, press [ENTER] after typing it. Use as
many tags as you like.
› Description: A fuller explanation of the template.
Three basic options can be toggled as well: whether to Show welcome

dialog when the template is opened, whether the save process Should
collect external files to the project, and whether the save process should
Should collect packaged files that are used by the project.
To create a new file from a template: go to the File menu and select New
From Template… (directly beside the New… option).
To set a template as the default for any new project: in the General tab
of the Preferences window, find and enable the Use a template for new
Projects setting under the Template heading. Then click on the ellipsis
(…) button and select the template file to be used.
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14.2. The Project Panel

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.
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This starts with the Defaults for the Clip Launcher. These settings
represent this project's configurations for both the Main and ALT trigger
actions. All clips are initially set to trust these project-wide settings,
representing the same functions described earlier (see section 6.2.5.2
and section 6.3.2).
The default Main settings represent a traditional trigger behavior: the

Launch Quantization waits until the next bar line (1 bar), the Launch
Mode will cleanly Trigger from Start of the clip, and when the trigger
gesture is released, playback will simply Continue whatever it was doing
(essentially the null Release Action).
In contrast, the default ALT settings offer a legato jump into the new
clip: the Launch Quantization is set to Off so the change happens
immediately, with the new clip taking over from the previous clip's
relative position (as the Launch Mode is set to Legato from Clip (or
Project)), and when the trigger gesture is released, the Release Action
causes playback to Return to whatever was happening before this clip
was triggered.
While these two behaviors can be quite expressive, you can of course
change these project settings and quickly redefine performance of this
song, even while it is playing back.
To swap the project's Main and ALT trigger behaviors: click the stacked
arrows icon between the Main and ALT labels.
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A final Post Record Action options are available as well, and how long to
Delay the selected action after a Launcher clip recording has stopped.
Then in the Remotes & Modulators section are a few settings related to
track-level modulators and remotes, including:
› Whether to Show group headers in Device Panel or not (which would

hide the headers for group and project levels in the Device Panel).
› Whether to Alias preset remotes on tracks, which would show certain

device remotes in the place of unique track remotes (when none are
present).
› The number of Track remotes shown in mixer, in case you'd like to limit
that section's space or pick a number that matches your controller, etc.
14.2.2. Project Remotes Pane

A special Project Remotes pane is available at the bottom of the Project
Panel.
To show the Project Remotes pane: click the Project Remotes icon at the
bottom of the Project Panel.
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This special Project Remotes pane can also be used for mapping or
editing your project remotes, and it will stay visible regardless of which
tab you are on in the Project Panel.
14.2.3. Info Tab

The Info tab allows you to fill in several metadata fields to describe
your project. While you can use each of these fields as you see fit, their
purpose is to help you store information and notes about each project
file. Depending on which audio format you choose, some or all of these
values might be included as tags in your output files.
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14.2.4. Sections Tab

The Sections page shows all Arranger cue markers and Launcher scenes
in one list, displaying the name and color of each, as well as the position
(for cue markers) and the number of contained clips (for scenes).
Selections made in this tab act the same as when actual Arranger
cue markers or Launcher scenes are selected. For example, pressing
[RETURN] triggers whatever is selected. Or right-clicking selected
Arranger cue marker(s) allows you to Loop Selected Region, setting the
Arranger Loop Selector to match the selected marker range.
Additionally, the Launcher and cue marker icons on the left edge can
be clicked to toggle their visibility in the panel. And the 'text bubble'
icons on the right of each section expand the entries to include space for
showing their comments.
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When comments are shown, clicking in each entry's header line selects
that scene/cue marker. Clicking in the space below allows text entry of
new comments, or even dragging to make text selections and edits.
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14.2.5. Files Tab

The Files tab lets you view and manage the audio files that are used by
the current project.
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The central focus of this tab is the list of audio files. At the top of the tab
is a search field for narrowing the files being shown based on their name.
And when one of the audio files is selected, an info pane will appear at
bottom. This pane displays information about your file selection and
offers a few options for auditioning files, similar to the browsers (see
section 4.2.4.1).
To the left of each audio file listed is either a yellow square, a red square,
or a blank space. This indicates the file's status.
› A file with a blank space to its left is stored within the project's folder.
› A yellow square indicates that the file being used is external, or located
outside of the project folder.
› A red square indicates that the file is currently missing and cannot
been found. At the right edge of each missing file is a magnifying glass
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icon. Whenever a project has a missing file, its icon in the project tab
section will include an exclamation point (!).
Files of all statuses will be shown when the Show All view button is
enabled (it is the default). The other view buttons, External and Missing,
show only files of those statuses when selected.
To search for a missing audio file: click the magnifying glass icon to the
right of the file's listing. In the open file dialog that appears, navigate to
the folder you would like searched, and then click Open.
To search for all missing audio files: click the Find All button at the
bottom of the audio file list. In the open file dialog that appears, navigate
to the folder you would like searched, and then click Open.
To replace one audio file with another: mouse over the file listing to be
replaced, and click on the Replace button that appears on the right. In
the open file dialog that appears, select the file you wish to replace it
with, and then click Open.
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To delete unused files from the project folder: click the Delete Unused
button at the bottom of the audio file list. In the dialog that appears,
uncheck any files that you want to keep, and then click Ok.
To move external audio files into the project folder: click the Collect
and Save button at the bottom of the audio file list. In the dialog that
appears, select whether regular external files should be collected, and
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whether files within Bitwig Studio packages should be collected. Then

click Ok.
The Collect and Save function, found under File › Collect and Save.
Depending on the options you have chosen, you can use this to quickly
move all used audio files into the project folder.
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14.2.6. Plug-ins Tab

The Plug-ins tab lets you view and manage plug-ins that are used by the
current project.
This tab is laid out very similarly to the Files tab. In this case, the central
focus of the tab is the list of plug-ins. There is still a search field above
the list. And to the left of each plug-in listed is either a yellow square, a
red square, or a blank space.
› A plug-in with a blank space to its left is operating normally.
› A yellow square indicates that the plug-in has a version conflict. This
means that the plug-in found on your system is an older version of the
one that was saved in the project. When this happens, you can try to
resolve it yourself, or you can ask Bitwig Studio to ignore the conflict.
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To tell Bitwig Studio to ignore all plug-in version conflicts: click the
Ignore all version conflicts button at the bottom of the plug-in list.
› A red square indicates that the plug-in used in your project is currently
missing and cannot be found. When this happens, you can manually
install the plug-in in question and make sure that the plug-in's location
is known to Bitwig Studio (see section 0.2.2.6 for information on the
Locations page of the Dashboard).
Plug-ins of all statuses will be shown when the Show All view button is
enabled (it is the default). The other view buttons, Version Conflict and
Missing, show only plug-ins of that respective status when selected.
14.3. The Global Groove

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. This function is nondestructive and can be
adjusted or disabled at any time.
While each clip has local Shuffle and Accent settings (see section 5.4.6),
the groove settings themselves are set at the project level.
The global Groove controls are found in the Play menu.
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When the Enable Groove button is toggled on, the Global Groove
settings will be applied to any clip requesting them.
The Shuffle category has two settings:
› Rate determines whether groove will be applied at the 1/8 note or 1/16
note level.
› The Shuffle control itself sets the amount. More specifically, this is the
distance (from 0.00% to 100%) that even-numbered beats are delayed
to the next lower beat division. So if the Rate is set to 1/16 notes, the
Shuffle setting determines how far each second 1/16 note is pushed
toward the following 1/32 note.
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In the above example, the source track is completely straight 1/16 notes
(the E-Hat track). The three bottom audio tracks represent that source
track printed with various amounts of 1/16 note groove applied.
The Detail Editor Panel focuses on the 50% Shuffle example. Here,
you can clearly see that each second 1/16 note is shifted halfway to the
following 1/32 note.
The Accent category has three settings:
› The Rate determines whether a slight emphasis is applied to every 1/4

note, 1/8 note, or 1/16 note.
› The Accent itself sets the relative emphasis applied at the set interval.
This is set between 0.00% and 100%.
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› Phase sets an offset amount that the accent interval is shifted by. This
is set between -50.0% and 50.0%.
Note
All of these groove parameters can be automated in your project's

master track under the Transport category. You can also automate
the project's tempo from here.
14.4. Working with Multiple Projects

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 clip into the Browser
Panel. In the dialog that appears, edit the clip Name if desired, enable
any appropriate Tags, and then click Ok.
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It doesn't matter which tab of the Browser Panel is showing when you
drag your clip over. In fact, the Browser Panel doesn't even have to be
called up before you begin dragging as you can call up any panel while
using the mouse. In the case of the Browser Panel, you can press [B] any
time to call it up.
Once you have stored your clip, it can be found and managed from the
Clips tab of the Browser Panel.
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Any clip stored in this fashion also contains its own parameters, the
track's device chain, and any automation data.
14.4.2. Going Directly between Projects

Bitwig Studio allows you to have multiple projects open at the same
time, with each open project represented in the project tab section of
the window's header (see section 2.1.1). In addition to making it easy
to quickly switch between projects, this also allows you to copy data
between them.
To transfer a clip(s) from one project to another: select and copy the
clip(s) in the original project. Switch to the destination project, move
the playhead to the desired insertion point (this can be done by clicking
on either a Clip Launcher slot or at the position within the Arranger
Timeline), and then paste.
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Note
Copying and pasting clips within a project will maintain the original
clip's automation but not its device chain. Copying and pasting clips
between projects will maintain neither.
To transfer a device(s) from one project to another: select and copy the
device(s) in the original project. Switch to the destination project, select
the target track, and then paste.
The other option is to drag items directly from one open project to
another.
To transfer an item(s) between two open projects: click and drag the
item(s) from the original project to the target project's tab. While still
holding the mouse, wait for the target project to load, and then drag and
release the item in the appropriate location.
The cursor that includes a circle with a diagonal line thru it indicates that
releasing your item(s) on the project tab itself would do no good. Very
quickly, the target project will load.
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Note
Dragging clips between projects will maintain only the clip, not the
automation or device chain. Device(s) can be transferred separately
using the same method.
Note
If you want to copy multiple tracks from one project to another, you
can use the method above with multiple tracks selected. You could
also encapsulate all desired tracks into one group track, transfer that
one group track to the second project, and then ungroup the track
14.5. Exporting Audio

To export audio from Bitwig Studio, use the File › Export Audio...
function. When this option is selected, a dialog box with several sections
appears.
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› The Format(s) section selects which audio formats will be output

for each selected track. If multiple formats are selected, than each
exported track will be saved multiple times. Beneath each audio format
is a menu of export profiles to choose from.
› The Tracks section lists all activated tracks in the project. Select each
track that you want to separately exported. Note that group tracks
are shown as folders that can be select, and/or they can be unfolded
to access individual child tracks. And if you want to export the entire
project (a completed song, for instance), check the Project Master from
the top of the list.
› The Time Range section determines what portion of the project will
be exported. Both the From and To parameters are set using song
positions. If a time selection is present in the project, that period is used
by default. You can also click to select the full Arrangement, or the
Arranger Loop Region.
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› The Sample Rate setting determines if any conversion happens on

export. The default setting of Current keeps the audio engine's current
sample rate with no conversion.
› The Options / Format section gives you four more settings.
› Real-time overrides the standard offline bounce to execute it in

realtime. This is useful when you have external audio paths being used
live, etc.
› Select Dither to add a very small amount of noise to your exports.

This can help lower-resolution export files best match the high-
resolution internal signals of Bitwig Studio. This noise is generally
inaudible.
› To ignore all mixer volume automation, select the Pre-fader option.

This can be especially helpful when exporting stems.
› After bouncing, Open target folder when done will point your file
manager application to the folder where files were written.
Once the Ok button is pressed, the files will be created.
Note
Only Arranger Timeline selections (not Launcher clips) can be

exported in this way.
The Export Audio function dialog uses a current selection for its default
settings. So if you want to export only a single clip from one track, first
select that clip and then choose File › Export Audio... .
14.6. Exporting MIDI

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
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generic project data into a file, which can be opened by any other music
software that supports the format (more information here [https://
www.bitwig.com/support/technical_support/dawproject-file-format-
faqs-62/]).
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15. MIDI Controllers
MIDI controllers — or simply controllers — can be a critical part of any
production environment or performance setup. Bitwig Studio supports
MIDI controllers in general, whether you are playing in notes or you are
mapping physical knobs and sliders to the program's parameters.
Bitwig Studio comes with various controller scripts. Each script is

programmed for a specific MIDI controller, with a few scripts for Generic
controllers of any make.
Note
Before any controller can be used, it must be recognized by Bitwig

Studio. Most controllers that have a specific controller script are
automatically recognized when the hardware is connected. To add a
controller with one of the Generic scripts, you'll need to manually add
it via the Dashboard (see section 0.2.2.3).
For the generic controllers, functionality is basic. If the controller has

keys, you can send note messages. And if it has assignable knobs, you
can map those knobs to any mappable control in Bitwig Studio.
For the controllers that are specifically supported, more functions are
allowed. This can include control of track mixer functions, device remote
controls and parameters, the transport, clip launching, and more. As
each controller can vary greatly in size, shape, and functionality, the
built-in mappings supported by Bitwig Studio also vary from controller
to controller.
Note
Anyone with knowledge of Java or JavaScript and the MIDI

specification can customize any of the included controller scripts
or even write their own. For full details on Bitwig Studio's controller
API, go to the Dashboard, click on the Help tab, and then click on
the Documentation page. Various Developer Resources can be found
here.
This chapter covers how to use both the default mappings for your
controller (if supported), and how to manually assign and manage MIDI
mappings. It also shows how to achieve simple parameter and controller
(or computer keyboard) pairings via the Mappings Browser Panel.
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15. MIDI CONTROLLERS
15.1. Soft Control Assignments

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 discussed in chapter 8, all actual device control elements are
found within the Device Panel. In this section, we will revisit the Device
Panel to see how it facilitates soft control assignments.
"Soft control assignments" refers to controller assignments that can

dynamically shift, following your focus on different tracks and devices
within a project. By default, this functionality only targets the currently
selected device.
In the example above, the Delay-2 device is currently selected, as its

slightly brightened device header indicates. By clicking on the E-CLAP
device, it will become the currently selected device and receive focus.
If a recognized MIDI controller is connected and set up in Bitwig Studio,
the device's interface might even get a splash of color.
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The colored interface items represent the eight current soft control
assignments. The details of these mappings are available in the device's
Device Mappings pane, which is shown when the Remote Controls
button (which looks like a group of six controller items) is clicked.
The Remote Controls paneshows the soft control assignments that come
with being the currently selected device. Each assignment is represented
here by a color-accented controller. And since your controller's eight
hardware controls will be used over and over again, they are always
colored in rainbow order (red, orange, yellow, green, cyan, blue, indigo,
and violet) to help you mentally connect each particular hardware
control with its ever-changing software assignment.
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Note
Depending on the type of parameter under control, either a knob,

button, or chooser (a drop-down menu, indicated with a downward-
facing arrow on its far right) will be used.
Remote controls work similarly on the track level, regardless of whether

you are on a "low-level" audio or note track, somewhere in a nested
group track, or on the project level with the master track.
If a track has no remote control page, preset or user-created remotes for

the best matching device can be aliased to the track level (see section
14.2.1). But you are always free to create new remote control pages at
any of these levels. Otherwise, all the rules for device remote controls
apply on the track level as well.
To rename a soft control: double-click the soft control's name. If no

name is provided, the name of the parameter under control will be used.
Clicking on the Remote Control Pages menu exposes all current

mapping pages.
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There are three different types of mapping pages:
› Preset pages are sets of remote controls tied to this particular device
instance or preset.
› Device pages are sets of remote controls linked to every device of this
kind across your installation of Bitwig Studio. So any changes made
to this particular E-Clap device's device pages would be read by all E-
Clap devices.
› Modulator pages represent remote controls for any modulators loaded

in this preset. They are tied to the particular modulator in use and are
not editable.
To create a new preset page: click on the Remote Control Pages menu,
and then choose the Add New Page option.
The Wi-Fi icons represent controls which are not yet assigned.
To make a soft control assignment: first click on an available controller's

Wi-Fi icon, and then click on the device parameter you wish to assign to
it.
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We can now switch to other remote control pages (via the Remote
Control Pages menu) and then return to this preset page. This new
preset page was named Perform by default, but similarly to the soft
controls, you can click on the preset page's name in order to rename it.
Clicking the Remote Controls Editor button causes the Remote Controls
Editor to appear in the central panel area.
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You will notice that the Remote Controls pane itself is now showing
an unassign button (as an x icon) in the top right of each assigned
controller.
To remove a soft control assignment: click the assigned controller's

unassign button, either in the Remote Controls pane or in the Remote
Controls Editor.
Note
A soft control assignment can also be removed directly from the

Device Panel either by:
› Right-clicking in the soft control's area, and then selecting Delete

Remote Control from the context menu.
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› Holding [ALT] and mousing over the Remote Controls pane will
cause an unassign button (the little x icon) to appear in the top right
of each assigned soft control. Continuing holding [ALT] and click on
any of these buttons to remove that assignment.
The Remote Controls Editor is scrollable. Changes made to pages in the

Preset Pages section are stored immediately. Changes to pages in the
Device Pages section must be saved, either by clicking the Save and
Apply button or by using the save dialog that appears when you close
the Remote Controls Editor.
To reorder remote control pages: click and drag the pages within their
section.
To duplicate a remote control page: hold [ALT], and then click and drag
the page you wish to duplicate within its section.
Note
Pages cannot be moved or copied between sections.
To rename a page: double-click the current name of the page.
To add tags to a remote control page: click in the bottom row of the
page area, beneath the bottom four soft controls.
To add a ninth slot to any remote controls page: right-click on the title
bar of the remote controls page in the Remote Controls Editor, and then
select Allow 9 Slots from the context menu.
This can be especially handy if you are using a MIDI controller with nine
faders.
To create a new remote control page: click the Add Page button (the
large plus +) icon at the end of the Device Pages section. (The plus sign
at the end of the Preset Pages section can also be used to create a new
preset page.)
To delete a remote control page: click the Delete Page button (the x
icon) to the far right of the page name.
Before we move on, let's consider a use of the rainbow order in another
context. Most controllers that support soft control assignments can also
support a "mixer mode."
The following images demonstrate a project in Mix View both without

and then with mixer mode engaged:
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Notice how the volume and pan knobs for the first eight tracks are using
the first eight soft controls, as shown in rainbow order again.
15.2. Controller Visualizations, Takeover Behavior,

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.
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In addition to port mappings and script information, each controller

entry also has a set of icons in the bottom left that relates to its use.
› The gear button toggles the visibility of additional settings, if such

settings are specified by the controller script in use.
› The "speech balloon" button toggles on-screen controller visualizations

› The fader button toggles whether the global Takeover mode (set at the
top of the page) is applied the controller in question or not. Takeover
modes set the behavior of how incoming messages from individual
controls are used by their associated software parameters. Modes
include:
When a controller has disabled use of the global takeover mode, it is

the same as being set to Immediate.
› The question mark (?) button provides a link to documentation for the
particular controller script in use.
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15.3. Manual Controller Assignment

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 menu. The targeted parameter will now be framed in bright
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green with an animated circle icon, indicating that you should "turn a
knob." Then move the hardware control you wish to assign.
In this example, we've right-clicked on the master track's volume control.
After you move the hardware controller in question, the software

parameter will return to its normal appearance, but the on-screen
control will be moving as you move the physical control.
To remove a manual controller assignment: right-click on the parameter

you wish to unassign, and click the x icon to the right of the mapping
you wish to delete.
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Finally, if you are using soft control assignments, you can still make
manual controller assignments. In this situation, any new assignments
will override soft assignments that usually work in the current mode.
As an example, let's start from the "mixer mode" case from the end of
the last section.
By manually assigning the master track's volume and pan controls to my

hardware controller's eighth fader and knob, both of those master track
controls will be colored violet, and the track that was previously using
those controllers (FX Storm) will lose them.
In this example, my last fader and knob will always control the master
track while my controller is in mixer mode.
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15.4. The Mappings Browser Panel

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 changes the appearance of the project itself.
Before getting to functionality, the first parameter in the panel is

worth noting. The Map source priority setting decides whether any
Controller script in use should get the first chance to process incoming
MIDI messages (potentially overriding mapping established here) or if
incoming MIDI should be handed over raw to the any active mappings in
this panel.
While the Mappings Browser Panel is visible on screen, any parameter of

your project that can be mapped appears with a green overlay. Clicking
on one of these parameters causes a pair of arcs to spin circularly
backwards and forwards, indicating that this parameter is ready to be
mapped.
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The next computer key that is pressed or MIDI control that is touched
will now be assigned to the selected parameter. In this example, we have
selected the volume fader of the master track. If we now move a MIDI
controller that is sending continuous controller 7 messages, the volume
fader will display this as long as the Mappings Browser Panel remains
visible.
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16. Modulators, Device Nesting, and More
We have talked about and dealt with devices all thru this document.
As we have seen, it's quite possible to operate devices in all the normal
ways without delving into their advanced functionality. In this chapter,
however, we'll explore device capabilities that are deeply powerful and
generally unique to Bitwig Studio.
The aim of this chapter is not to educate you on any particular device or
its parameters. While we will examine a few devices here in detail, our
purpose is primarily to investigate concepts that are relevant to many
devices. A separate reference section on the Bitwig devices themselves
can be found in chapter 19.
In this chapter, we will investigate nested device chains, we will examine

Bitwig Studio's unique Unified Modulation System (and the modulators
that it supports), and we will take note of some of the advanced plug-in
options provided.
Congratulations; we've made it to the deep end of the pool. Now take a
big breath.
16.1. Nested Device Chains

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 nested device chains, solve
several problems inherent to software-based music production.
For one thing, a single preset can contain vast configurations of devices,
from a standard single device to something far more ornate. For
another, the idea of nesting devices allows for unique signal routings
that aren't usually possible in software, such as blending serial and
parallel structures across a single device chain.
But we will return to device chains in a moment. Since the idea of

parallel signal structures has already been mentioned, we should start
this discussion with the humble, crucial Mix knob.
16.1.1. The Mix Parameter

For many audio effect processes, it is critical that the original,
unprocessed sound is blended together with the affected sound. A good
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16. MODULATORS, DEVICE NESTING, AND MORE
example is a simple delay effect. Hearing the original sound provides

context for the delayed copy that follows. (A simple delay effect with no
original sound mixed in could be better described as "late.")
To facilitate this blending, the idea of a wet/dry control is common in

audio effects. This is usually implemented as a single knob that cross-
fades between purely "dry," unprocessed signal at the minimum value,
and purely "wet," post-processed signal at the maximum value, with
every value in between representing a gradual blend of the two.
In Bitwig devices, this function is found on many devices via a parameter

called Mix.
In the above example, we are using the Freq Shifter audio FX device,
which is a frequency shifter. With the Mix parameter set to 33 %, a third
of the device's output is the result of the frequency shifting process.
This means that the signal received by the device (before any effect
is applied) makes up the remaining two-thirds of the output, for a 2:1
blend of dry to wet signal. If Mix was set to 66.6 %, the balance would be
reversed, with wet signal predominating at a 2:1 ratio.
So when you find a Mix parameter knob in the bottom right corner of
a Bitwig device, it is providing this same wet/dry, parallel processing
structure. In any of these cases, a Mix setting of 100 % would produce an
output with no truly dry signal, and a setting of 0.00 % would effectively
bypass the device by outputting only dry signal.
Note
If you find a Mix parameter knob that isn't in the bottom right corner
of the device, it is carrying out a different function that is specific to
that particular device.
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Finally, Mix is not exclusive to audio FX devices and can be found on

some devices in nearly every category. In the categories that don't use
this Mix parameter (note FX and instruments), any incoming audio is
generally passed directly to the audio outputs.
16.1.2. Container Devices

After starting with a simple in-line routing control, we will move on to
nested device chains. And we will start with devices that are made to
provide parallel device chains.
Container devices are utility devices whose primary function is to host

other devices. So while most devices contain some type of nested
device chain, container devices couldn't exist without them.
Three particular container devices — (Drum Machine, Instrument Layer,

and FX Layer) came up in passing when we first saw the mixer's track
fold button (see section 7.1.1), and the two "layer" devices reappeared
indirectly when we discussed dragging devices to layer them (see
section 8.3). Each of these devices allows for a large number of device
chains within them.
Note
Among the container devices, the layer family exists for

sending signal to multiple note effects (Note FX Layer),
instruments (Instrument Layer), or audio effects (FX Layer). There
is also a family of selector devices (Note FX Selector, Instrument
Selector, and FX Selector) for sending signal to only one device at a
time in a controllable fashion (see section 19.4.5).
When using devices in the layer and selector families, you can always
right-click on the device header for various convert options, as shown
here on the header of Instrument Layer.
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16.1.2.1. Drum Machine
Drum Machine is made to house multiple instruments, each of which will

be triggered by a specific note message (for example, C1 for a kick drum,
F#1 for closed hi-hat, etc.).
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Corresponding with the 128 possible MIDI notes, Drum Machine offers
up to 128 device chains, each called a drum chain. 16 drum chains are
displayed at a time, and the chain scroll area on the left allows you to
click or scroll the focus to a different set of chains.
An empty drum chain simply displays the note that it responds to and an
Add Device button (+) for loading a device directly into that chain.
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Used drum chains each have their chain name listed at top, and at
bottom are a preview button, a solo button, and a mute button.
To the right of the displayed drum chains is the selected chain channel
strip. Whichever drum chain is selected is surrounded by a blue-green
border, and this area of the device provides a small channel strip for
that chain, including larger solo and mute buttons, a volume fader, a pan
knob, and level meters.
Every used drum chain also has a small chain preview displayed across
its middle. This central line with squares placed along it is a silhouette
of the drum chain, with the squares representing the number of devices
currently at the top-level of the drum chain.
Note
While only so many squares fit within this small chain preview area,
additional devices may be added to the drum chain.
To view an individual chain: click the chain.
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What can now be seen is the drum chain itself, which is, again, a device
chain. The two squares from the chain preview were representing these
E-Hat and Delay-1 devices, which have the exact same interfaces we are
accustomed to.
With the drum chain fully expanded, note that the selected chain is now
ringed by a dusty blue frame. The devices within this chain also have a
downward-facing bracket above them, both showing the boundaries
of the chain contents and connecting these contents to their source by
using the same highlight color in both places.
To reiterate this idea, the Delay-1 device is currently within this drum
chain. This means that only this particular instrument (triggered by F#1)
will have this device applied to it.
If I were to move this device to the right and out of the drum chain, it will
now be in the track's device chain just after the Drum Machine.
Accordingly, all audio coming out of Drum Machine is now being

affected by Delay-1.
One other function unique to the Drum Machine container device is its
ability to have certain triggered notes cut off, or "choke," other notes.
This allows you to associate related elements into a single choke group,
allowing only one of those elements to sound at a time. A classic choke
group example are hi-hat elements of a drum kit, where triggering a
closed hi-hat sample should silence an open hi-hat sample that was
playing. But many other uses can be imagined.
To assign a chain's choke target: right-click the chain in question, and

then from the Choke targets submenu, select the chain you want to be
choked when the current chain is triggered.
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To assign a chain as a choke target: right-click the chain in question, and

then from the Choked by submenu, select the chain you want to cause
the current chain to be choked.
These two equivalent options allow you to create a choke group

relationship either from a source or destination perspective. But also
note what this unique interface implies: that chain A could choke chain
B, but chain B could allow chain A to continue playing.
16.1.2.2. Instrument Layer
Instrument Layer is made to house multiple instruments, all of which will

be triggered by any incoming note message. The general effect of this
device is to make layered sounds or "stacks."
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The chains in this device can be called instrument chains or layers. Each
is still representing a full device chain, but unlike Drum Machine, there is
no set number of chains. Because of this, there is only one Add Device
button in the main interface of Instrument Layer, with each added
device being placed on a newly created instrument chain. If enough
layers are added, the chain list itself can be scrolled vertically.
Each layer has its own built-in channel strip, quite similar to each track
header in the Arranger Timeline Panel. Also as in the Arranger, the
selected layer is given a silvery tint.
Note
Also similar to instrument tracks, each layer has settings in

the Inspector Panel to control the Channel that messages are
being heard From (see section 5.6.2.2). This allows you to set up
multitimbral Instrument Layer devices, where a single track could
trigger different layers by placing notes and other messages on
different channels.
16.1.2.3. FX Layer
FX Layer is virtually identical to Instrument Layer except it is made to

house a layer of FX layers.
16.1.3. Other Common Device Chain Types

There are several other types of nested device chains within Bitwig
Studio. Some appear rarely or only once, but a few are reused multiple
times.
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Some of the most common types of nested device chains include:
› FX (or Post FX): A nested device chain for processing the device's
entire audio output. The only difference between placing effects in
this device chain instead of after the device is that this chain is fully
stored with this device, which makes moving the device along with its
modifiers (or saving presets) much easier. This chain type is mostly
possessed by instruments and containers for instruments.
Post FX chains work in exactly the same way, but tend to show up on
devices where other chains occurred first.
› Pre FX: A nested device chain for processing signal immediately before
it enters the device.
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› Wet FX: A nested device chain that processes only the wet portion of
the device's output. The dry signal skips this chain and is mixed back in
afterward. All devices with this chain also have Mix parameter knobs.
› FB FX: A nested device chain that is placed within the device's

feedback loop. This is common on delay devices.
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Note
Just like Bitwig devices, plug-ins can be used in any device chain at
any level.
16.2. The Unified Modulation System

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 of an oscillator. The frequency of the
LFO determines the rate of the vibrato, and the level of the LFO's signal
determines the depth of the modulation.
Modulation can lead to elements that automatically change over time,

based on assigned parameters and preexisting control sources. Some
would say that modulation leads to more interesting and efficient results
in sound programming. These are both good points.
In the days of modular hardware synthesizers, each modulation was

highly visible as it was achieved by a patch cord properly connecting
two modules. But in our era of computer-based music production, we
see knobs on screen far more often than patch cords, and assigning (or
even showing) modulations has become a real challenge. Many different
interface models have been attempted, but no standard has been found.
Bitwig Studio has its own unique, program-wide method for dealing with
modulations. This Unified Modulation System allows you to easily assign
and edit modulations (so you don't get stuck with fixed modulation
routings). It also preserves parameter control as often as possible (so
the modulated parameter's knob can still be used, allowing you to easily
shift the modulation range). Even the current value of a modulated
parameter is visible with this Unified Modulation System.
In this section, we will explore the Unified Modulation System by

learning to work with Bitwig Studio's unique modulator devices. We
will then see the same principles used to assign modulations within an
instrument.
16.2.1. Modulator Devices

While most systems require us to work around a fixed number of
modulation sources — say, two LFOs, three envelope generators,
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perhaps some control over keytracking, and maybe a sidechain source

for using external audio or note messages — these choices tend to be
arbitrary and formulaic from the user perspective. Some sounds require
no LFOs, and some require ten. In Bitwig Studio, these options are left
completely open for the user.
Modulator devices are special-purpose modules that are made to be

loaded into any device. Their purpose is to allow a particular method of
control over device parameters. Types of modulators include:
› Mappable interface controls, such as Button, Buttons, Macro-4, and

Macro.
› Standard sources of modulation signals, such as 4-Stage, ADSR,

AHDSR, Beat LFO, Classic LFO, LFO, and Steps.
› Methods for using incoming MIDI and note messages, such as Keytrack,
MIDI, and Note Sidechain.
› Use of external signals for modulation, such as Audio Sidechain,

Envelope Follower, and HW CV In.
› Options for using one signal to be split across multiple destinations,

such as Select-4, Vector-4, Vector-8, and XY.
› Interesting ways of blending control signals to create a signal

modulation source, such as Mix (for crossfading two levels or signals)
and Math (for creating more complex relationships).
› A little bit of chaos, with Random.
Note
For descriptions of the modulator devices, see section 19.27.
If you click the modulators button, the Modulators pane is toggled to be

visible.
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An empty modulator pane loads with three available modulator slots. If

all modulator devices are loaded into all three slots, another three slots
will appear, and they will keep appearing as often as you run out.
In the center of each modulator slot is an Add Modulator button. Clicking

this button calls up a special version of the Pop-up Browser.
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As we discussed before, the Pop-up Browser is context-sensitive,

providing the most relevant options for the place we have invoked it.
Calling it up from the modulator pane provides only modulator devices.
Otherwise, the Pop-up Browser is working as we would expect it to,
providing categories for the available devices and previewing any
selected device in the Device Panel. And again, clicking Ok places the
selected device onto the track.
To cut, copy, paste, duplicate, or delete a modulator: right-click the

background of the modulator slot, such as the modulator's name.
Also note that the option to toggle modulators as Active or not is also
present in this context menu. This is a good way to "bypass" a modulator
for a moment.
In this example, we have selected the Buttons modulator. This device

provides two controls which can be toggled to manipulate any assigned
parameters. As each button is separately assignable, this device has two
modulation routing buttons.
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The modulation routing button resembles an output port with a patch

cord coming out of it, awaiting connection. Clicking a modulation
routing button switches to a mode where you can select as many
destinations as you like, each with its own modulation amount. When
enabled, the button itself begins flashing, all currently assigned
destinations become brightly colored, and all potential destinations are
shaded.
Note
When a modulator device possesses multiple modulation routing

buttons, each button is sometimes represented by only the initial
circle of the icon. An example of this is the Vector-8 device, which has
eight modulation routing buttons spread along the sides and corners
of a square.
To create a modulation routing: enable the modulation source's

modulation routing button. Then click the target parameter and drag its
value to set the point of maximum modulation.
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Note
Because the modulation range is set relatively, the range displayed

is also relative and does not directly correspond to the parameter's
values. So you can twist the modulation range past the parameter's
normal range, and this is correct. See the example below, targeting
the Filter device's Resonance parameter with an LFO modulator.
You can assign additional parameters in the same fashion.
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So in this EQ-2 example, we have a high-pass filter set around 80 Hz and

a bell filter bringing level down about 3 dB around 3.6 kHz. While button
A of our Buttons modulator is off, those default values remain in place.
But when button A is switched on, its modulations kick in. This shifts
the high-pass filter up, putting its cutoff frequency around 2 kHz. The
bell filter has its cutoff lowered a bit, its gain increased a great deal, and
its Q increased slightly. The parameters and the frequency graphic all
indicate these adjustments with cyan markers showing the current state
of things. (In an auditory sense, these parameter adjustments narrow
and focus the frequencies being passed thru.)
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Buttons is a relatively simple modulator, offering a binary transition from

one set of parameter values to another. Two points worth noting.
First, unlike the discrete behavior of Buttons, many modulators work

in a continuous way, either transitioning smoothly between states or
responding proportionately.
Second, many modulator devices have additional controls that don't

fit within their allotted modulator slot. These modulators have a right-
facing triangle on the middle of their right edge. When this button is
clicked, a pane of additional modulator parameters is exposed.
It is also worth noting that all modulator parameters — both those

present atop the modulator slot and those within the additional
parameters pane — can themselves be targets of modulations.
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Once modulation mappings are present, they can be manipulated and

duplicated in myriad ways, either from the Inspector Panel (see section
16.2.4.3) or from the Device Panel.
To clear a modulation routing from the modulation source: right-click the

source's modulation routing button, and then click the x icon to the left
of the desired parameter.
To clear all modulation routings from a modulation source: right-click the

source's modulation routing button, and then select Delete.
Note
The cut, copy, and paste options from the context menu above also
apply to all modulation routings, allowing you to move all listed
modulation routings between different modulators. Additional options
for dragging and copying modulation routings are available from the
Inspector Panel (see section 16.2.4.3).
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Modulation routings can also be removed from the parameter being

targeted.
To clear a modulation routing from the parameter under control: right-

click the parameter. Under the MODULATION ROUTINGS section of the
context menu, find the desired modulation source and click the x icon at
the far right.
16.2.1.1. The Curve Editor & Pop-out Editors
Some modulators contain editable playback data. And this data can be
as important as your automation, notes, or audio. For this case, certain
modulators (and some modules) have their own resizeable Pop-out
Editor.
A special case is the Curve Editor for the various curve-based devices
that read and write BWCURVE files. All manner of drawing and editing is
supported here.
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Clicking any curve display opens the Curve Editor in a resizeable

window.
Note
Key commands mentioned in this section reflect 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).
Seven tools are available:
› Pointer [1] - For selecting and adjusting points and their curvature, etc.
› Pencil [2] - For freehand drawing of shapes.
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› Step [3] - A shape for creating flat lines within each grid step.
› Half Step [4] - A shape for creating flat lines that spend the first 50% of
each step at the level set (the second 50% at 0 [zero]).
› Saw Up [5] - A shape for creating a ramp within each step from 0
(zero) to the level set.
› Saw Down [6] - A shape for creating a ramp within each step from the
level set to 0 (zero).
› Triangle [7] - A shape for creating a ramp within each step from 0
(zero) to the level set, and back to 0 (zero).
› The numbers shown above represent the key command for switching
to that tool while the Curve Editor is open.
Set the grid for drawing, with the 4 x 4 type control in the bottom left.
› The first number controls the number of horizontal, x (↔) divisions on

the grid.
› The second number controls the number of vertical, y (↕) divisions on

the grid.
› The Larger Beat Grid command (default mapping: [.]) also applies to
the curve editor with the nearest duplet values.
With a value of 8, this moves the beat grid to 16, then to 32, etc.
› The Smaller Beat Grid command (default mapping: [,]) also applies to
the curve editor with the nearest duplet values.
› The Next Beat Grid Subdivision command (default mapping: [ALT]+[.])

also applies to the curve editor with the nearest triplet values.
› The Previous Beat Grid Subdivision command (default mapping:

[ALT]+[,]) also applies to the curve editor with the nearest triplet
values.
› All of these key commands can be used even while the mouse is held
down, adjusting the grid while drawing, for example.
SNAP toggle visually hides the grid lines and disables all snapping with
the Pointer tool.
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› When SNAP is on, holding [SHIFT] temporarily disables it.
› Even when SNAP is off, all shape drawing tools continue to use the
horizontal division to determine their drawing size).
› The Toggle Snap command (default mapping: [S]) also applies to the
curve editor, and can be used even while the mouse is held.
Several interactions are available within the curve editor:
› Selecting any point shows both that point's Value and its Curvature (to
the next point) in the Inspector Panel.
› To move a segment between two points: hold [CTRL] ([CMD] on Mac)

and drag up or down on a segment.
› To bend a segment: hold [ALT] and drag the area between two points
up or down.
› To draw inverse curves (like an S-curve) around a point: hold [ALT] and
drag up or down on the point.
› To draw identical curves around a point: hold [ALT]+[SHIFT] and drag

up or down on the point.
› To move a point as well as all points follow it: hold [CTRL] ([CMD] on
Mac) and drag the point.
› Right-clicking within the curve editor offers a menu of Transform

options for adjusting the entire curve.
The folder icon at the top left of the window switches to the curve
browser for loading other content. The save icon beside it allows saving
your current curve by giving it a name, description, category, and any
tags you care to use.
Aside from curve-based devices, some other data sequencer modules

and modulators have their own custom Pop-out Editor, accessible by
clicking the little "pop-out" icon in their panel. The Steps (Sequence)
modulator is one of these.
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Each custom Pop-out Editor offers a resizeable interface along with

some editing functions, such as the nudge backward and forward
buttons seen below the sequence data.
This is especially nice in the The Grid, giving a clearer distinction

between patching mode and data editing mode, as seen here with the
Pitches (Data) sequencer module popped out.
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And finally, a few modules, such as Saturator (Shaper) and Wavetable

(Oscillator) use a Pop-out Editor to make additional parameters
available when they appear in Grid-powered devices such as Filter+ and
Sweep (Filter) or Polymer (Synthesizer).
16.2.2. Track- and Project-level Modulations

Modulators can be used directly on any track, including group tracks
and the master track itself. For each level you go up, the list of available
destinations grows.
Available modulation targets for tracks include:
› All device parameters on that track.
› All available mixer controls (Volume, Pan, Mute, FX send levels, and
Crossfade Mode), which can all be mapped in the Mixer Panel (and
mostly in the track's Inspector Panel as well).
Available modulation targets for group tracks include:
› All device parameters on that track, and those within any child track.
› All available mixer controls on that track, and those within any child
track
Available modulation targets at the project level (via the master track)
include:
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› All device parameters on any track.
› All available mixer controls on any track.
› All transport controls that are automatable on the master track

(Tempo, global Crossfade, the Fill button, and all groove parameters
[Groove on/off, Shuffle amount, Shuffle rate, Accent amount, Accent
phase, Accent rate), which can either be mapped either in the Mixer
Panel, inside the Play menu, or from the transport area.
The modulator panels for tracks are available in the Device Panel via the
track headers there (see section 8.1.3), with the destinations available in
the various places listed above.
16.2.3. Modulations within a Device

Several devices have their own built-in modulation sources. Instrument
devices are the best examples so let's look at Bitwig Studio's two-
oscillator workhorse, Polysynth.
Two on-board control sources are available here, both representing

control modules within Polysynth. FEG (filter envelope generator)
is hardwired to the filter's cutoff frequency, just as AEG (amplitude
envelope generator) controls the volume amplifier of the instrument.
The presence of a modulation routing button on each of these envelope

generators suggests that they can also be used for other modulations.
Clicking on one of these buttons enables a modulation routing mode,
similar to how it worked with modulator devices.
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In fact, all behaviors related to connecting, editing, and clearing

modulations work exactly the same in all contexts. (This is the virtue of a
unified system.)
One difference in the example above is that the modulation routing

buttons (for FEG and AEG) as well as all available target parameters
are tinted light green. In the previous section's modulator examples,
everything was tinted blue. These subtle shadings do indicate a small but
critical difference.
The blue color here indicates a monophonic modulation. In the context

of modulation sources, a monophonic source generates only one control
signal that is then applied to all targets identically (musically speaking,
unison).
But a green color indicates a polyphonic modulation. Polyphonic sources

produce multiple control signals, potentially providing a unique signal
for each note event (musically speaking, divisi). This is the same idea
we experienced with expressions before, where each note contained its
own, concurrent curve.
Note
CLAP plug-ins can support polyphonic modulation. Of course

individual plug-ins vary in what they support, so consult their
manufacturer for specifics.
As with musical instruments, polyphony and monophony represent two

distinct palettes. This is to say that there is no "winner" between the two;
in different cases, each paradigm is preferable. And in Bitwig Studio, we
sometimes get a choice between the two.
By adding an LFO modulator device to Polysynth, it and its potential

destinations will appear in blue.
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Because of Bitwig Studio's per-note modulation capabilities, modulators

such as this LFO can be switched to a polyphonic mode.
To toggle a modulator between monophonic and polyphonic mode:

right-click anywhere within an occupied modulator slot, and then toggle
the Per-Voice option.
Once the Per-Voice option is enabled, this modulator will begin working
in polyphonic mode.
Finally, while nested devices can be modulated from the top-level

device, polyphonic modulation sources are usually made available as
summed monophonic signals. An example can be seen here, with the
FEG module monophonically targeting a nested De-Esser device.
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16.2.4. Devices in the Inspector Panel

When a device is selected and the Inspector Panel is visible, modulation
sources and active modulation routings are the primary parameters
being displayed, but a few other parameters are uniquely available in the
top of the Inspector Panel.
Displayed at the top are the device's name (and category) along with
a short description. After these read-only entries are three standard
parameters:
› First is a text field for the name of the device. By default, the official
name of the device is shown in italicized silver. This can be overridden
by typing a name into the field. Deleting an entered name restores the
device's official name.
› The Active option toggles whether the device is currently active or

deactivated.
Note
For more information on activating and deactivating project

elements, see section 3.2.6.
› The Enable toggle is a functional mirror of the device's device enable

button.
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Beyond these standard parameters, each device has its own parameters
in the Inspector Panel. To make sense of the range of possibilities, we
will look at various examples now, starting with voice parameters for
Bitwig Studio instruments and MPE options for plug-ins. Then we will
examine the two modulation-related tabs for general devices and a
modulator device that has inspector parameters.
16.2.4.1. Voice Parameters for Instruments
Several of Bitwig Studio's instruments feature a variety of voice-

related parameters in their inspectors, just below the standard device
parameters.
Note
In addition to Bitwig's polyphonic instruments, all Grid effect devices

(FX Grid and Note Grid) as well as Grid-powered effect devices
(Sweep and Filter+) uniquely have these polyphonic options as well
The Voices setting determines the number of triggerable voices. When

this is set to two or more, the instrument is capable of polyphony.
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This also engages voice management, which means that each voice is
only active from the time a note-on signal triggers it until the voice is
considered finished. So the Active Voices readout above is showing that
zero out of twelve (0 / 12) potential voices are currently engaged, and it
will remain so until a new note successfully triggers the instrument.
When Voices is set to one, the instrument is now in one of two

monophonic modes, which the display is indicating by showing Mono.
True Mono mode acts similarly to a monophonic analog synthesizer,

including the behavior of trigger-based envelopes and the fact that the
voice in use is always on, reflected in the Active Voices of 1 / 1 in the
image above.
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On the other hand, Digi Mono mode acts like a modern monophonic
recreation. All envelopes start from the beginning of the attack stage
because two voices are actually alternated here to create a slightly
overlapping version of mono. And since using two voices is technically
polyphonic, voice management is engaged, just as the Active Voices of
0 / 1 in the image above indicates.
Note
Any of the three voice modes can work with Bitwig's Voice Stacking,
which simply multiplies each engaged voice with additional voices
Additionally, either Mono mode offers Retrigger options for legato

playing (either starting or releasing a note while another note is being
held). These options dictate whether envelope generators will retrigger
Never, only on Note on signals, or on both note-on and note-off signals
(Always).
Finally, the Steal same key option allows each note played to kill any
voice previously triggered by the same note over the set Steal fade time.
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16.2.4.2. Plug-in Inspector Parameters
When a plug-in is selected, the Inspector Panel shows a few options.
The Suspend option sets how Bitwig Studio determines when the
plug-in is not needed and can be safely suspended for the time being.
(When this occurs, the plug-in's "power" button icon turns into a moon,
indicating that it is resting and saving CPU cycles.) There are three
options for this setting:
› Never - The plug-in remains active perpetually.
› When silent - Bitwig Studio determines when the plug-in isn't needed,
based on whether audio is going into and out of the plug-in.
› Trust plug-in (default) - Bitwig Studio uses background notifications

from the plug-in to determine when it is not active.
When the plug-in is enabled to Use MPE (multidimensional polyphonic

expression), the functional pitch-bend range (PB range) can be set in
semitones. So the example above of ± 48 semitones represents a range
of four octave up and down. For more information on plug-ins and MPE,
see section 16.3.
16.2.4.3. The Modulation Sources Tab, Modulation Transfer

Functions, and Modulation Scaling
The modulation sources tab is the first tab. Its icon suggests a parameter
that is continuing onward in modulation.
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Each modulation source of the selected device is listed here, along with
a functional modulation routing button.
Beneath each modulation source entry is a list of all active modulations

coming from that source. The amount of modulation is shown in orange
at the far right and can be adjusted here. The silver x that precedes
the parameter name on the far left can be clicked to terminate the
modulation. (And shown before each modulation amount is a faint
graph, which we will discuss at the end of this section.)
In addition, you can also deactivate modulations (like bypass) as well as

move modulations from one source to another.
To toggle whether a modulation is active or bypassed: [SHIFT]-click on

the text of any modulation routing listed in the Inspector Panel. (You
can also right-click on the modulator routing button, and then [SHIFT]-
click on a modulation listed in the context menu.)
To toggle the active/bypassed state of all modulations from one

modulator source: [SHIFT]-click on title of the modulator source in the
Inspector Panel.
To move a modulation routing from one modulation source to another:

click on its silver name, then drag it onto a different modulation source
and release.
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In the image above, for example, you could drag the Gain entry listed
under ADSR to Keytrack instead. Now incoming note pitches would be
manipulating the Gain value.
To copy a modulation routing from one modulation source to another:

clicking on its silver name, and then drag it onto a different modulation
source and release while holding [ALT].
And to move or copy all modulation routings from a particular source,

click on the source's title in white (in the above example, ADSR would
work) or its modulation routing button. Note that the available actions
listed in the window footer (see section 2.2.3) provide helpful reminders
of what drag actions are available. Similar actions are also available
in the Device Panel when [ALT]-dragging either modulation routing
buttons or target parameters themselves. Again, the available actions
serve as a very helpful reference in that case as well.
Now back to those faint graphs, which are shown for each modulation
and do become a bit brighter when hovered over.
This little graph is actually a drop-down menu of modulation transfer

functions (or curve options) that can be set for each individual
modulation connection.
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Let's expand a little on each of these modes:
› Linear (bipolar) - Flat response, applying each modulation directly as

it is received from the source. As this has no effect, mappings set to
Linear (the default) appear slightly dimmed in the Inspector Panel.
› Positives (unipolar) - Proportional response to positive values. All

positive incoming modulator values are sent out in the positive domain;
all negative values coming in are zeroed out.
› Negatives (unipolar) - Proportional response to negative values.

All negative incoming modulator values are sent out in the positive
domain; all positive values coming in are zeroed out.
› Absolute (unipolar) - Magnitude-only response. All positive incoming

modulator values are sent out in the positive domain; and all negative
incoming values are also sent out in the positive domain.
› Toward Zero (unipolar) - Increases on approach to zero, mapping both

the extreme values (-1 and +1) to zero and incoming 0 values to +1.
› Exponential (bipolar) - Increasing slope away from zero, creating a

more gradual curve between zero and either extreme. This curves the
signal to reach the positive and negative maximums less often.
› Logarithmic (bipolar) - Decreasing slope away from zero, creating a

quicker curve between zero and either extreme. This curves the signal
to reach the positive and negative maximums more quickly.
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Also note that when in a modulation routing mode, modulations coming

from other source are shaded in the Inspector Panel, indicating that
these can be modulated as well.
In the above image, the Vel(ocity) source of the note Expressions

modulator is currently in mapping mode. Since the three modulations
active in this Test Tone device (with the user name Carrier) are coming
from other sources, they are all potential modulation targets. This
modulation scaling feature allows one modulator source to scale the
output of any individual modulation connection. So by clicking on the
modulation of the Gain parameter from the ADSR modulator, each note
velocity will now scale the depth of modulation.
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The two new listing in the Inspector Panel indicate that a modulation
scaling is taking place. And if the ADSR was then used to modulate
a different parameter, that new connection would not be scaled by
Vel(ocity) as these scalings can be done per-modulation.
Note
In case one modulation connection is using both a transfer function

and modulation scaling, the transfer function is applied first, followed
by the modulation scaling.
16.2.4.4. The Modulation Destinations Tab
The modulation destinations tab is the second tab. Its icon suggests a
parameter that is being modulated.
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Each parameter being actively modulated in the selected device is listed

here.
Beneath each parameter is a list of all active modulations reaching that

parameter. The amount of modulation is shown in orange at the far right
and can be adjusted here. And the silver x that precedes the parameter
name on the far left can be clicked to terminate the modulation.
Similar options are also available in this tab for moving or copying
modulation routings from one destination to another (see section
16.2.4.3).
16.2.4.5. Modulator Inspector Example
Each modulator has its own Inspector Panel as well.
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Each modulator shows its modulation sources and mappings, but

Expressions happens to have a couple of parameters as well.
16.2.5. Voice Stacking

Before diving into Voice Stacking, a little context regarding polyphony is
in order.
Synthesizers that can play more than one note at a time generally
use one voice for each note being triggered. So the number of voices
available to the synthesizer limits how many notes can be played at a
time.
Unison is a classic synthesizer technique for creating thicker sounds.

It works by layering multiple voices for each note played (and slightly
adjusting some settings for each voice in an imperfect, analog fashion).
So if a synthesizer has a two-voice unison mode, each note played will
sound two detuned voices. This would help thicken the sound while also
reducing the number of voices (or polyphony) available.
Bitwig's Voice Stacking starts from the same principle, allowing you
to layer up to 16 voices for each note played (or, in the case of audio
effects, for each channel activated). Each stack can then have any
parameter varied per voice, either individually or in a distributed fashion.
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Note
Devices that support Voice Stacking include Bitwig Studio's FM-4,

Organ, Phase-4, Polysynth, and Sampler; all of The Grid devices (Poly
Grid, the FX Grid audio effect, and the Note Grid note effect); and all
Grid-powered devices (the Polymer synthesizer, as well as the Filter
+ and Sweep audio effects). Additionally, CLAP plug-ins can support
voice stacking; check with any plug-in manufacturer for details.
As multiple voices are being used for each single note played, voice
stacking can steeply increase the load on your processor.
In the Inspector Panel of the selected device, Voice Stacking is right

beneath the Voices setting. So if Voices is set to 5 and Voice Stacking is
set to 8, then you can play up to five notes, and each will trigger eight
unique voices sounding together. As the device shown above currently
has no engaged voices, the Playing voices are listed as 0 / 40.
The first modulator available below in the Inspector is Voice Stack

Spread ±. Assigning this modulation source to a parameter spreads
each voice in the stack in an even, bipolar fashion across the modulation
range. Let's take an example case.
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In the image above, the built-in Voice Stack Spread ± modulator is

targeting the pulse width of oscillator 2. The modulation amount is
currently +0.10. So with Voice Stacking set to 8, the range of modulation
is spread out so that voice 1 is modulated by -0.10, voice 8 is modulated
at the full +0.10, and all the other voices are spaced equally in between. If
the Voice Stacking count is changed, the full range of -0.10 to +0.10 will
be maintained, and the spacing between the voices will uniformly fit that
range.
Note
Modulators in the Voice Stacking category extend this functionality.

Individual control of each voice in a stack comes via the Voice
Control modulator, and 12 spread modes are available from the Stack
Spread modulator (see section 19.27.8).
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While programming sounds with Voice Stacking, it can be useful to

temporarily solo one voice at a time. So when Voice Stacking setting is
enabled, a solo-style S button appears beside it.
To solo an individual voice within an active voice stack: click the voice
solo menu (S), and then select which voice to temporarily solo.
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When a voice is being soloed, only audio for that individual voice will
sound, and the voice solo menu will show yellow with the voice number
that is currently heard.
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To disable voice solo within an active voice stack: click the voice solo
menu (S), and then select the Disable Solo option at the top of the list.
All voices will immediately be heard again.
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16.3. Plug-in Handling and Options

Importantly, Bitwig Studio can handle plug-ins separately from the
program itself. By segregating plug-ins 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 seamlessly.
If a plug-in does crash, its interface in the Device Panel will be replaced
with a notification.
By clicking Reload Plug-in, the plug-in will be freshly called up again.

Clicking Reload All Plug-ins will reload every crashed plug-in and leave
those that haven't crashed alone.
In the Settings tab of the Dashboard is a page of settings for Plug-ins.
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The primary setting here is the Plug-in Hosting Mode, which determines
how isolated each plug-in process is. As the left-to-right spectrum of
options indicates, the settings are progressive with those on the left
potentially using less RAM and those toward the right offering greater
safety. The options are:
› Within Bitwig hosts plug-ins along with Bitwig Studio's audio engine.
This keeps the required computer resources to a minimum, but this
also means that one plug-in crashing would also crash the audio
engine.
› Together still hosts all plug-ins, well, together but does it separately
from the audio engine. So a crashing plug-in would take the other plug-
ins with it, but Bitwig Studio's audio engine should continue running.
› By manufacturer hosts all plug-ins into groups based on their

manufacturer. This can be particularly useful when a software creator
intends for their various plug-ins to communicate with one another.
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› By plug-in hosts each instance of the same plug-in together. So if

you use a particular plug-in on multiple tracks, loading those plug-
ins together may save a significant amount of computing resources
while also ensuring that a plug-in should only crash when a copy of
the same plug-in does. (In other words, no plug-in's stability should be
compromised by another plug-in.)
› Individually hosts every plug-in instance by itself. This ensures full

isolation for each plug-in process, meaning a plug-in crash should
not affect anything beyond itself. This will require more computing
resources, but that is the trade-off.
Note
A project currently loaded on the audio engine is not automatically

reloaded when the Plug-in Hosting Mode changes. In that case, only
new plug-ins added will follow the updated setting.
To force the entire project to use a new plug-in hosting mode, either
reopen the project or reload the audio engine.
And the list of plug-ins below allows you to select any plug-ins that
should run Individually, effectively overriding the global setting above.
The search box just above the list allows you to quickly find plug-ins
from the list.
Finally, if you are using a multitimbral plug-in, its performance may

be improved by forcing it to use MPE (multidimensional polyphonic
expression) mode. This option is available by right-clicking on a plug-in's
device header.
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This modern MIDI specification interfaces well with Bitwig Studio's per-
note modulation capabilities. Many plug-ins (and probably more of
them in the future) opt for this mode on their own, but during this early-
adoption phase, enabling Force MPE Mode may help get the most out of
your plug-ins and any fully-equipped hardware controllers. This option
and additional settings are also available from the device's Inspector
Panel (see section 16.2.4.2).
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17. Welcome to The Grid
We have discussed plenty of places where Bitwig Studio uses modular
thinking. Most often, this is in the sense of reusable or contained blocks
— whether that's audio clips being broken into audio events, controller
scripting that can address different tracks/devices in identical ways,
or even the dragging-and-dropping of items across any project, or
even into another. Sometimes, these modular ideas have had a sound
synthesis connotation, most obviously in the expressions of the Unified
Modulation System. But the idea of a truly modular sound-design
environment within Bitwig was always, well, a good idea.
This idea has been made real with The Grid. Between the library of
180+ modules (see chapter 19 for short descriptions), the intuitive
editing gestures (spread across this chapter), and the twin supports
of interactive help (see section 17.1.2.1) and direct module scopes (see
section 17.1.2.2), The Grid offers our take on modular patching.
Many rules of patching systems are perpetuated: Out ports are

connected to in ports via patch cords. Parameters are directly accessible
from the face of each module. In ports often have attenuators for scaling
the signal on the way in. Control busses sum, and unconnected ports use
a value of zero…
And the rules of Bitwig Studio are still applied: The parameters of any
module used are the parameters of that device. Parameters can be
automated or mapped, modulat(or)ed or accessed by controller scripts.
MPE note signals are directly supported. CV signals can come in or out
with simple 1x1 modules. Any signal can become a modulator that is used
elsewhere…
And yet, there is something new here. Swapping modules and

preserving their related settings just makes sense. Having sound never
stop — even as modules are added and deleted — is joyful. Stereo
control signals are logical but literally sideways. A module version of
Bitwig's Sampler is like happening across an old friend with a new face.
Seeing the sonic effect of a change before you hear it makes things
so much faster, and somehow more natural. And how about a way to
generate streams of note signals…
But before we start dancing about architecture, let's talk about the
patching framework that is The Grid.
17.1. Using the Grid Editor

As with any device, Grid presets can be loaded and immediately
auditioned. Factory content will always have remote control mappings
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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 present a mixed bag of some note processors, some
note generators, etc. etc. So at minimum, The Grid provides additional
sources of sound content.
Note
Whatever your balance of using provided content and creating

your own, another reason to have three different devices for clear
browsing.
When searching for Instrument presets (such as clicking + on an

empty instrument track), Poly Grid presets will be shown beside
those for Phase-4 and other recognized VST instrument presets.
When asking for content in an audio effect context (such as clicking +

on an audio track or within an instrument's FX chain), FX Grid presets
will be offered beside those for EQ+ and containers doing audio
processing, like Multiband FX-3 presets.
And when clicking + before an instrument, Note FX presets will be

offered, including Note Grid patches, Strum presets, and whatever
else you've got.
The act of tweaking a patch or making one from scratch — patching, for
short — means getting comfortable with the Grid editor. The Expanded
Device View is used for the Grid editor window so all the normal rules
apply (see section 8.1.4). You can also interact with the overview display
at the center of each Grid device.
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To open the Grid editor: click on the Grid device's overview display
within the Device Panel.
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To scroll within a Grid patch: click (or click and drag) within the device's
overview display to move the display box.
Within the Grid editor, you can also scroll by:
› Using the scroll wheel of your mouse.
› Hovering over an empty area of the patch, and either [SHIFT]-clicking

or middle-click (with your mouse's scroll wheel button) and dragging
on the background.
› On a touchscreen, tap on an empty area of the patch with two fingers

and drag.
And if you would like more room for the Grid editor, you can hide the
Device Panel and others by clicking their panel icons (see section 2.2.1),
or you can undock the editor by clicking the undocking button (see
section 8.1.4).
To close the Grid editor: double-click on the Grid device's overview

display within the Device Panel, or click the x in the top right of the
Expanded Device View window.
Now that we can open the editor, let's take a look around.
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17.1.1. The Module Palette

The top of the Grid editor window is home to the module palette, which
serves as our general browser for Grid modules.
The left side of the palette displays the 16 categories of module. Clicking
on any category visually previews all of its modules to the right of the
categories, as all modules in the selected Filter category are shown in
the above picture. In case the modules don't fit the available space, the
preview area can be scrolled horizontally, or even with a vertical scroll
wheel on a regular mouse.
Note
For a short description of each module by category, see section 19.28.
To search for modules: click the search field in the top left of the Grid
editor window, and start typing. The module categories are then hidden,
using that entire area to display modules that best match your search.
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In addition to the standard Expanded Device View buttons in the top

left corner (to enable/disable the device) and in the top right (to undock
and close the window), a few additional buttons are present in the Grid
editor:
› The padlock icon enables a locked mode, where parameters can

be adjusted but modules cannot be added or cables changed. To
differentiate locked mode, both the module palette is hidden from view
and the background lines in the editor are removed, eliminating the
blueprint-feeling for performances.
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› The icon to the right of the padlock looks like a four-by-four table,
suggesting the category portion of the module palette. Clicking this
icon toggles the visibility of the module palette (and its search field),
which can provide more editing space when you don't need the
palette.
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› On the right side of the window header is a trio of zoom buttons. They
allow you to zoom out (-), restore to 100% (the magnifying glass with a
1 inside it), and zoom in (+) on the patch within the Grid editor.
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Note
This zooming is independent of the program's scaling level that can

be set for each monitor in use (see section 0.2.2.6).
The rest of the window displays your patch for manipulation and editing.
17.1.2. Working with Modules

To add a module to the patch: drag any module from the module palette
into an unoccupied area of the patch.
You can also right-click an unoccupied area of the patch to get a text-
menu version of the categories and their modules.
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Clicking on a module will then insert it into the patch at the location of
your original right-click.
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To replace one module in your patch with another: drag the new module
from the palette onto the center of module you wish to replace.
In this example, we are dragging ADSR from the module palette onto
the center of the AR module in the current patch. The highlight around
the AR module shows that it is currently targeted.
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The result, shown above, is that AR has indeed been swapped out with
ADSR. This includes any compatible parameters being maintained, all
relevant patch cords being recreated, and all modulator paths being
remapped to/from the new module.
To replace one module in your patch with a related module: right-click

on the module you wish to replace, and then select the new module
from the Replace with section of the context menu.
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Both methods of replace would produce the exact same outcome — in

this case, a Pulse oscillator in place of the Triangle oscillator, using any
corresponding settings and the connections that the original had.
474
Note
In Bitwig Studio, Polymer is a hybrid modular synthesizer based

around slots for selecting an oscillator, filter, and envelope generator
module. And Filter+ and Sweep are filter effects, each with slots for
waveshapers and one or two filters.
In all three of these Grid-powered devices, a clickable menu in each

slot is the equivalent of the Replace with function, preserving related
settings and modulations when swapping devices.
Furthermore, each of these devices can be converted to fully editable

Grid devices. Right-click on the device header of Polymer for the
Convert to Poly Grid function, or if using Filter+ or Sweep, right-
clicking their device headers will offer Convert to FX Grid.
To delete a module: select the module in the Grid editor, and then press
[DELETE] or [BACKSPACE].
In the example above, we deleted the ADSR module in the patch.

Instead of just deleting the module and all attached cords, The Grid saw
a signal running thru ADSR and replaced the cord, straight from the
Triangle oscillator to the Audio Out buss. Drones away.
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17.1.2.1. Interactive Module Help
One feature of The Grid is that documentation of each module is

built into the program. While we are happy to have you reading this
manual, details local to each module are more useful when deploying the
modules themselves.
To view a module's documentation: select the module in the current

patch, and then select Show Help Item from the Module menu.
You can also access this feature by selecting the module and then
either clicking the Show Help button in the Inspector Panel or pressing
[F1] (the default mapping for Show Help Item). The special show help
window will appear.
On the surface level, the help view displays all relevant parameter
information for this type of module. In addition to the module's regular
interface, any Inspector parameters are also shown below. This can be
especially helpful as these parameters are often out of sight, out of mind.
Beyond the text on screen, this help view is indeed showing the same
module that is in your patch. This means that port signal indicators
and modulator rings are reflecting the current state of this particular
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module, and parameters can be freely adjusted while this view is open.
And if a mode setting changes the available parameters on this module,
the help view will follow. Using the Mod Delay example shown above,
switching the delay unit from 16th notes to free time will change both
the parameters available and the descriptions present, as seen below.
17.1.2.2. Module Scopes in the Inspector Panel
When a module is selected in the Grid editor, the Inspector Panel shows
more than its available parameters. It also displays an oscilloscope view
of the signals at each in and out port.
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In the example above, the AR module is selected in the Grid editor. So

the Inspector Panel automatically displays three in port scopes (two
for the ports on the device, plus one for the pre-cord that is currently
enabled) and two out port scopes (for signal at the two out ports). Note
that the Gate In scope is dimmed and folded away because no cord is
currently connected to this in port.
17.1.3. Working with Patch Cords

Now that we can add modules, we have but to connect them. That
means we need to put our (virtual) patch cords to work.
To create a patch cord: click on either an in or out port, and then drag to
a port of the opposite kind.
Cables will snap to nearby ports as you drag them around. Once you
release the mouse button (or let go of your finger), the cable will be
connected, and signal will begin flowing.
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Note
The Grid allows an out port to be connected to multiple in ports,

but in ports can only receive one cable. You can, of course, merge
multiple signals and connect the result to an in port. The Grid even
allows you to do it with modifier keys (see section 17.1.4).
To delete a patch cord: double-click the in port or out port where the
cord is connected.
To move a patch cord: double-click and drag either end of the cord to
another port and release. This will move all cables at that port so if you
are dragging from an out port that has several connected cables, they
will all be moved together.
Note
If you double-click and move a patch cord(s) to an unoccupied area,

the connection(s) will be deleted.
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17.1.4. Inserting Modules with Cords, and Vice Versa

We've already covered the necessities for any virtual modular
environment: adding and removing modules, and then connecting
them with patch cords. But The Grid goes beyond these baseline
requirements, placing a premium on clear gestures plus some patching
intelligence from Bitwig Studio. We already looked at replacing modules
(see section 17.1.3), but inserting modules and patch cords together is
another way to prioritize sound design over patch management.
To insert a module with patch cords: drag the new module from the
palette to the port where you want it connected, and then release.
Dragging over an empty in or out port will connect a corresponding port

to it.
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Instead of dragging to a particular port, you can also drag to the left or
right edge of a module.
Bitwig Studio will then connect the new module to the in or out port that
seems most appropriate.
You can also drag a new module onto a port where a patch cord is
already present.
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This previous signal path will be connected thru the new module.
Note
If you drag the module onto a connected in port, that one cable
will be rerouted thru the module (if possible). If you drag onto a
connected out port, all cables present will be routed thru the new
module.
There are also gestures for adding common processor and merge
modules when drawing new patch cords.
To add a processor module when creating a patch cord: draw the

cord from the desired out port to the in port, and then hold one of the
available modifiers listed in the window footer.
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In the case above, [SHIFT] is being held so when the mouse or touch is
released, an Attenuate module will be added in line.
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And since in ports can only receive one cable, there are also gestures for
creating an additional in port by means of various "merge" modules.
To merge a preexisting signal with a newly created patch cord: draw the
cord from the desired out port to the occupied in port, and then hold
one of the available modifiers listed in the window footer.
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In the case above, the modifier for a Mixer module is being held, so both
the original cord and the new one being drawn will be merged via a
Mixer and connected to the original in port.
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17.1.5. Reordering Modules

Modules can also be reordered with similar behavior as the workflows
for inserting modules with patch cords (see section 17.1.4).
To reorder a module within your patch: drag the module from its current
position onto the port where you want it connected, and then release.
Once the click/touch is released, the module will be rerouted within the
patch.
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17.2. Special Connections

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 workflows such as Bounce
In Place (see section 13.2.2). And instrument and audio effect devices
send on the note signals they receive, as following audio devices or
modulators may take advantage of them.
Grid devices are a bit unique here, as we expect you may use these
devices in ways we do not expect. Accordingly, Note Grid, Poly Grid,
and FX Grid all have Inspector parameters for whether received note
signals (Note Thru) and non-note MIDI messages (Control Thru) should
be passed on to the output, in addition with any signals that might be
created by the device via Note Out and CC Out modules.
Note Grid has an additional option for Audio Thru as well, but it is
slightly different since merging audio doesn't always end well. When
enabled, audio reaching the device is simply passed thru — and any
Audio Out modules used by the patch are suspended. When Audio Thru
is disabled, audio routed thru or generated inside the Grid patch will be
passed on, but audio reaching the Note Grid device is not automatically
passed thru. (Poly Grid automatically passes audio thru, where as the
audio effect-oriented FX Grid relies on its Mix parameter [and any
manual configurations you may patch] to blend between dry and wet
signals.)
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All of these parameters are on by default, except for Note Grid which
has Note Thru disabled (since the default preset of Note Grid is already
passing all notes thru with any processing you may add). But defaults
are meant to be broken, especially when a Grid patch takes you in a new
direction.
17.2.2. Module Pre-cords

Within Grid patches, there are some common connections that are made
more often than not. Pre-cords provide wireless connections for some
of the most common connections, generally taking the form of a toggle
near an in port that connects to the same module buss. This both allows
modules to be preconfigured with regular connections and saves the
clutter of cords running from single I/O modules to various destinations
across each patch.
For example, the default Poly Grid patch contains three pre-cords.
› On the AR module, there is an icon in the bottom left corner

representing a two-state logic signal. This is a pre-cord for bringing
all note gate signals reaching the device to the envelope generator's
gate in port. This toggle is enabled by default as envelope generators
are most often gated by note input. Manually creating this connection
would require the Gate In module.
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› On the Triangle module, there is an arrow icon to the right of the

yellow retrigger in port. This is a pre-cord for bringing all note gate
signals reaching the device to the oscillator's retrigger port (for
restarting the oscillator's phase). This toggle is disabled by default.
Manually creating this connection would also require the Gate In
module.
› On the Triangle module, there is an icon in the bottom left corner

showing a piano keyboard with arrows in both directions, representing
keyboard tracking. This is a pre-cord for bringing all note pitch signals
reaching the device to the oscillator's pitch buss. This toggle is enabled
by default as oscillators usually incorporate the pitch of incoming
notes. Manually creating this connection would also require the Pitch In
module — and to open the module's pitch in port attenuator all the way
so that notes land in the proper place.
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Multiple modules have pre-cords from note gate signals, with various
icons to help illustrate the buss's behavior.
Several modules have pre-cords from note pitch signals. In the case of
oscillators, these are toggles. For filters, the pre-cord takes the form of
an attenuator.
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And the data-sequencer modules have pre-cords from the device's

phase signal (which is configured in the Inspector Panel for the device).
These connections could be made manually from the Phase In module.
Some other modules (such as Sampler and Pitch Quantize) use pre-
cords in ways specific only to those modules, which make their module-
specific help views especially useful.
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17.2.3. Making Feedback with "Long Delay"

Feedback loops are possible but prevented when made directly in The
Grid.
For example, the patch below is attempting to create a looping

envelope. (The logic is that the envelope should trigger both when
a new note is played [via Gate In] OR if the envelope signal [second
output of AD] is equal to zero AND the note is still being held down
[via Gate In].) In the screenshot, I am adding a cable to complete the
feedback loop, passing a signal coming out of the envelope generator
and back to its gate input.
But once the mouse/touch is released, the cable disappears because this
kind of direct feedback is not allowed.
To make a feedback connection: insert a Long Delay (Delay/FX) module

into the feedback path.
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Long Delay is specially configured to allow feedback and has a minimum

delay time of one block size (see section 0.2.2.2).
17.3. On Grid Signals

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 module's help view.
› Logic (yellow). A bistate signal, often for triggering an event or setting

a state. For in ports, any signal level at or above +0.5 is treated as
high logic, and anything below is assessed as low logic. Logic in ports
are only sensitive to these state changes so jumping from 0 to +0.5
will register, but a slow ramp from +0.5 to +1 means nothing. For out
ports, a high-logic state is expressed as +1, and a low-logic state is
transmitted as 0.
For short, we may sometimes refer to a trigger, which is the transition

from a low-logic state to a high-logic state. This signal is often used to
start a function.
› Phase (purple). A unipolar signal from 0 to just below 1, often for

driving data lookup. For in ports, signals are wrapped into the range.
For example, a value of +1.02 would be used as +0.02, and a value of
-0.3 would be treated as +0.7.
› Pitch (orange). A bipolar signal used by Bitwig for specifying pitch. 0

represents "middle C" (C3) with each change of ±0.1 representing an
octave, so a typical signal range of -1 to +1 represents twenty octaves.
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Note
While pitch signals in The Grid are generally used as is, outputting
notes via the Note Out module only allows the permissible MIDI note
range (see section 19.28.1.14).
› Untyped signal (often red). The most common signal type, of

unspecified range and function. Inputs of mixers or filters or math
modules, virtually all outputs that aren't implementing either logic,
phase, or pitch signal characteristics — they are all most often untyped
and thereby follow the color set for the module they are on.
Note
Generic signal modules are normally red, with typical control

modules defaulting to turquoise. So ports of either color are
untyped signal ports. And when a module has multiple untyped in
ports, those ports will adopt the color of an incoming patch cord.
› Secondary untyped signal (blue). When a module has two kinds of

untyped signal in or out ports, the secondary port is shown in blue. For
example, a merge module might have multiple primary in ports (using
the module color) for the various signals to route and one control input
(colored blue) for selecting which input is passed thru.
17.3.2. Stereo By Nature, and 4x Faster

Every signal in The Grid is stereo. This means that whenever you see
one patch cord, you are actually seeing a stereo pair. So yes, every audio
cable is stereo, but so are all pitch, phase, and trigger signals as well.
Altering any of these various control or timing values will affect the
corresponding audio.
In addition to common stereo placement functions (found in Mixer, Pan,

and Stereo Width modules of the Mix category), a number of modules
are configured to make working in stereo easy and interesting:
› Most Oscillator modules (Pulse, Sawtooth, Sine, Triangle, Union,

Wavetable, Sub, Bite, Phase-1, Scrawl, and Swarm) have frequency
offset values, set in Hertz (Hz). When this value’s polarity signal
(± when the value is positive, ∓ when it's negative) is clicked, the
frequency offset is inverted for the right channel. In the Phase
category, the Phasor module (a good starting point for building your
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own oscillators with other Phase and Data modules) also has this same
option.
› The S/H LFO (under Random) as well as LFO, Curves, and Wavetable
LFO (under LFO) all have a purple phase parameter, which defaults to
0 º. And to the right of that phase control is an offset control for the
right channel, which starts at +0 º and is thus grayed out by default.
Both parameters are visualized on the LFO module.
› In the Mix category, Stereo Split and Stereo Merge allow you to
separate and reconstruct a signal as left–right and/or mid–side pairs.
› Also in the Mix category, LR Gain provides independent level controls

(±200%) for the left and right channels of any signal passing thru.
› In the Random category, Noise also has a stereo option (via the
clickable on-panel stereo icon). This creates independent signals for the
left and right channels.
› Several modules in the Level category (Value, Amplify, Attenuate, Bias,

Bend, and Pinch) and in the Phase category (Ø Bend, Ø Pinch, Ø Shift,
and Ø Skew) have an Inspector parameter called Stereo-ize, which
inverts the value used for operation on the right channel. The same
is true for the Pitch constant module and other modules in the Pitch
category (Freq → Pitch and Pitch→ Freq).
› Flanger+ and Phaser+ (Delay/FX) both have a specialized Stereo-ize

option, which inverts the right modulation signal. This works whether
that classic modulation signal is coming from the default internal LFOs,
or if you have connected a signal to the Mod In port.
› The Ø Reverse (Phase) module as well as Invert and Reciprocal (Math)

and a few additive processors in the Pitch category (Octaver, Ratio,
and Transpose) have a Stereo-ness parameter, which sets whether the
processing is applied to the entire signal (Mono) or if it is just done on
one channel (Left or Right).
› To visualize any stereo signal, the Oscilloscope (Display) module has

a Stereo Mode button between the two in ports. When enabled, both
traces are used for first in port, painting the left channel in the chord's
color and the right channel in white. If you only see one trace, the signal
is mono.
In addition to being stereo, all signals within The Grid also operate
at four-times (400%) your configured sample rate. This is to ensure
maximum fidelity not only for the final output, but also for any audio-
rate modulation or other synthesis techniques that might be employed.
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Note
A few modules have in ports that flatten any incoming stereo signal
to mono. This is often because the result has to be mono (such as
CC Out, Note Out, and Modulator Out [I/O]), or because stereo
operation would be unnecessarily complicated (Sampler [Oscillator]
and Recorder [Delay/FX]). Specifics can be found within Bitwig in
each module's in-app help entry (see section 17.1.2.1).
17.3.3. Working with Modulators

Modulators are already a way to control parameters within Bitwig Studio
(see section 16.2.1). Just as nearly all device and plug-in parameters
are accessible with modulator devices, all Grid device and module
parameters can be controlled in exactly the same way.
In addition to their signal out ports, some Grid modules can also act as
modulators. Many typical "control" devices — LFOs, envelopes, the Steps
Data sequencer — have an on-board modulation routing button. And the
Modulator Out module (in the I/O category) can take any Grid signal
and use it as a modulator.
In addition to being usable outside of The Grid, modulators also have

a place within Grid patches. Grid modules often have more parameters
than in ports. To control parameters that don't have in ports, you can
use modulators.
The only thing to know is that modulator signals operate differently from
Grid signals. While Grid signals run at four-times the current sample rate
and are stereo (see section 17.3.2), all modulators are mono and operate
at your current sample rate. This is true for all modulators, whether they
are dedicated modulator devices or Grid modules, no matter what their
target is.
17.3.4. Voicing Management in The Grid

Instrument voicing modes and related topics were covered in a previous
section (see section 16.2.4.1). Before spending a few words on how these
settings affect FX Grid and Note Grid, it is worth taking a look at how
voice management is generally handled in The Grid.
Various Grid modules have a parameter called Affect Voice Lifetime.

When this parameter is enabled, the module is included in the calculation
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for whether each voice is still sounding and should be kept alive.
Modules that have this parameter include:
› AR, AD, ADSR, and Pluck (Envelope). For each of these envelope
generators, a voice will stay active as long as the envelope has not
reached the end of its release (for AR and ADSR) or decay (for AD)
stage — or, in the case of Pluck, whichever gets to zero first. Affect
Voice Lifetime is enabled for these envelopes by default, making them
the first determinant of how long to keep voices alive.
› Note In (I/O). When this module's Affect Voice Lifetime is enabled,

a voice will be kept alive for as long as its note gate signal is on (in a
high-logic state). Affect Voice Lifetime is enabled by default.
› Gate In (I/O). Identical to the behavior of Note In, Affect Voice Lifetime
will keep any voice on while its note gate signal is on. For Gate In, this
parameter is disabled by default.
› Audio Out (I/O). When this module's Affect Voice Lifetime is enabled,
a voice will be kept alive until it has fallen below the Silence Threshold
setting for the designated Hold Time. The Affect Voice Lifetime
parameter is disabled by default.
Only when all conditions being considered have finished is a voice

extinguished. For example, only one envelope needs to be active to keep
a voice alive. And enabling an additional Affect Voice Lifetime parameter
can only keep notes to the same length or allow them to go longer; it will
never shorten them.
17.3.4.1. Voicing "FX Grid"
FX Grid is a special device. While it is an audio effect, it is also fully

responsive to note messages, allowing for the creation of effects that
trigger an independent voice with each note that is played. It does
this by including the voicing options of Bitwig Studio's polyphonic
instruments (see section 16.2.4.1). All of the same voicing modes are
available; they just act a little differently in this different context.
› True Mono is the default mode for FX Grid. In an instrument like Poly
Grid, this mode always keeps the voice on, which can create a droning
instrument (when envelopes aren't employed). Similarly with FX Grid,
this mode always keeps the voice on, which is perfect for a traditional
effect processor that should respond whenever audio of any level
enters.
› Polyphony (whenever Voices is set to 2 or more) requires an incoming

note signal to trigger each voice. Otherwise, the effect will not sound.
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This also means that voice management will be used to determine

when each voice should be ended.
› Digi Mono is also available. It works as previously described (again, see

section 16.2.4.1) and also requires note signals to produce any sound.
Since note signals are required to articulate sound in both Digi Mono
mode and when using polyphony, notes can be received at the input of
the device. This default behavior is useful on an instrument track that is
already being driven by notes, but this doesn't help on an audio track.
To change the default note source on an FX Grid device: go to the

Inspector Panel for the device and change the Note Source setting. This
will reroute not only the various I/O modules that receive device input
but also all pre-cords (see section 17.2.2).
Things are greatly simplified by a special Auto-gate option, which is in

the Inspector Panel beneath the Note Source chooser. With this option
enabled, a simple envelope is invisibly applied to any FX Grid patch
(including the Filter+ and Sweep devices) so that an incoming note on
signal will immediately trigger and enable that voice for the length of
the note. And at note off, the voice will fade out for the set Auto-gate
Release Time.
Note
The Auto-gate option has no effect on an FX Grid set to True

Mono, so the setting is safely on by default. This makes it possible
to try an audio effect patch either in Digi Mono or with full
polyphony — without editing the underlying patch.
Finally, the Voice stacking setting works as it does with instruments

and can be used in any voice mode. So a direct audio processor in
True Mono mode could be stacked — and use the Voice Stack Spread ±
modulator to distribute different settings to each voice in the stack —
without the need to use note signals at all.
17.3.4.2. Voicing "Note Grid"
As a note effect, Note Grid is also unique in a few ways. Like FX Grid
among Audio FX devices, Note Grid is the only Note FX device that
can work polyphonically. Said another way, all Note FX devices handle
notes individually, but only Note Grid allows modulators to work in a
per-note (or polyphonic) fashion. And with Note Grid, you can also make
polyphonic Grid patches where you act on each note individually.
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As a polyphonic device, all of the same voicing options are available (see
section 16.2.4.1), and they are worth revisiting in a few potential contexts
of Note Grid.
› Polyphony (whenever Voices is set to 2 or more) is the default mode of

Note Grid. This requires an incoming note signal to trigger each voice,
which is a perfect match for the device's "note processor" default
preset. Within a simple note-processor context, the number of Voices
determines the maximum number of notes that can be output at a
time, so set this as high (or low) as you'd like.
› True Mono, on the other hand, does not require note input to stay alive.
This makes it ideal for "note generator" patches, where internal triggers
generate notes via one (or more!) Note Out modules. This mode is also
ideal for systems driven by control change messages (CC In) without
notes.
› Digi Mono is also available. As before, it is technically polyphonic and

requires note signal to produce its overlapping mono output.
Finally, the Voice stacking setting is applicable here as well, allowing

multiple notes to be created for each trigger, in any voicing mode.
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18. Working on a Tablet Computer
Bitwig Studio supports certain models of tablet computer. Features have
been built in to Bitwig Studio to create a more seamless experience on
tablets. These unique software options are primarily expressed thru a
special display profile.
In other areas, features of Bitwig Studio in general have unique utility in

a touch-screen context. A good example is Bitwig Studio's menu system,
which allows you to create shortcut buttons for any menu functions that
you would like one-touch access to (see section 2.3.1).
In additional, it seemed important to imagine a new way of working with

this new type of hardware. So we will also get introduced to the Radial
Gesture Menu, which magically — and in a context-sensitive fashion
— appears as a halo around your finger. Dragging has never been so
intuitively designed.
Note
The features described in this section may not be available if you are
not on a supported operating system and computer.
18.1. The Tablet Display Profile

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.
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18. WORKING ON A TABLET COMPUTER
The most obvious changes from other display profiles are probably in
the enlarged window header at the top of the screen, where some old
friends have moved about and a new friend has appeared. Some items
of note:
› View words. The capitalized, bold words that appear in the top left of
the window represent the currently available views (with ARR being
the currently engaged option in this example). The available views will
be discussed in the next section (see section 18.1.1).
› Panel icons. Mingling with the window controls (see section 2.1.3) at the
top right of the window is this set of icons, each representing one of
the available panels (see section 2.2.1). Depending on the view selected,
the available panel icons (and their corresponding panels) will change.
› Project tabs. These tabs represent all currently open Bitwig Studio
projects (see section 2.1.1). In this display profile, the project tabs are
found below the view words.
› Track selector menu. Located in the top left corner of the window, the
track selector menu is a new item. This menu allows us to focus on any
track within the current project.
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The track selector menu is our only means of switching tracks in views
that display only one track at a time, but it remains available in all
views.
18.1.1. Tablet Views

Four views are available within the Tablet display profile, three of which
are familiar and one of which is brand new:
› PLAY. The Play View is only available within the Tablet display profile.
Its primary purpose is to allow note entry via your tablet computer's
touch screen.
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At the top of this view is a rather modest version of the Arranger

Timeline, displaying a single track at a time. This makes the track
selector menu and buttons necessary for switching out the single track
being displayed.
You also must choose between the Arranger Timeline Panel or the Clip
Launcher Panel as only one can be shown at a time.
Note
You can still drag clips between the Arranger and Launcher by
dragging your source clip from one panel onto the view toggle
(found just above the single track header here) of the other. This
is similar to dragging a clip from one project tab to another (see
section 14.4.2).
The Device Panel may be displayed in the center of the window.

Neither the access panels nor the Inspector Panel are available in this
view.
At the bottom of this view is the On-Screen Keyboard Panel, which is

where note entry and monitoring is possible. There are three keyboard
modes available here:
The Piano keyboard provides a single row of equally-sized vertical

bars for playing and creating notes.
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The Octaves keyboard shrinks the Piano bars into squares and stacks
them in octaves, filling the available screen space with keys.
The Fourths keyboard is similar to the Octaves keyboard but stacked

in fourths.
Each of these keyboard modes supports multitouch input so that

multiple notes can be played at one time. While playing notes with
your finger(s) or stylus, each mode also allows you to input Micro-pitch
expressions (see section 11.1.3) by dragging from side to side, to input
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timbre expressions (see section 11.1.2.5) by dragging up and down, and

to input pressure expressions (see section 11.1.2.6) by adding and easing
pressure.
Finally, the up and down arrow buttons in the bottom right of the On-
Screen Keyboard Panel shift all available keyboard notes up or down
by an octave.
› EDIT. This specialized Edit View is similar to the standard version (see
section 11.5).
As with the Play View, the Arranger Timeline at top can display
only one track at a time, and you must choose between viewing the
Arranger Timeline Panel or the Clip Launcher Panel.
Featured beneath the Arranger Timeline is the familiar Detail Editor

Panel.
Finally, the Inspector Panel and all of the access panels are available in
this view, with only one being visible at a time on the right of screen.
You may also notice in the image above four directional arrows in
the bottom of the Inspector Panel. Pressing the up or down arrow
will nudge any selected notes by one semitone, and pressing the left
or right arrow will shift any selected notes by the current beat grid
resolution (see section 3.1.2).
› ARR. This specialized Arrange View is quite similar to the standard

version (see chapter 3).
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Again, only the Arranger Timeline Panel or the Clip Launcher Panel
can viewed at one time (not both). And the Inspector Panel and all of
the access panels are available in this view, with only one being visible
at a time on the right of screen.
› MIX. This specialized Mix View is quite similar to the standard version
(see chapter 7).
The main difference here is that the optional Device Panel is shown
above the Mix Panel instead of below it.
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Note
The Dual Display (Studio/Touch) also provides a similar window for

a touch-screen or tablet interface, along with a second window for a
standard monitor.
18.2. The Radial Gesture Menu

To both create a quicker touch-screen 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 appear around your finger (or stylus). By presenting
shortcut buttons above, below, to the left, and to the right of your finger,
you can then simply drag thru any of those action icons to engage that
particular function as you continue dragging your finger.
As you will find, there is a level of consistency between the Radial

Gesture Menu configurations. For example, pressing and then dragging
right tends to create an object, while pressing and then dragging left
often engages an eraser mode for deleting objects.
On top of the cardinal directions, an additional, partial outer ring of

functions will appear when appropriate. This comes in handy particularly
when you have clicked on an object which you will be acting upon.
These outer ring items are meant to be pressed by a finger that you
haven't used yet.
The beauty of this system is that once you become familiar with the
swipe patterns, you may start moving your fingers before the Radial
Gesture Menu even appears on-screen. And if you do so, everything will
work totally fine and even quicker.
The context here is important so the following images serve as good

"shortcut charts" while you are getting comfortable with tablet
computing.
When pressing on a track's header, these options become available

(including the option to move your finger slightly to the right to access a
vertical track volume fader):
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When pressing in the Arranger Timeline Panel either on blank space or

on a clip, the following options become available:
When pressing in the Clip Launcher Panel either on an empty slot or on

a launcher clip, the following options become available:
Working with notes in the Detail Editor Panel is particularly flexible,

providing different menu configurations when you press down in a blank
space, when you have notes selected, or when you have made a time
selection. In these cases, the following options become available:
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When pressing in a track's device chain within the Device Panel, you can
press down either on empty space or on a device, making the following
options available:
Within the Tablet display profile's Play View is a drum interface that
provides drum pads on tracks using the Drum Machine device. On those
drum pads, you can press down either on empty pads or on loaded
ones, making the following options available:
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19. Device Descriptions
This appendix provides a short description of each device that comes
with Bitwig Studio. The devices are organized by category. Information
on using devices can be found in chapter 8, and chapter 16 provides an
explanation of more advanced device concepts.
Parameter information is available in the window footer as you mouse

over device parameters (see section 2.2.4). And Interactive Help is built
in to every device, modulator, and Grid module within Bitwig Studio.
To access Interactive Help for any device, modulator, or Grid module:

select the object, and then either press [F1], click Show Help in the
Inspector Panel, or right-click on the object and select Show Item Help
from the context menu. The Interactive Help window will then open
with a live, editable copy of the device, and links to any relevant online
videos.
Note
For more information on Interactive Help, see section 17.1.2.1.
19.1. Analysis
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 purposes only). It can be triggered either
continuously, based on a threshold level of one of the two displayed
signals, or based on note messages that reach the device.
19.1.2. Spectrum
A dual-trace spectroscope, providing a frequency-domain
representation of incoming and/or external audio signals. Various
visualization controls are available for the Frequency Scale and Range,
the Minimum and Maximum Amplitude, and the painting Style of each
trace. And the persistence of all signals can be adjusted by the Fall Rate.
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19. DEVICE DESCRIPTIONS
19.2. Audio FX
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 controls.
19.2.2. Freq Shifter

A frequency shifter with an adjustable frequency range. This device can
also distribute the upward and downward frequency shift across the
stereo field.
19.2.3. Pitch Shifter

A pitch shifter (like a musical signal transposer) with a high-resolution
frequency control, a Grain setting for adjusting how the processing is
done, and a Mix control, allowing harmonization.
19.2.4. Ring-Mod
A ring modulator with a definable frequency and a Mix control for
blending the source material with the resultant sum and difference
tones. The device also has Pre- and Post-processing device chains.
19.2.5. Treemonster
A ring modulator that utilizes the incoming audio signal and a sine
wave whose tuning is based on that incoming signal. Pitch detection
is sampled only above a set Threshold amplitude, can be limited with
low-pass and high-pass filters, can be offset (Pitch) for shifting the sine
tone's frequency, and can be slewed (Speed) to respond more quickly
or ponderously. For processing, the amount of Ring modulation goes
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anywhere between a simple sine wave (at 0%) to more harmonically

complex results.
19.3. Clap
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 controlled by an
AD envelope that has a short, fixed attack time and an exponential,
adjustable Decay time.
Each incoming note message immediately triggers the amplitude

envelope. And for the Duration time following the beginning of each
note, the envelope is retriggered at every Repeat time interval.
For example, if Duration is set to 45 ms and Repeat is set to 10 ms, each

note will trigger the amplitude envelope five times: zero milliseconds
(the instant the note is received), 10 ms, 20 ms, 30 ms, and 40 ms.
Width sets the amount of stereo flutter added to each noise burst.
The COLOR section provides controls for the instrument's low-

pass filter. Freq sets the cutoff frequency, and Q sets the amount of
resonance.
The final section offers a control for the instrument's Vel Sens.(itivity)
and a level control for its Output.
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Nested Device Chains:
› FX - A chain for processing the device's entire audio output.
19.4. Container
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 Mix control is provided for blending the dry (original signals
reaching the device) and wet (processed signals exiting the device)
components together, and a Wet Gain control offsets the level of the dry
signal only (it is not applied before processing).
The L button beside Wet Gain triggers a Learn Wet Gain function. Once
the button is clicked, the learn function runs, adjusting the Wet Gain to
roughly match the incoming, dry audio level. This places the Mix knob
in a balanced position for fading between two level-matched signals,
and it can be used for any nested audio effect chain, including normal
Bitwig devices and plug-ins. The learn function will run for 25 seconds, or
shorter if you click the L button again to turn it off.
Any note messages that reach this device are passed out "dry," without
adjustment.
19.4.2. FX Layer
(Audio in, Audio out) A container that houses parallel audio chains. Each
chain has its own internal mixer controls. (For more information, see
section 16.1.2.3.)
19.4.3. FX Selector
(Audio in, Audio out) A container that houses multiple audio chains. Only
one audio chain at a time receives the incoming audio, but any chain
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that was previously receiving audio remains active until its output is
silent.
When a different chain is triggered, the previously active chain will

transition to silence for the set Fade Out time. If incoming audio was
being received before the transition, the new chain will Fade In over the
set time. But if there was no incoming audio before the chain switch, the
fade in will be skipped for the new chain.
Also has a Note/MIDI Source chooser, for selecting a track to receive

notes from.
See section 19.4.5 for details on the voice Mode options.
19.4.4. Instrument Layer

(Notes in, Audio out) A container that houses multiple instruments
in parallel. Each chain has its own internal mixer controls. (For more
information, see section 16.1.2.2.)
19.4.5. Instrument Selector

(Notes in, Audio out) A container that houses multiple instruments and
their associated device chains. Only one instrument chain at a time
receives new notes, but each sounding note continues until its output is
silent. A variety of voice Modes are available from the Inspector Panel:
› Manual - Target layer is set by user, controller, modulator, and/or

automation
› Round-robin - New note triggers the next layer (for notes in series, or
individual notes within a chord)
› Free-robin - Round-robin, but skips used voices when possible
› Free Voice - New note uses the first free layer. Always starts with the
first layer for more predictable results. (Also ideal for loading multiple
layers with HW CV Instrument to create polyphony with Eurorack
hardware.)
› Random - New note randomly selects a layer (nice with a pile of

different audio FX)
› Random Other - New note randomly selects a different layer (to

guarantee a change each time)
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› Keyswitches - Designated notes set the target layer (you define the
lowest keyswitch; so if set to note C2 and the Selector has 3 layers, C2
switches to layer 1, C#2 switches to layer two, and D2 switches to layer
3). Good for film scoring with different sounds and articulations.
› CC - Designated continuous controller sets target layer (you define a

continuous controller [default CC1 - mod wheel], whose full range will
morph evenly thru all layers). For example, using mod wheel to cycle
thru various note FX.
› Program Change - PC messages set the target layer (program change

messages map directly to each layer). Common output from pedal
controllers, etc.
Other than Manual, all other modes are aware of the layer count. So
adding or removing layers will just work without additional configuration.
Note
Any automation of the Index parameter is dynamically updated when

the device chains are rearranged. And any mode other than Manual
will ignore any automation or modulation of the Index.
19.4.6. Mid-Side Split

(Audio in, Audio out) A container that takes a normal stereo signal and
splits it into its mid (centered) and side (panned) components, each of
which is provided with an independent chain.
19.4.7. Multiband FX-2

(Audio in, Audio out) A container that splits the incoming audio at a
definable frequency and provides independent chains for the audio
below and above that frequency.
19.4.8. Multiband FX-3

(Audio in, Audio out) A container that splits the incoming audio at two
definable frequencies and provides independent chains for the audio
below the first frequency, the audio between the two frequencies, and
the audio above the second frequency.
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19.4.9. Note FX Layer

(Notes in, Notes out) A container that houses parallel note chains.
19.4.10. Note FX Selector

(Notes in, Notes out) A container that houses multiple note chains. Only
one note chain at a time receives the incoming notes, but any chain
that was previously outputting notes remains active until its output has
ceased.
See section 19.4.5 for details on the voice Mode options.
19.4.11. Replacer
(Audio in, Audio out) A container that filters and analyzes the level
of the incoming audio signal, and when the signal rises above a set
threshold, notes are generated at a set pitch and velocity. These notes
and the original (dry) audio signal are then passed to the internal
Generator device chain.
19.4.12. Stereo Split

(Audio in, Audio out) A container that takes a normal stereo signal and
splits it into its left and right channels, each of which is provided with an
independent chain.
19.4.13. XY FX
(Audio in, Audio out) A container that loads up to four audio effects in
parallel and allows you to crossfade their outputs.
19.4.14. XY Instrument
(Notes in, Audio out) A container that loads up to four instruments in
parallel and allows you to crossfade their outputs.
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19.5. Delay
Each delay device is a time-based 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 delay situation.
The icons along the left side of the device define the available Pattern
options:
› Mono (one centered circle) - Flattens the incoming signal for

processing, and offers a Pan control for direction within the effect
› Stereo (two overlapping circles) - With a Width control and optional

Cross Feedback (for left → right channel feedback, and vice versa)
› Ping L (two separate circles, larger one on the left) - Ping-pong,

starting on the left side, and with Width control
› Ping R (two separate circles, larger one on the right) - Ping-pong,

starting on the right side, and with Width control
Standard delay options are available for delay time (either in seconds,
or beats plus offset for triplet, dotted, or things in between), Feedback
amount, low- and high-pass filters for controlling feedback, and a dry/
wet Mix control.
For delay time changes/modulations, a Time Update Rate parameter is

available, as well as two Time Update Model choices:
› Repitch - Maintains audio output during delay time changes, making

pitch effects audible
› Fade - Hides pitch artifacts during delay time changes
And similar to the idea of oscillator detuning, a Detune parameter is

available in milliseconds, along with a Stereo Detune toggle to invert the
right channel's detuning amount for instant stereo motion.
The Feedback parameter controls the level that output signal is scaled
before it is sent back into the delay line. This setting goes from no
feedback (0.00 %) up thru attenuated values, to full unity gain (100 %),
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even up to amplification (maxing out at 122 %) to increase signal on each

feedback iteration. Around the feedback stage are several controls and
effects:
› Level Control keeps signal in the feedback loop from exploding, offer
both a Level Control Threshold for when level control starts, and three
Level Control Modes:
Soft Clip - A saturation model
Hard Clip - A clipping model
Comp. - A compressor model
› Width affects Feedback factors in the Width parameter (when

available) before the feedback chain.
› A Blur effect is available within the initial delay process. As the

feedback section returns its output to the delay input, each feedback
cycle goes back thru the Blur function. Various Blur Character options
are available:
No Blur - Bypass option
Soft - Short diffusion network
Wide - Short diffusion network, with broader modulation and spread
Still - Long diffusion network
Space - Long diffusion network, with broader modulation and spread
Reverse - Time-offset diffusion system
› The Forever mode (shown as a snowflake toggle, similar to other

'freeze' modes across Bitwig) maintains the current feedback buffer,
keeping it at unity gain and not passing in any new signal.
› The FB FX chain allows the addition of any other Bitwig devices or

plug-ins into the feedback stage, making them part of the churn.
Note
The nested FB FX chain uniquely provides delay compensation

(when inserting devices that require it) by offsetting the delay time.
Finally, the Ducking knob helps incoming sounds to be heard. It does this
by using an envelope follower to reduce the Feedback amount and the
internal wet gain level by the relative Ducking amount.
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19.5.2. Delay-1
A tempo-syncable delay with uniform delay time, offset, and feedback
settings for the left and right channels.
19.5.3. Delay-2
A tempo-syncable delay with discrete delay time, offset, and feedback
settings for the left and right channels. This device also has warble
(Detune and Rate) and Crossfeed(back) settings.
19.5.4. Delay-4
A delay unit comprising four independent taps. Each tap has its own
input level control, a general FX chain, a FB FX chain for its own
feedback section, separate feedback controls for how much signal is
fed back locally and to each of the other taps, tempo-syncable delay
time, simple high-pass and low-pass filters, and output level and panning
controls. After the taps are summed, there is then a master FX chain, a
global Feedback level, and a Mix control.
19.6. Distortion
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) EQ

stages. In this model, the L(ow) and H(igh) bands offer high- and low-
pass filters, respectively, each with variable frequency, resonance, and
slope settings. The M(id) band is a bell filter with gain, frequency, and Q
settings. Additionally, the far right of the device's interface has a nested
device chain for adding additional processors to this PRE section.
Next comes the DRIVE stage, whose purpose is to overamplify the

incoming signal. In addition to applying gain (via the eponymous Drive
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parameter) of up to 48 dB, a drop-down menu offers various clipping

"models" to use, such as Class AB, Eulic, Fold B, etc. And to further
massage the overdrive, there is a Bias setting for offsetting the signal
and a Sag for bending it back down when it flies too high (as indicated
by the horizontal LED).
After the drive section is a POST-drive stage, which is identical

in structure to the PRE-drive stage detailed above, along with a
corresponding POST nested device chain at the far right of the device.
As with any amplifier, the last stage is (a simulation of) the speaker
CABINET. Parameters include physical parameters of the cabinet's width,
height, and depth, as well as the amount of sound reflection around
the cabinet (which adds an acoustic phasing). To further shape the
tone of the cabinet are a Color knob and a set of buttons (labeled A
thru H), which offer eight discrete "hue" variations. Finally, there is a
polarity control (ø) for the phase of this section as well as a Mix control
to make a blend of pre-cabinet sound (heard by itself at 0%) and cabinet
processed sound (heard alone at 100%). As always, extreme settings are
useful while programming but less fruitful when used in music.
The global section of the device includes a final Gain setting and a global
Mix control.
19.6.2. Bit-8
An audio degrader with assorted parameters for CLOCK manipulation,
amplitude GATE, SHAPE (with drive and various distortion options), and
QUANTIZE modes with fine-tuning options. The device's final output
offers a Mix knob for the dry/wet blend, a Wet FX chain for inserting
devices or plug-ins to process only the wet signal, an Anti-alias option
for using using alternate processing techniques, and a stereo Width
control.
19.6.3. Distortion
A distortion effect based on hard clipping, with a peak EQ before the
clipping is applied, and high- and low-pass filters after.
19.6.4. Over
Anti-aliased clipper, with multiband options and more.
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› Threshold defines the base level above which clipping is applied (or in
Delta mode, the level above which signal is heard)
›e
› Multiband Blend mixing clipping of the entire incoming signal (0 %) and

multiband clipping (100 %), with optional Multiband Tilt
› Knee control increases the width of transitions and generally softens

clipping
› Also has a Wet FX chain for processing only the wet signal, as well as
Wet Gain and Mix controls
› PCM Clipping option provides digital flatlining at the PCM Threshold
19.6.5. Saturator
A logarithmic shaping effect. The top-level panel controls for Drive,
Normalize, low-pass filter (both cutoff and slope/model), and Makeup
Gain options. The full curve editor panel offers quiet and loud settings
for Threshold, Amount, and Knee controls, as well as bipolar Skew
controls for all three on the loud side, for treating positive and negative
excursions differently.
19.7. Drum Kit

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.
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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-pass filter and monitoring option for the
detection circuit.
19.8.3. Dynamics
A flexible dynamics processor that allows for either downward or
upward compression on both the loud and quiet parts of the sound.
The device also has a sidechain input, an FX device chain for the control
signal, and a graphical interface.
19.8.4. Gate
A noise gate with sidechain input and an FX device chain for the control
signal.
19.8.5. Peak Limiter

A limiter with peak level, gain, and release controls.
19.8.6. Transient Control

A transient detector that can make onsets and sustain segments
relatively louder or softer.
19.8.7. Compressor+
A compressor that takes a different approach. This includes three modes
of operation, Character options for different styles of compression,
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multiband analysis of the incoming (or sidechained) signal, VCA Color

options for toning up only the affected signal, and more.
Standard parameters include:
› Threshold sets the level above which compression is engaged
› Ratio is the amount of compression applied. For example, a 1:4.00 ratio

means that a 4 dB of increase in the incoming signal will cause only a 1
dB increase at output. So large values represent more gain reduction.
› Attack is the base time when transitioning from no compression to full

gain reduction (when input exceeds Threshold)
› Release is the base time when transitioning from full gain reduction to
no compression (when input falls below Threshold)
› Knee affects how gradual/smooth the transitions are in the dynamics

curve
› Relax bends the compression curve toward 1:1 (no gain reduction),
starting with the loudest signals
Gain Reduction Mode offers three options, determining how the device
operates:
› Standard (the default) offers a normal range of compressor Ratio

settings, as described above
› Beyond offers an extended compressor range, adding over- and under-

compression options, by replacing Ratio with a Ratio Extended control.
This set the amount of compression applied, in three sections across
the range:
Bottom third [2:1 to 1:1] - Upward compression, amplifying signal

above the Threshold
Center third [1:1 to 1:∞] - Standard compressor range
Top third [1:∞ to 1:-1] - Downward compression, attenuating signal

above the Threshold
› Dual is a dual compressor option, replacing the Knee control with a Lift
parameter, which smoothly moves thru custom curves for bumping the
signal below the Threshold
The device's central display shows the current compression curve based
on the above parameters, which is filled from the bottom to represent
the current status of applied gain.
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› The central display also shows the history of both the incoming audio
signal (post Input gain) as filled gray, and the output level (pre Mix
and Make-up gain) as a white line, as well as an interactive blue line for
adjusting Threshold
› The size of the display adjusts for the Beyond and Dual modes, where
gain increase is possible
A Character chooser offers six different styles of compression. Each

option changes various gain reduction and envelope behaviors, including
numerous "under the hood" options.
› The Vanilla character (the default) applies parameters literally,

including Attack and Release times going all the way down to zero
(Auto Timing helps determine how "grabby" compression is)
› The other five options are progressive, from smoothest to most

aggressive:
Smooth uses slow per-band response, offering minimal distortion
Over tends to compress more quickly but in a stable way
Glue is slow to engage and quick to release, for good transient

preservation on the mix buss or anywhere else (Auto Timing opens
the mid analysis bands a bit, for more space)
Resist brings longer envelopes and tries to quickly snap back

afterward, to preserve bass and also add even harmonics when
pushed
Smash over-accelerates the attacks and releases, additionally using

the Auto Timing to further increase acceleration
› The special Auto Timing control is the amount that timing parameters
(Attack, Release, and more) are automatically adjusted to suit the
incoming audio
› Taken together, the combination of Character choice and Auto Timing

setting offers a wide sonic variety
Multiband analysis means that incoming signal is always analyzed in four

different frequency bands. So even when doing "unified compression",
behaviors can be tweaked and tailored.
› The central display visualizes how much gain change is being

contributed by each band:
Lows are shown in red
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Lo–Mids are shown in yellow
Hi–Mids are shown in green
Highs are shown in purple
› To adjust responsiveness, each band has two offset controls:
Intensity Offset relatively adjusts the compression curve for this

analysis band. Positive settings represent stronger compression, and
negatives settings back off compression from this band. Changes to
any band's Intensity Offset is shown on the device's central display as
a diverging compression curve for that band.
Timing Offset relatively adjusts the timing parameters for this analysis
band. Positive settings represent longer times, and negatives settings
are shorter than the base settings. Timing changes are only visualized
in the gain reduction (and in the audio).
These per-band controls are always available in the Inspector Panel
› The device has a special Expanded Device View, showing a display for
each of the four bands:
Each display shows only the gain change for that band, along with
that band's unique compression curve (along with the global curve
behind it, if different)
Again, each compression curve is filled from the bottom to represent

this band's current contribution to the applied gain
Each display retains the global Threshold control, as well as the audio
input and output meters for the unified signal
Controls for each band's Intensity Offset and Timing Offset are shown
in this view as knobs
› A chooser in the top of the device (defaulting to Device Input) allows

for sidechain configurations, by choosing any project audio source for
the analysis input
A Sidechain FX slot is also there, for any pre-processing you might

want to do in the analysis path
The VCA Color Mode option determines the tonal character imbued
upon the compressed signal only. So only portions of the signal
experiencing gain change will be colored. The four modes are:
› Clear (the default) applies no coloring
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› Prism gives a clean blend of true multiband compression, with unified

single-band compression
› Transistor provides a consistent analog feel, with a low bump and

slightly reduced highs
› Saturate is a moving analog feel, like tape saturation, with a mid-range

bump and some frequency-dependent behavior
› The mode selected is shown as an icon in the output section of the

device, as well as the icon and name in the Inspector Panel
› Input Gain at the left of the device provides gain for incoming audio
signal
This is helpful for adjusting the signal to be processed, and for

pushing the selected VCA Color Mode to apply more (or less) coloring
Additional features complete the package.
› Make-up Gain offers gain of ±24 decibels at the output
› Learn Make-up Gain can be triggered via the little L button beside the
Make-up label
While running, this function listens to the incoming device level and
roughly matches that level at the output by adjusting the Make-up
Gain value
The learn function will run for 15 seconds, or shorter if you click the
trigger button again to turn it off
› Combo Meters are shown in the output section, comprising:
Level meters for output
Blue gain meters for applied gain, showing the difference between
input and output (this includes Make-up Gain)
A numeric readout of applied gain
› Stereo Independence is the amount of separation between the stereo

channels of each analysis band
The default setting is 50 %, half-coupling each analysis band
› Stereo Independence Mode - Distribution/mode of stereo separation:
Flat (the default) applies the Stereo Inpedence setting equally to all
bands
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Low separates the lows less
Air separates the highs more and the lows a little less
Max uses the stereo-channel with the strongest gain reduction for
each band
› Wet / Dry Mix is the amount of processed signal at device output

(blended with dry audio signal entering the device), for parallel
compression effects
› If a project or preset uses the Compressor (no plus) device, you can
right-click the device header for a Convert to Compressor+ option
This will load Compressor+ with the settings that Compressor had,
including calculating an appropriate Make-up Gain setting when Auto
Makeup was used
These are very different devices and will not sound identical, but it will
give you a starting point for working with Compressor+
19.9. EQ
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 for each band,
global frequency Shift and Gain controls, an Adaptive-Q option (to
proportionately scale Q values as gain increases), an option to display a
Reference track within the spectrum display, and unique layouts in the
Device Panel, Inspector Panel, and Expanded Device View.
There are also a number of mouse gestures for adding a band with a
specific mode:
› Peak filters are added by double-clicking at the current mouse cursor

position.
› Low-/high-shelf filters are added by dragging the left/right edges of

the EQ curve.
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› Low-/high-cut filters are added by dragging the left/right edges of the

EQ graph (off the curve).
› Notch filters are added by dragging the lower edge of the EQ graph.
Different mouse cursors are shown to identify each interaction's filter

mode.
19.9.2. EQ-2
A two-band parametric equalizer with resonant filter modes and a
graphical interface.
19.9.3. EQ-5
A five-band parametric equalizer with resonant filter modes and a
graphical interface. The device also has global controls to morph the
strength (Amount) and placement (Shift) of the EQ curve.
19.9.4. EQ-DJ
A three-band equalizer with definable crossover frequencies and kill
switches for each band.
19.9.5. Focus
A component-model of the renowned Pultec MEQ-5, but with variable
Color options and other modern niceties. A good mid-focused EQ with
pre-set frequency choices in a sound's power regions.
› Low Boost Frequency selects the frequency for the low boost filter
Low Boost Amount sets the gain amount for the low boost filter
› Cut Frequency selects the frequency for the dip filter
Cut Amount set the gain amount for the dip filter
› High Boost Frequency sets the gain amount for the high boost filter
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High Boost Amount selects the frequency for the high boost filter
› Simple Color options let you decide which saturation to use:
Clean (the default) offers minimal saturation, to either be surgical as-is

or let you add your own saturation device afterwards
Tube gives all-harmonic warmth, like the original MEQ-5
Transitor creates odd-harmonic emphasis, with distinctive midrange

drive
› A Stereo-ize option in the Inspector Panel, for effectively duplicating

the unit and then tilting it a variable Amount in the Stereo field (to push
up frequencies and gain in the left or right channel), or to apply in the
Mid–Side domain
› Onscreen displays to visualize the EQ gain curve, both on the device

panel and in the Mixer Panel
19.9.6. Sculpt
A component-model of the renowned Pultec EQP-1, but with variable
Color options. A broadband EQ good for bass sweetening and more,
using pre-set frequency choices to quickly dial in magic.
› Low Shelves Frequency selects the base frequency for both low filters
Low Boost Amount sets the gain amount for the low boost filter
Low Cut Amount sets the gain amount for the low cut filter, which
becomes more of a detail control when Low Boost is active
› Peak Frequency selects the frequency for the peak boost filter
Peak Boost Amount sets the gain amount for the peak boost filter
Peak Bandwidth determines the relative bandwidth for the peak

boost filter. Lower values narrow the filter, and higher values make it
broader.
› High Cut Frequency selects the frequency for the high cut filter
High Cut Amount sets the gain amount for the high cut filter
› Simple Color options let you decide which saturation to use:
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Clean (the default) offers minimal saturation, to either be surgical as-is

or let you add your own saturation device afterwards
Tube gives all-harmonic warmth, like the original EQP-1
Transitor creates odd-harmonic emphasis, with distinctive midrange

drive

Mid–Side domain

19.9.7. Tilt
A classic tilt equalizer, putting twin shelving filters under one set of
controls. Good for a simple tone shift (brighter or darker), or to add
some stereo diversity to any track.
› Gain sets the amplification for the dual shelf filters. Positive values
amplify the upper band, and attenuate the lower band by the same
amount. Negative values quiet the upper band, and boost the lower
band by the same amount.
› Frequency freely sets the center frequency for the dual shelf filters
› Slope sets the roll-off for the dual shelf filters. Lower values are a
gradual ramp, and higher values go toward an S-curve.

Mid–Side domain

19.10. Filter
Each filter device is a frequency-specific processor that operates on its
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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 directly onto a track
› Pick one of ten filters from three categories:
Structural choices for classic circuits:
Low-pass LD - A ladder filter, with variable slope and nonlinear

option
Sallen-Key - 16 various low-, high-, and band-pass configurations
SVF - Highly resonant multimode (high-, low-, band-pass & notch)

filter
Comb - A comb filter with timed feedback & dampening
Inspired options that speak:
Low-pass MG - A Moog-style low-pass filter, including drive

character
XP - An Oberheim-style multimode filter, with 15 configurations
Vowels - A morphing vowel filter, with various models, pitch and

frequency offsets
Character ideas for something new:
Fizz - A nested filter circuit that can sparkle, shimmer like a phaser,
or bump
Rasp - A filter that adds brightness around the cutoff, so it can

scream or whimper
Ripple - A hyper-resonant circuit for playful feedback,

subharmonics, or even distortion
› Pick one of 14 waveshapers, sorted for you:
One Knob classics with a singular control:

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Chebyshev - Nonlinear shaper that can target harmonics
Distortion - Gentle distortion
Hard Clip - Simple, hard clipper
Quantizer - Signal resolution reducer
Wavefolder - Reflects each cycle back on itself
Parametric options that offer more control:
Diode - Classic circuit model, used for biasing and clipping
Rectifier - Independent positive and negative attenuators
Saturator - Waveshaper with loud/quiet settings + bipolar skews
Transfer - A freely drawable, segmented waveshaper, with

BWCURVE-file support
Character ideas, for unique paths and simple control:
Push - Soft clipper with a detailed curve
Heat - S-shaped clipper that starts soft but can drive hard
Soar - Soft wave folder that makes the quietest parts loud
Howl - Wave folder that puts different parts of the signal into loud
focus
Shred - Non-linear wave folder for subtle cancellation or big-time

artifacts
› Signal flow is simple: audio input → waveshaper → filter
› Pre FX and Post FX chains are also available, for nesting other devices
or plug-ins
› A modulation section offers two built-in sources:
A stereo LFO module gives four waveshapes with sync-able Rate and
Timebase controls
The incoming audio itself provides a second modulation source, with

optional low-pass filtering and rectification (to make the modulation
go in only one direction)
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Both LFO and Audio Mod sources are normalled to the filter's cutoff
buss, with attenuators on the filter
These sources are also available as modulators for free control

elsewhere, including shaper Drive controls, other filter controls, or
control of any nested devices in the Pre FX and Post FX slots
› Additional Inspector controls for Stereo Spread and Wet Gain
› Other parameters are available in the device's Expanded Device View,

which exposes the embedded Grid patch. These include:
LFO Skew (to bend the shape), Phase, Phase Offset (R) (for the right
channel, controlling the stereo effect), Bipolar, and Sync to Global
Transport toggle (on by default)
Pitch Buss toggle (with = icon) to not attenuate the audio mod
source, giving it a ±10 octave range
A simple Pan module, for placing the signal
› Being a Grid-powered device, polyphony and voice stacking are

uniquely available in this audio FX device
› By right-clicking the device header, functions are available to:
Convert to Sweep, for bringing all settings into that device (see
section 19.10.6)
Convert to FX Grid, for full patching control
19.10.3. Filter
A multimode filter with pre- and post-gain.
19.10.4. Ladder
A multimode ladder filter with a built-in LFO, envelope, and envelope
follower to modulate the filter's frequency.
19.10.5. Resonator Bank

A bank of six resonant filters that have frequency, resonance, and gain
controls. The device also has global controls to morph these three
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controls as well as keyboard tracking to offset the filters' frequencies

based on incoming note signals.
19.10.6. Sweep
A performable effect device, combining and blending a waveshaper and
two filters from The Grid
› Everything said about Filter+ (see section 19.10.2) is true of Sweep,

except Sweep has a second filter slot and generalized controls for this
setup
› Joint Frequency Control provides control of both filters in a range ±3

octaves
An Invert option flips the direction that the Joint Frequency Control
applies to filter B, allowing you to move their cutoffs in opposite
directions
› The Routing Blend control smoothly moves thru various device

configurations:
At 0 %, only filter A → waveshaper is heard
50 % is a parallel routing, with device audio input going straight to

both filter A (then out) and to waveshaper → filter B (then out)
100 % is fully serial, with device audio input going to filter A →

waveshaper → filter B
Positions in between blend these routings, for a continuous range
› Stereo Pan is similar to the Joint Frequency Control, except it applies

the same stereo adjustment to both filters
Positive (rightward) settings move right channel cutoffs up and left

cutoffs down, and negative (leftward) settings move left channel
cutoffs up and right cutoffs down
Good, quick stereo-ization control
19.10.7. Vocoder
Imposes the timbre of one sound onto another. Has separate chains
for the Modulator (sound source) and Carrier (affected sound), but the
incoming audio signal is also used as the modulator. Allows being 8 and
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80 filter bands for each section (optionally stereo), along with Slope
and Bandwidth controls. Also provides Formant and Brightness controls
for the modulator signal; Attack, Release, and Freeze controls for the
analysis bands; and Ceiling and Floor controls, for limiter-/expander-type
behaviors.
19.11. Hardware
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 be sent thru set ports of your
audio interface. Each path can transmit Clock signals at a set interval, a
signal only at transport start (Play mode), a signal only at transport Stop,
or a signal for every Note received.
19.11.2. HW CV Instrument
A router that sends the incoming note messages out of the system as
CV signals. One path is used for Pitch CV Out, and one is used for Gate
Out triggers. Audio In is then returned to the system and output from
this device.
19.11.3. HW CV Out
A vehicle for sending a CV signal out a set port of your audio interface
via a parameter knob. An AC switch is provided, as is a low-pass filter
control for applying lag to the outgoing signal.
19.11.4. HW FX
A router that sends the incoming stereo audio signal out of the track and
system, and then returns another stereo signal back.
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19.11.5. HW Instrument
A router that sends the incoming note signals out of Bitwig Studio as
MIDI, and then returns the resultant audio.
For note and MIDI output, settings include the MIDI output port to
use as well as whether to send all messages on a single MIDI channel
or to preserve Same Ch.(annel) set for each per note/event in Bitwig
Studio. A special Use MPE option can be used instead, converting note
expressions (see section 11.4.2.4) to appropriate channel voice messages,
dynamically allocating channels as necessary, and providing a pitch-
bend range parameter. And a toggle is available in case you want to
send MIDI Clock messages to this MIDI port.
The audio return section includes the audio input to use, a gain level
applied to that signal, and a latency offset amount that is set in samples
(negative settings adjust the audio to be earlier).
Like most instruments, nested device chains for Note FX and audio FX
are provided.
19.12. Hi-hat
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.
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The section at the top left contains Attack and Decay times for
the AD envelope, along with a contour control for the shape of the
decay segment. This global envelope shapes the output of the entire
instrument.
The red COMB section governs the comb filter that processes the noise
generator's output. Parameters include cutoff Freq(uency), a bipolar
Feedback control, and the wet/dry Mix. In the XY grid, dragging the red
C ball adjusts the Freq control with horizontal movements and the Mix
control vertically.
The blue FM HIT section controls the carrier of a classic FM operator

pair, which creates the impact sound of the hi-hat. The Freq knob at left
sets the carrier's frequency. This unit has its own AD envelope, which has
a short, fixed attack time and an exponential, adjustable Decay setting.
(Note that a longer decay setting may be interrupted if the global AD
envelope has a shorter overall duration.) Finally, the Mix knob controls
the balance between the noise and FM portions of the instrument. In the
XY grid, dragging the blue H ball adjusts the Freq control with horizontal
movements and the Mix control vertically.
The yellow HIT MOD section provides controls for the modulator of the
FM operator pair. The Freq. knob adjust the modulator's frequency, and
the Amount control is the index (or intensity) of modulation applied to
the carrier. In the XY grid, dragging the yellow M ball adjusts the Freq.
control with horizontal movements and the Amount control vertically.
The orange EQ section controls a simple high-pass filter that receives

the blended noise and FM sounds. The cutoff frequency is set with the
top numeric control (in hertz or kilohertz), and the control below with
a resonance icon represents the filter's Q. In the XY grid, dragging the
orange vertical bar from left to right controls the cutoff frequency.
and a level control for its Output, along with a Width setting for the
amount of stereo flutter added to each noise burst.
19.13. Kick
Kick drum element instruments that use incoming note signals to
synthesize audio.
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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 oscillator. The frequency of
this oscillator is set by the Tune knob, and its level is controlled by an
adjustable Decay time. The Click option adds impact to the sound by
doubling portions of it, and the Tone control sets the cutoff frequency of
a gentle low-pass filter.
The P. MOD section concerns a separate AD envelope generator that

controls pitch modulation applied to the oscillator. You can adjust the
Amount of modulation in semitones, the Decay time, and the shape of
that decay segment with the contour control.
19.14. Modulation
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:
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› CE - A synth-style friend, with different inspirations in the tone (Tone +

Width)
› DD - Subtle, 80s, and coming from all sides (Time + Balance)
› 8v - Eight voices swirling thru caverns of feedback (FB + Width)
› x2 - Classic voice doubling circuit (Time + Width)
19.14.2. Chorus
A chorus effect with an adjustable LFO with phase offset for the right
channel (R Phase).
19.14.3. Flanger+
Flanger, with four different Character modes, each with its own DSP
architecture:
› DP - That digital, scrapy cousin who chews up sound
› MX - A firm, pedal-style classic
› TFX - Smooth and sparkly, with some edge
› WA - Stronger, but subtly delicate
Also has an Alternate Character toggle to switch to a subtle variation

of the selected mode; Stereo-ize option, to invert the right modulation
signal; a Manual Override mode, which disables the internal LFOs and
presents a Mod parameter that the user can target with their own
modulation signals; and an Added Dirt option, to insert a little noise for
additional coloring.
19.14.4. Flanger
A flanger effect with an adjustable LFO and feedback parameters for
both magnitude (Feedb.) and phase (Neg.). This device can be set to
Retrig(ger) on incoming note messages.
19.14.5. Phaser+
Phaser, with four different Character modes, each with its own DSP
architecture:
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› GS - Our spikey #1 friend
› EHx - Classy and smooth, with silky motion
› MX - A raspy devil, but solid
› MF - Pleasantly greasy and deep
Various Modulation Curve options are available:
› Phaser - A more "traditional" modulation curve (the default)
› Speaking - A shape that can produce "vowel" sounds
› Barber ↑ - Barber pole-esque effect, spinning upward
› Barber ↓ - Barber pole-esque effect, spinning downward
Also has an Alternate Character toggle to switch to a subtle variation

of the selected mode; Stereo-ize option, to invert the right modulation
signal; and a Manual Override mode, which disables the internal LFOs
and presents a Mod parameter that the user can target with their own
modulation signals.
19.14.6. Phaser
A phaser whose Frequency setting is controlled by an LFO modulator
module by default. Separate phase (ø) controls exist for the frequency
on the L(eft) and R(ight) channels so that you can keep everything
synced but interesting. Also includes a feedback (FB) control and a high-
pass filter with adjustable cutoff frequency and slope (from anywhere
between 2-Pole and 32-Pole).
19.14.7. Rotary
A rotary-speaker emulation that modulates the signal's placement in the
stereo field.
19.14.8. Tremolo
An amplitude modulator that is controlled by an LFO of various
waveshapes. This device can be set to Retrig(ger) on incoming note
messages.
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19.15. MIDI
Each MIDI device transmits various MIDI messages or modifies them via
the track's device chain. This is useful for sending messages to plug-
ins 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

A processor for ignoring incoming note or MIDI messages by channel.
19.15.2. Channel Map

A processor for remapping incoming note or MIDI messages by channel.
19.15.3. MIDI CC
A vehicle for sending any MIDI continuous controller (CC) messages via
eight parameter knobs. A global MIDI Channel can be set.
19.15.4. MIDI Program Change

A vehicle for sending a MIDI program change message at project load
and/or manually via the Send trigger button. The MIDI Channel can be
set, and all or individual components of a two-byte bank select message
can be sent (using CC 0 as the most significant bit [MSB] and/or CC 32
as the least significant bit [LSB]).
Additionally, the device has a nested Chain with two special options. The
Scoped option contains the program change and bank select messages,
sending them only to devices in the nested chain. And the Anti Click
option fades the nested chain's output using an adjustable Decay time
before transmitting the MIDI messages.
19.15.5. MIDI Song Select

A vehicle for sending a MIDI song select message at project load and/or
via a manual Send trigger button.
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19.16. Note FX
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. For each step, the
specified note(s) is output for a set duration with a scaled velocity and
pitch offset amount, as well as a global Randomize option for velocity,
timing, and duration. 17 note patterns are available, in addition to three
different Octave Behavior modes:
› Broad takes each additional octave in sequence, stacking them up with

possible irregular/repeating patterns. (This is the default.)
› Thin flattens & sorts all notes into one linear shape. (This was the
Arpeggiator behavior in v3.1.x and earlier.)
› 1 by 1 executes the full pattern in each octave before moving to the

next octave.
19.16.2. Bend
A Micro-pitch expression generator, bending from a relative Starting
Pitch to the note's original pitch. Bend Shape sets the curve for the pitch
glide. Duration of the bend can set it either real time or tempo-relative
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16 notes. A Pre-delay setting is also available, for postponing the pitch
bend (the same as on most of the envelope modulators, etc.).
Useful for:
› Adding glissando to any device
› New sound design possibilities by adding a quick pitch envelope on

any instrument
› Many responsive possibilities, such as modulating bend amount or time

with velocity, etc. etc.
› Setting a pitch curve once before 'stacked' instruments, such as with

the Instrument Layer or Instrument Selector containers (or their Note
FX brethren)
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› An alternate concept of 'glide,' starting relative to the new note

(instead of from the pitch played previously)
19.16.3. Dribble
A note repeater that bounces each note until gravity wins. First Bounce
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time (set in real time or tempo-relative 16 notes) is the time that the
initial bounce will last if maximum velocity is played. Damping controls
the speed/height loss for each successive bounce; at 0.00 %, bounce
height remains the same. Shortest Bounce is a time threshold for ending
bounces before they become too close together — or not. Hold Last
Note optionally keeps the final bounce note held out (as long as the
triggering note is still held).
Useful for:
› Adding some trailing character to single-note lines
› Giving per-note 'delays' to chords, especially when each note has a

slightly different velocity
› Creating a decaying, 'organic' note repeat effect
› Modulating Damping to keep notes at fix repeat lengths, whenever

anything happens (like the global Fill button is engaged)
19.16.4. Echo
A tempo-syncable note repeater. The number of Repetitions can be
set, or an infinite feedback mode can be enabled. Within the feedback/
repetition loop are numerous parameters, including Time (to make
repeated notes relatively closer together or spaced further apart) with
a Random(ization) option, Gate (to scale the length of repeated notes),
Velocity scaling, and Pitch scaling (that can be filtered to only apply
within a defined range).
19.16.5. Harmonize
A note transposer that conforms incoming notes based on the active
note messages of a different track (set as the Harmony Source). To
improve the device's logic, a Pattern Key should be defined.
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19.16.6. Humanize
Randomizes aspects of notes. Chance sets the likelihood that each
arriving note will be sent on. Timing defines the maximum lateness that
can be randomly selected for each note. If Allow Early Notes is on (±),
then delay compensation is used to make the Timing range either late or
early. Velocity sets a bipolar amount of randomization applied at each
note on.
Useful for:
› Giving some life to the timing of any input
› Lightly mutating any sequenced passage, making it is different with

each repeat
› Randomizing any triggered note clip, where the Allow Early Notes
option can feel right
› Loosening any predictable output, so that rigid rhythms or probability

can be modulated or automated
› Randomly spreading note timing for FX that care about note order (like
Strum, or Arpeggiator using the Flow pattern, etc.)
19.16.7. Key Filter

A note transposer, which can correct or remove notes that do not match
a set key and mode. Notes can also be shifted before the transposition is
applied.
19.16.8. Latch
A note sustainer that either holds the current note until the next one is
received (Simple mode), only triggers every other note received (Toggle
mode), or only triggers every other note around a defined velocity
threshold (Velocity mode). This logic is applied on a polyphonic, per-
pitch basis by default, but it can also be applied in a Mono fashion.
19.16.9. Micro-pitch
Micro-/macro-tuning of each note type, and octave. Defines the root
note (which is kept in tune), and then tuning values for all other pitch
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classes, as well as the octave. Also provides an Amount control (for

moderating all pitch offsets back toward standard equal temperament)
and for frequency offset around A3 (traditionally 440 Hz).
19.16.10. Multi-note
A chord builder, allowing up to eight notes to play for each received
note message. Each note unit is defined relative to the incoming note's
pitch and velocity, with an additional velocity Spread amount (for
randomizing each note unit's velocity output) and Chance (to set the
likelihood that each note unit triggers). And when Live Note Updating
is on, modulating each unit's Enable or Pitch parameters produce
immediate updates, even for trigger notes that are already being held.
The device also has a Learn Chord function. Once the Learn Chord
button (in the Inspector Panel) is clicked, the device is programmed
with the next played "chord" (of up to eight notes), setting Note and
Velocity parameters for each note, and then enabling those note units
(and ending Learn) when those notes are released. Each note is set
relative to the first note played, so playing the same initial note will
trigger the same chord. Chance and Velocity Spread parameters are
disabled during learning, then are used again when regular functioning
resumes.
Realize that if you want the original incoming note to be passed thru
unaffected, one of the eight note paths must be used for that purpose
(with pitch and velocity offsets of 0).
19.16.11. Note Delay

A utility for delaying all notes that arrive, with an option to also Delay
(note) Offs or to send them immediately. Good for having layers trigger
at different times.
19.16.12. Note Filter

A filter for notes. Range is defined by low and high values for both Key
and Velocity parameters, coupled with a Mode switch to either Keep
only the notes within that range (inclusive), or to Remove notes in that
range and pass all others.
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19.16.13. Note Length

A device to set incoming notes to a fixed, optionally tempo-syncable
Length. Note velocity can also be set to a Fixed value, and notes can
be set to Trigger either at the start (Press) or Release of each note.
Additionally, Release notes can use either the Fixed velocity, the
velocity of the original note On message (which is sometimes more
consistent), or the velocity of the triggering note Off message (which
not all hardware supports well).
19.16.14. Note Repeats

A note repeater and pattern generator. Each note received is retriggered
at a Timebase (either seconds or tempo-relative units), multiplied by
a Rate. Gate Length is set as a percentage of the repeat rate, or an
option to Hold until Next Trigger (the musical fermata icon) is also
available. Velocity Decay sets the change amount of each successive
repeat's velocity, either down or up. Chance sets the probability that
each individual repeat will occur. And Disable Repeats is a mappable
'kill switch' that sustains each note after its next repeat starts (and
passes new notes directly thru), allowing the repeat function itself to be
disabled or modulated.
Two Pattern modes are available for organizing note repeats into larger
forms:
› Burst lines up all note retriggers in a row
› Euclid tries to evenly space the note repeats, which can be rhythmically
satisfying
Additionally, Length sets a pattern to be between 2 and 32 steps,

Density is the percentage that the pattern gets filled (how many of the
steps will play), and Rotate pushes the start of the pattern either forward
or backward.
And when a Pattern mode is used, 'Accents' can be created by keeping a

number of the repeats at their original velocity, and attenuating velocity
of the 'non-accented' repeats. Count / Strong Notes sets the number
of current repeats that will be accented. Low Velocity (Non-accents)
sets the attenuation applied to the non-accented notes. Opposite / Flip
Accent Pattern inverts the placement of accented and non-accented
notes. And Keep Accents / Always Play Accents guarantees that each
accented note will play every time, regarding of the Chance setting.
Useful for:
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› Repeating each incoming note at a set rate
› A performance-ready note effect, particularly with mappings to Disable

Repeats (for switching the entire effect on and back off) and Velocity
Decay (so that retriggers can be ramped quieter and then louder)
› Creating probabilistic repeats with the Chance parameter
› Giving life to long chords with a low Chance setting but the Hold until
Next Trigger option on, keeping each note sustained until the eventual
retrigger arrives
› All manner of note pattern fun, for drum parts or anything else
19.16.15. Note Transpose

A simple note pitch shifter, which can shift the incoming notes by a set
number of octaves and/or semitones. A Fine control is also provided for
shifting by fractions of a semitone.
19.16.16. Quantize
Shifts notes toward the next Timing Interval, with an option to follow the
global Groove or not. Amount sets how far each note is moved from its
original position toward the next grid line. Forgiveness is a threshold for
how late notes can be before they are held until the next beat, setting a
percentage of the time range to not be quantized at all.
Useful for:
› A real-time performance quantizer, placing all incoming notes exactly

on the next grid line
› With an Amount of 100 % and Forgiveness at 0.00 %, a complete

'robot-izer'
› Aligning incoming notes across a beat range (perhaps followed by

Strum, etc.)
› Creating new rhythmic patterns, particularly by feeding it a fast

Arpeggiator or Note Repeats, etc. with a middle Forgiveness value
19.16.17. Randomize
A randomizer of any/all expressions at the start of each note, including:
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› Pitch, with additional parameters options for whether pitch is

Quantized to semitones and whether its randomization is Bipolar
› Velocity, randomized around the current value (taken from the note
source and used wherever velocity is mapped, including from the
Expressions modulator)
› Timbre, randomized around the current value (used wherever mapped

from the Expressions modulator)
› Pressure, randomized around the current value (taken from the note
source especially for MPE controllers, and used wherever mapped from
the Expressions modulator)
› Pan, randomized around the current value (mapped to the panning of

each individual note, and available from the Pan In Grid module)
› Gain, randomized around the current value (mapped to the gain of

each individual note, and available from the Gain In Grid module)
Useful for:
› Turning any note clip into an 'anti-loop,' with different parameters for
each note that plays
› Giving individual Pan positions to each note of a chord or arpeggio
› Creating tiny pitch instability to the original notes, or on a second

Instrument Layer for 'analog' drift
› Adding additional Timbre and Pressure variety to any MPE-friendly

sound
› Shifting drum notes to sometimes trigger different drum elements
19.16.18. Ricochet
Treats notes as bouncing balls in a room. When balls collide with each
other (or with the room's walls), a new note is triggered at that velocity.
Ball Speed scales the speed of each ball (relative to its velocity).
Ball Radius sets the size of the balls. Ball Damping is the amount of
slowdown applied after each collision.
Ball Launch Mode determines the direction in which new balls are fired:
› Random picks a random direction each time
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› Bar Sync uses relative bar position, with bar start and end facing
straight up (at 12 o'clock)
› Manual gives control to the Ball Launch Angle parameter for manual
setting or modulation, etc.
Room Sides can be set anywhere between 3.0 and 8.0, including decimal
values for some asymmetry. Room Orientation turns the room position
or spins it. Room Spatialization uses each ball's position to effect that
note's panning (↔) and timbre (↕) expressions. And Sound on Initial
Notes sets whether the initial note being received triggers a note, or not
(which can be nice on a second layer, etc.).
Useful for:
› Creating an algorithmic variation of your note clip, which is either

reproducible (Bar Sync) or new each time (Random)
› Generating one-shot timbre/pan envelopes by using a big Room

Spatialization and maximum Damping
› Going 'the full Eno' by setting a slow Speed, triggering a non-sustaining

sound, and holding down the sustain pedal
› Creating a 90s-style delay, but with… Note FX…
19.16.19. Strum
Fragments your chords, playing them one (or more) note at a time.
Speed of strumming is set as a Timebase (either seconds or tempo-
relative units), multiplied by a Rate. Strum direction can be set to Strum
Up (playing lowest note first, then upward) or down. And Number of
Steps allows sequencing a pattern of up to four steps, so that the next
chord played can change strum direction. Stride sets the number of
notes that are output at a time, and Grace Period is the time window for
each chord to be collected before strumming begins.
Useful for:
› Animating played chords at a steady rate
› Slight speed-ups or slow-downs, by slowly modulating the strum rate
› Alternating up–down strum patterns, to borrow some plucked/bowed

patterns
› A one-shot arpeggiator, running up or down the played notes once
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› 'Smart' moving quantize, taking your playing and spreading each note
to this beat or the next
19.16.20. Transpose Map

A note transposer, which can remap each note class (for example, so
every D becomes an F#, etc.). Notes can also be shifted before the
transposition is applied.
19.16.21. Velocity Curve

A (piecewise) velocity shaper with three definable breakpoints.
19.17. Organ
Each organ is an instrument emulator that uses incoming note messages
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 harmonic. In order, these harmonics are:
› Fader 1 - Sub, or one octave below the fundamental (in organ notation,
16' [feet])
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› Fader 2 - 5th, or one fifth above the fundamental (5 1/3')
› Fader 3 - Primary, or the fundamental (8')
› Fader 4 - 8th, or one octave above the fundamental (4')
› Fader 5 - 12th, or one octave and a fifth above the fundamental (2 2/3')
› Fader 6 - 15th, or two octaves above the fundamental (2')
› Fader 7 - 17th, or two octaves and a major third above the fundamental
(1 3/5')
› Fader 8 - 19th, or two octaves and a fifth above the fundamental (1 1/3')
› Fader 9 - 22nd, or three octaves above the fundamental (1')
The top of the drawbars interface also has a drop-down menu for the
type of oscillator modeling being used for each harmonic. Choices
include:
› Rich - closer to a traditional tonewheel oscillator, a bit more complex

than a pure sine wave
› Pure - closer to a pure sine wave
› Full - an even richer waveform
Additionally, the small R icon to the right toggles retriggering of

oscillator phases for successive notes, which creates a gentler, less clicky
sound.
Beneath the drawbars section is a small bank of other instrument

controls. The bipolar Pitch control adjusts the frequency of all oscillators
together. This control is set in semitones, with a range of three octaves
in either direction (from -36.00 to +36.00). The Glide setting sets the
amount of time it takes for a new note to smoothly transition from the
previous pitch. And the global amplitude envelope has controls for its
Attack and Decay times.
The final section at bottom offers controls for the instrument's panning,
gain (the speaker icon), and final Output level.
› Note - A chain for processing incoming note messages before they

reach this device.
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19.18. Percussion
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
controllable, and the pitch of the second oscillator is set as an Offset
of the first. Alternatively, the graphical keyboard toggle button allows
you to have the first oscillator track incoming note messages (with the
second oscillator's still being set as a relative Offset). To the right of
the keyboard toggle is a crossfader that sets the balance between the
two oscillators, and the Shape control lets you determine the oscillators'
waveshape.
The low-pass FILTER section provides standard Freq(uency) cutoff and

Reso.(nance) controls.
The RING modulation section allows you to set the Freq(uency) of a

modulating sine wave and the dry/wet Mix of the ring modulation effect.
If Mix is set to the far left, the ring modulator will not be heard.
The AEG section provides Attack and Decay times for the AD-style
amplitude envelope generator.
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19.19. Reverb
Each reverb device is a time-based processor that tends to elongate the
incoming signal, producing distinct room effects or imbuing other tones
and sounds.
19.19.1. Convolution
Conceptually, real-time convolution is a continuous DSP method
for imprinting one sound onto another, running every sample of the
incoming signal 'thru' the loaded impulse (or impulse response) in its
entirety. This merges the two sound, effectively multiplying their spectra
together so that only frequencies existing in both signals make it to the
output — and in relative proportion. This can work for a real, captured
space, the tone of any equipment (like a particular amp or mix buss),
generated impulses (some of which are in the factory library under
Synthetic), OR with any audio (a long held piano note? a rhythmic
pattern that continues getting louder?) serving as impulse.
As a device in Bitwig, Convolution is straightforward with quick

adjustment controls for reverb, coloring, or anything else convolution
can do. The required impulse can be 1-channel (mono) or 2-channel
(stereo), and 4-channel ("true stereo") impulses are also supported.
Dragging any audio file from one of Bitwig's browsers or the OS's file
manager onto Convolution will load the first 45 seconds of it as an
impulse. Or drop a Bitwig clip from your project or browser onto the
device to bounce it directly to an audio impulse.
Note
If a file conversion is necessary, the impulse will be saved in the

current project folder's Impulses folder as a BWIMPULSE file.
Clicking the folder icon or impulse name in the top of the device loads
the impulse browser, which visualizes all factory impulses and those from
your library, making it easy to see the character of any file beside its
length, category, and channel count. The Import… button in the bottom
of the impulse browser allows the bulk import of audio as impulses,
converting them and placing them in your Bitwig user library's Impulses
folder.
The Start and End Time positions within the impulse can be adjusted
visually (similar to Sampler), or with numeric controls in the Inspector.
Toggling to the Volume Envelope mode switches the central graphic
section of the panel to controlling start and end gain values, as well as a
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midpoint's timing and gain (again, all shown on numeric controls in the
Inspector). A red dot is shown on the Volume Envelope toggle when any
gain changes are occurring, similar to how the presence of automation
marks parameters.
The Tune parameter resamples the impulse, changing its pitch and
length by the set semitone amount. Brightness offers a tilt EQ, which
favors the high end when turned to the right, or the low end on the left.
Pre-delay time, Wet Gain amount, and dry/wet Mix parameters are also
available, as well as a Wet FX chain for adding devices and plug-ins to
process only the wet output portion.
19.19.2. Reverb
An feedback-based algorithmic reverb effect with distinct controls for
EARLY reflections and for the later dense reflections (TANK). The TANK
is split into three assignable bands with relative delay times for the low
and high bands. This device also has a graphical interface and uniquely
offers a Tank FX chain for inserting any Bitwig device or plug-in into the
feedback cycle of the effect, as well as a Wet FX chain for using devices
to process only the processed signal.
19.20. Routing
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 purpose, the primary signal I/O is
listed for each device.
19.20.1. Audio Receiver

(Audio in, Audio out) A router that imports audio signal from any
designated project source.
19.20.2. Note Receiver

(Notes in, Notes out) A router that imports note signals from any
designated project source.
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19.21. Snare
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 decay time can be set directly with the Tuning and Decay knobs,
respectively.
The OSC 2 section contains a secondary sine oscillator whose settings

are relative to oscillator 1. Accordingly, the frequency of oscillator 2 is set
as an Offset from oscillator 1 in semitones, and oscillator 2's decay time
is set with the Decay X parameter as a percentage of oscillator 1's decay
time.
The NOISE section contains parameters related to the noise generator.

This includes Attack and Decay times for the AD envelope that controls
level, along with a contour control for the shape of the decay segment.
And the Width knob sets the amount of stereo flutter added to each
noise burst.
The MIX section is for controlling the balance between the three
generator elements. Osc controls the balance between oscillator 1
and oscillator 2, and then Noise controls the balance between both
oscillators and the noise generator.
Next comes the FILTER section, which has a high cut (or low-pass) filter
for processing output from both the oscillators and the noise generator.
Any noise generator signal is then passed to a low cut (or high-pass)
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filter. Individual cutoff frequency controls are available for both the High
Cut and the Low Cut filter, and a single Q parameter controls resonance
for both filters.
19.22. Spectral
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 the signal into adjacent frequency groups and then sorts them
into one of the four channels, for individual mixing and processing.
The Frequency Split parameter sets the number of splits across the
frequency spectrum. Split Insertion Direction sets whether additional
splits are added from the right/high edge of the spectrum (←), from
the left/low edge of the spectrum (→), or in the middle (↔). Crossfade
Amount determines the overlap between splits. These three parameters
are the primary split parameters. So with the device's default settings, a
Frequency Split number of 16 with a Split Insertion Direction putting new
splits on the right/high end (←) means:
› The 1st, 5th, 9th, and 13th splits land in channel 1 (red)
› The 2nd, 6th, 10th, and 14th splits land in channel 2 (blue)
› The 3rd, 7th, 11th, and 15th splits land in channel 3 (yellow)
› The 4th, 8th, 12th, and 16th splits land in channel 4 (magenta)
› And if the Crossfade Amount was increased from 0.00 % (full isolation
between bands) to 50.0 %, then each split would spend its first 25 %
crossfading with the previous split, and its last quarter crossfading with
the next split.
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Split Nudge slides the frequency splits by an offset value, so a setting

of +2.00 pushes the contents of channel 1 into channel 3, channel 4
into channel 2, and so on. Split Spin also slides the frequency splits but
relative to the entire spectrum; so a setting of -10.0 % slides all the splits
a tenth lower in the entire spectrum. Whether being subtle (Split Nudge)
or extreme (Split Spin), modulating either of these parameters shows the
"filter bank" quality of this device, creating new phasers and more when
each channel is loaded with different audio FX.
Split Bend curves the frequency split pattern around a new midpoint,
either moving the midpoint downward and putting splits closer together
in the lower frequencies (negative values) or moving the midpoint higher
and having splits closer together in the upper frequencies (positive
values). Split Pinch kinks the frequency split pattern, either bunching
more splits around the midpoint (positive values) or putting more splits
into the sides (negative values). In the device's display, the interactive
white dot controls Split Bend when dragged left to right, and Split Pinch
when dragged up and down.
There is also a Spectral Limiter option (enabled with the Limiter toggle in
the output section). When enabled, this caps each individual frequency
band at the set Spectral Limiter Threshold so louder bands will be
capped and any band below this threshold will be unaffected. When the
Spectral Limiter is enabled, the Threshold is shown in the device's display
with a horizontal orange bar that can be dragged up or down.
There are two Spectrum Display modes: Pre shows the analysis data
(and no audio processing from the channel controls, unless the Spectral
Limiter is on); Post shows each channel's output audio, post-processing.
19.22.2. Harmonic Split

Tracks the fundamental of the incoming sound, for splitting
Nonharmonics (gray) to one channel and dividing harmonics between
Harmonics A (orange) and Harmonics B (turquoise) channels, for
individual mixing and processing.
The Harmonics Pattern parameter decides how harmonics are

distributed between the A and B channels:
› The default setting of 2 places every 2nd harmonic in A channel, so the

A channel will be odd harmonics (1st, 3rd, 5th, etc.), and the B channel
receives all even harmonics (2nd, 4th, 6th, etc.).
› A setting of 4, for example, would place the 1st, 5th, 9th, etc. harmonics
in channel A, and all other harmonics (2nd, 3rd, 4th; 6th, 7th…) into
channel B.
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› Higher values lead to narrower results in the A channel — and the

potential for more extreme processing without "getting into trouble".
› A setting of 1 is special, routing only the fundamental to channel A and

all other harmonics to channel B.
Nonharmonic Sensitivity is a relative control for how picky the harmonic

vs. non-harmonic split is. A higher value allows less audio into the
Nonharmonic channel — and more audio into the two Harmonics
channels.
The Maximum Harmonics Inspector parameter allows you to limit the

number of harmonics being tracked, acting as a "ceiling" when you want
fewer frequencies in the Harmonics A and Harmonics B channels.
Fundamental tracking can be adjusted with several analysis parameters,

all colored purple:
› Tilt favors the high frequencies (when positive) or low frequencies

(when negative), useful when the desired fundamental is filtered in the
sound, etc.
› The Low-cut Frequency and High-cut Frequency parameters narrow

the frequency tracking area.
› An amplitude Detection Threshold can be set, keeping moments that

stay below that level in the Nonharmonics channel.
› In the device's display, the Detection Threshold and High- & Low-cut
Frequencies are interactive lines that can be dragged.
› The device display also illustrates the currently-detected fundamental

with a white dot and moving crosshairs.
(and no audio processing from the channel controls); Post shows each
channel's output audio, post-processing.
19.22.3. Loud Split

Uses two thresholds to separate the Quiet (green), Mid (yellow), and
Loud (red) portions of the incoming sound, for individual mixing and
processing.
A Higher Threshold (red) sets the level where stronger signals are
considered Loud. A Lower Threshold (green) sets the level where
weaker signals are considered Quiet. Any signal falling between the two
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thresholds is considered Mid. And each threshold has its own Knee value,
for setting the transition (and effective crossfade) between adjacent
channels.
In the device's display, both thresholds are visualized as horizontal lines,

which can be dragged up and down. When clicking a line's dot handle
on the right, only the outer band of that threshold will be heard while the
mouse is held. And [ALT]-dragging on either threshold adjusts its Knee
parameter.
Relative Loudness Mode follows the level of the incoming sound,

treating 0.0 dB as the strongest band at any given moment. (This mode
uses its own Relative Higher Threshold and Relative Lower Threshold
parameters.)
Rise Time sets the number of blocks before a softer signal fully
transitions up into a louder band, like a "resistance" parameter. Fall Time
sets the number of blocks before a louder signal fully falls down into a
quieter band, like a "decay" parameter. And Tilt is an analysis parameter,
favoring the high frequencies (when positive) or low frequencies (when
negative) before the channel splitting is applied.
(and no audio processing from the channel controls); Post shows each
channel's output audio, post-processing.
19.22.4. Transient Split

Separates the Transients (short, unstable sounds; colored yellow) and
Tones (periodic or pitched sounds; colored blue), for individual mixing
and processing.
The Transient Type Inspector parameter switches between two different

algorithms for which type of Transient is being looked for: Percussive
mode searches for typical impact transients, good for drums or other
things that "click" and "smack"; Noise mode looks for noisy smears, or
even reverb residue.
Transients Decay sets a time (in blocks) for extending detected

Transients, allowing them to release. Tones Smoothing sets a time (in
blocks) for extending detected Tones, allowing them to decay. And the
Analysis Bias slider on the left of the displays skews the detection to
favor more Transients (positive values) or more Tones (negative values).
Tilt Amount is an analysis parameter that is colored yellow as it is

oriented to how it affects the Transients channel; its effect is the
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opposite for the Tones channel. And the Tilt Mode Inspector parameter
changes the method of Tilt applied, between a Standard model that
favors the Transient channel's high frequencies (when positive) or its low
frequencies (when negative), or a Contour approach that subtly adjusts
the mid frequencies vs. the highs & lows.
Transient/Tones Blend is the slider at the end/right of the spectral

section, for balancing the audio output before each signal reaches its
channel.
There are two Display Style modes: Waveform shows a split amplitude-
domain representation of the two groups; Sonogram offers the recent
frequency-domain history for each group.
19.23. Synth
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
offsets, optional self-modulation, a noise generator with a resonant low-
pass filter, and a modulation matrix. Each row of the matrix represents
one of the four oscillators as a modulation destination, and each column
is labeled with the modulation source it represents.
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On the far left are four identically equipped sections, representing

the four sine oscillator units of the instrument. Oscillator 1 is at top,
oscillators 2 and 3 follow, and oscillator 4 is at bottom.
In each unit, the two central controls help determine the sine oscillator's
frequency. Each incoming note message is multiplied by the top,
unlabeled numeric control to set the oscillator's base frequency for
that voice. For example, playing a note message of A3 (440Hz) with a
setting of 1.00 triggers that oscillator at 440Hz. Playing A4 again with
a setting of 2.00 would set the oscillator to 880Hz, just as a setting of
0.50 would tune the oscillator to 220Hz in this example. This system also
allows you to see the frequency settings of two oscillators as a ratio, a
very handy way of thinking in FM synthesis.
The numeric control at bottom is an offset, allowing you to then detune

each oscillator by a number of Hertz.
The Mod control at the right of each oscillator unit attenuates the output
of the oscillator to all frequency modulation connections (this does not
affect the audio output of the oscillator). Similarly, the oscillator number
in the left of each unit is a button for enabling/disabling that oscillator
for modulation purposes (again, the audio output for each oscillator is
unaffected by the setting of this toggle).
To the right of oscillator 1 is the N(oise) section. This noise generator

is configured somewhat similarly to the oscillators, with a global
Mod(ulation) level control at its far right and a button to enable/disable
modulation usage at the far left (shown as N).
Between these controls are knobs for the Cutoff frequency and Q of
a low-pass filter that the noise generator is connected to, as well as a
Drive control that can boost the output signal by up to +48.0 dB.
While the matrix section that follows is somewhat cryptic, it is the heart
of the instrument's frequency modulation model. This table shows the
individual amounts of modulation between the five generators that we
have just discussed. The columns represent the sources of modulation,
and the rows represent the four oscillator units, which are the potential
frequency modulation destinations. These signal attenuators go from
0 (no signal/modulation) to 999 (the fullest amount of modulation
available). In this sense, you could also think of these gain values as
percentages of modulation.
Note
Just remember that the settings in each oscillator and noise

generator unit impact the matrix values. Each modulation amount
in the grid is scaled by the source's global Mod(ulation) level and
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is completely bypassed if the modulation enable/disable switch is

flipped off.
As an example, let's look at the third column, which is labeled 3. Each of

the rows in this column represents one of the respective oscillator units
as a destination and the amount of attenuation applied to that particular
modulation connection. The first row in this column shows the amount
that oscillator 3 modulates the frequency of oscillator 1. Accordingly,
the second, third, and fourth rows control the amount that oscillator 3
modulates the frequencies of oscillators 2, 3, and 4, respectively. In any
other column, the destinations would be the same but the source would
be either a different oscillator (the numbered columns) or the noise
generator unit (column N).
And as the example above indicates, oscillator 3 can be set to modulate

itself — to effectively "feed back" — by setting the third row attenuator
to a value greater than zero. The same is true of all four oscillator units
when the output of an oscillator is set to modulate its own matrix input.
The section to the right of the N(oise) and matrix sections is the
instrument's audio mixer. Each generator unit has an attenuator for
setting the amount of signal that will reach the instrument's audio
output. Just as the matrix and other modulation controls did not affect
the audio level of each unit, these gain controls do not affect modulation
levels in any way.
Beneath the matrix section are controls that belong to the amplitude
envelope generator unit (AEG). This module affects the entire
instrument's audio output level and can also be routed to additional
modulation destinations. After the modulation routing button at left are
standard Attack, Decay, Sustain, and Release controls.
To the right of the mixer is a thin vertical output section, containing

assorted global parameters. Pitch allows the pitch of all oscillators to
be offset from an octave down (-12 semitones) to an octave up (12).
Targeting this parameter with an LFO is an ideal way to create vibrato
on this synth. The Glide setting is the amount of time that it takes for
each new note to smoothly transition from the previous pitch to the
current one. And at bottom are per-voice Gain and Pan(ning) controls,
along with an Output level control.
Modulation Sources:
› AEG (amplitude envelope generator) [polyphonic] - The signal of this

instrument's amplitude envelope generator module. (The routing of this
module to the instrument's amplitude is hardwired.)
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reach this device.
19.23.2. Phase-4
A phase-manipulation synthesizer (including phase distortion and phase
modulation techniques) with four unique oscillator units, a system
of global controls for altering the oscillator units' phase distortion
and phase modulation settings together, a unique tuning system for
setting frequency relationships, a multimode filter capable of audio-rate
modulation, and more.
Each oscillator unit is functionally identical and is distinguished by its

color and corresponding letter (Red, Blue, Yellow, and Magenta). The
letter at the top left of each oscillator doubles as a bypass toggle for
that oscillator unit. There are three ways to control the frequency of
each oscillator, all located in the top row of each oscillator's controls, just
above the knobs.
The small keyboard icon with arrows around it toggles keyboard

tracking on or off. When keyboard tracking is enabled, an offset in
semitones (st) can be set just below. And when keyboard tracking is
disabled, a fixed frequency can be set, either in hertz (Hz) or kilohertz
(kHz). To the left of this, a RATIO is then applied to the frequency,
allowing you to set oscillators relative to each other (in the fashion of 1:1,
3:1, 1:2, 0:1, etc.). Finally, an offset frequency (in Hz) can be applied from
the control at the far right of this section. Above that numeric control
are two icons for switching between uniform monophonic detune (the
single circle icon) or stereo detune (the two overlapping circles), which
applies the set detune amount to the left channel and its inverse to the
right.
Next, each oscillator has controls for phase distortion. The primary
control is SHAPE, which affects the overall amount of phase distortion
applied. Above the shape knob is a text menu that can be dragged
up or down to change its setting. This is the algorithm being used for
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phase distortion. Each algorithm determines both the source waveform

and the path the waveshape will traverse as the SHAPE parameter is
increased. Beside the algorithm is a numeric for formant control. Settings
above 1 insert additional sine cycles into the original waveshape. And
just above formant is a phase (º) control. This value sets the offset of the
original waveform (in degrees). But beyond adjusting the cycle position
of the waveform, this control also affects the phase distortion algorithm,
producing unique results.
Of the phase modulation parameters, first is the MOD(ulation) knob,

which sets the maximum amount of phase modulation allowed from any
oscillator source. The individual levels of modulation are then set by the
four smaller knobs to the right, each colored to represent their oscillator.
(Yes, this includes potential feedback from the selected oscillator itself.)
You will notice an arrow between the SHAPE and MOD parameters.
If the arrow is pointing toward MOD, then phase distortion is applied
before phase modulation. And if the arrow is instead facing SHAPE, then
phase modulation is being applied before phase distortion. Clicking on
the arrow rotates it.
And finally, each oscillator has a knob on the far right with a speaker
icon beneath it. This is an output volume control, setting to what degree
this oscillator is heard as audio.
To the left of the four oscillator units is the global controls section.
At top are a PITCH control for adjusting all oscillator frequencies in
semitones and a GLIDE control for setting all portamento times. At
bottom are global SHAPE and MOD knobs, allowing you to change the
maximum phase distortion and phase modulation (respective) amounts
for all oscillators together. Additionally, the X–Y pad allows control of
these two parameters together by clicking and dragging the 4 ball. And
if any individual oscillator has its own SHAPE and MOD controls set
below maximum, you may see a ball of that oscillator's color on the X–Y
pad as well.
To the right of the oscillator units is the FILTER section. The top row sets
the filter's mode, toggling between various filter types: a gentle low-pass
filter, a 4-pole low-pass filter, a gentle band-pass filter, a 4-pole band-
pass filter, a gentle high-pass filter, a 4-pole high-pass filter, a band-
reject filter, and a disabled mode, respectively.
The next row, from left to right, contains drive (DRV), resonance, and
feedback controls. Centered beneath these controls is the oversized
cutoff frequency control.
To the left of the cutoff frequency knob are four more small knobs, each
colored to match an oscillator unit. These bipolar attenuators set the
amount that each oscillator unit is allowed to modulate the filter cutoff
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frequency. And to the right of the large filter frequency control are
attenuators for how much keyboard tracking and the filter's envelope
generator each affect the cutoff.
Beneath the filter settings are two identical rows of parameters, one for
the filter envelope generator (FEG) and one for the amplitude envelope
generator (AEG). Each starts with a green routing button for assigning
additional modulation destinations. Each is followed by standard Attack,
Decay, Sustain, and Release controls. Finally, each envelope has a
control for how much note velocity scales its output.
The final parameter section has three controls, representing panning,

per-voice gain (with a speaker icon that glows red when drive is being
applied), and a master OUT(put) level knob.
Modulation Sources:
› FEG (filter envelope generator) [polyphonic] - The signal of this

instrument's filter envelope generator module.


reach this device.
19.23.3. Polymer
A hybrid modular synthesizer with slots for selecting one oscillator, one
filter, and one envelope generator. The available modules are also used
in The Grid, but they are available directly from the Device Panel in
Polymer.
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Current available modules include:
› 10 oscillator options: Sine, Triangle, Pulse, Saw; Union (blending

pulse, saw, and triangle waves), Phase-1 (with five phase distortion
algorithms, and phase modulation feedback), Swarm (an eight-voice
unison saw/sine oscillator), Bite (exponential FM, hard sync, PWM,
and ring mod from dual oscillator feedback); Wavetable (with custom
unison modes and processing options), and Scrawl (a freely drawable,
segmented oscillator)
› 10 filter options: Low-pass LD (ladder model), Sallen-Key (in 16

configurations for various modes and slopes), SVF (state-variable, with
low-, high-, and band-pass modes, and an extended resonance range),
Comb (configured as a filter, with Feedback and Dampening Frequency
controls); Low-pass MG (inspired by Mr Moog, including mix buss
saturation via the Drive control), XP (inspired by Mr Oberheim, with 15
filter configurations), Vowels (modeling vowel sounds with different
datasets and filter configurations); Fizz (a nested filter for spreading
harmonic nodes around), Rasp (a nested filter that can scream or
whisper), and Ripple (a nested filter with hyper-resonant modes)
› 5 envelope generator options: ADSR, AR, AD (with a looping option),

Pluck (exponential string-style decay), and Segments (a freely
drawable, segmented envelope generator with unique looping modes),
with a modulator routing option for controlling additional parameters
Other front panel parameters include:
› Sub oscillator with waveform, octave, and blend controls
› A ↑SYNC↑ mode that hard syncs the primary oscillator to the sub
oscillator
› A Phase Modulation Amount knob for the primary oscillator, set

between zero and 800 % for phase modulation from the sub oscillator
› Noise blend control
› Filter envelope (FEG) generator with ADSR controls, free modulator

routing button, and toggle to also envelope the sub oscillator and noise
generator outputs
› By right-clicking on the background of most filter modules, a

Resonance Limit parameter is available, setting the point where
clipping (and saturation) begins within the filter's resonance; adjusting
this setting together with the filter's Drive can greatly change the
'color' of each filter
› High-pass filter cutoff
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› Controls for Pitch, Glide, Velocity Sensitivity, Gain (pre-FX chain),

Panning, and a summed Out level (post-FX chain), as well as a nested
Note FX chain
Detail controls and a schematic view of Polymer are available in the

Expanded Device View, which is a performance view of the underlying
Grid patch. This view also exposes all module panel controls, for both
adjusting and modulating them.
To convert an instance of Polymer into Poly Grid: right-click on the

device header of Polymer (in the Device Panel), and then choose the
Convert to Poly Grid function.
19.23.4. Polysynth
A subtractive synthesizer with two highly dynamic oscillators, an
assortment of methods for "blending" those oscillators, a noise
generator, a multimode filter, various waveshaping modes, and endless
possibilities.
This instrument starts with two substantial oscillator units. Oscillator

1 is found on top, and oscillator 2 is on bottom. As the oscillators are
completely identical in structure and parameters, we will only discuss
them once.
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At the top of each oscillator unit is a dynamic waveshape display. As

oscillator parameters are adjusted, this display will reflect the current
waveshape generated by this oscillator.
The Pitch of an oscillator can be adjusted by a perfect fifth up or down

(from -7.00 st [semitones] to 7.00 st). Below this Pitch knob is an octave
switch in organ foot notation. From the default setting (8') the oscillator
can be set from two octaves down (32') to three octaves up (1'), or any
octave in between.
The Shape control allows you to blend three distinct waves. At the
center position, you get only a sawtooth wave at the current pitch.
Moving from the center position to the left cross-fades into a pulse wave
that is one octave up. Moving from the center position to the right cross-
fades into a saw that is one octave up. Below this Shape knob is a pulse
width control that affects both the pulse wave at the left position and
the sawtooth at the right position.
A Sub pulse wave that is one octave down can also be blended in. Below
this Sub level knob is a pulse width control for the sub wave.
Each oscillator unit can also be synchronized to a tunable oscillator.

The Sync knob controls the frequency of the master sync oscillator as
an offset from the oscillator unit's pitch (from 0.00 semitones [unison;
no effect] to 60.00 semitones [five octaves up]). The reset button (R)
beneath the Sync knob causes the oscillator unit to return to its initial
phase for each incoming note.
Next, the lower control determines the number of voices used for each
note played by this oscillator unit. Settings range from 1v (one single
voice per note) to 16v (16 voices per note). When more than one voice is
active here, the Unison knob above becomes active, allowing you to set
the maximum detuning per voice from no detuning (0 cents) up to a full
semitone (100 cents). And beside Unison is a control for oscillator width,
which is also enabled when the oscillator is using more than one voice.
This control adjusts the panoramic spread between the various oscillator
voices in use. And beneath that width control is a panning setting for
this one oscillator.
The next section starts with various blend operator options at the top
of the device. The operator selected determines how oscillators 1 and 2
are mixed together into a composite signal. Options on the top row offer
slight variations on the standard mixing/crossfading approach, and the
choices on the bottom row are a bit more exotic and surprising. While
trying out these unique combinations, don't forget that this parameter
too can be a modulation target. A short note on each blend operator:
› MIX - A linear mix of oscillators 1 and 2.
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› NEG - A linear mix of oscillators 1 and a negated version of oscillator 2,

potentially creating phase cancellation.
› WIPE - A mix of oscillators 1 and 2 but using a slightly nonlinear ramp,

resulting in stronger signals at the extremes.
› AM - Amplitude modulation of oscillator 1 from oscillator 2. The 1/2

knob is essentially an attenuator for how much modulation is being
applied to oscillator 1.
› SIGN - A mix of oscillator 1 and a version of oscillator 2 that has

oscillator 1's polarity applied to it.
› MAX - A mix of oscillator 1 and a hybrid signal reflecting the maximum

level of oscillator 1 and 2.
The section below is a grab bag of features that primarily relate to the
blend and mixing of the instrument's generator units.
In the first row, the 1/2 knob controls the blend between oscillator 1 and
oscillator 2 using the blend operator that was selected above. The Noise
knob then controls the balance between both oscillators and a white
noise generator. And the final knob on this row is actually a control
for the filter section. This filter FM parameter allows an audible-rate
oscillator of fixed frequency to modulate the filter's cutoff frequency.
The second row of this section starts with an optional high-pass filter
that comes after the signal sources are blended. The first parameter
contains both a cutoff frequency control and a mode selector via the
drop-down menu beneath the knob. The next knob is a resonance
control for this high-pass filter. And last is a pre-filter Drive control, for
either amplifying or attenuating the blended signal at the end of this
stage.
The third row starts with global frequency controls. The bipolar Pitch
control adjusts the frequency of both oscillators. This control is set in
semitones, with a range of three octaves in either direction (from -36.00
to +36.00). And the Glide setting sets the amount of time it takes for
a new note to smoothly transition from the previous pitch. Last is a
feedback control (FB). By engaging this setting, the spectrum of the
sound expands a bit.
The instrument's filter module is found in the next section. The first
control sets the filter's mode. This graphical control at top can toggle
between seven filter types: a gentle low-pass filter, a 4-pole low-pass
filter, a gentle band-pass filter, a 4-pole band-pass filter, a gentle high-
pass filter, a 4-pole high-pass filter, and a band-reject filter, respectively.
The following row includes filter controls for the cutoff frequency (with a
horizontal arrow icon, suggesting frequency), the amount of resonance
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being applied (with a peak-shaped icon), a waveshaping control (more

on that in a moment), a keyboard tracking control that determines how
much the cutoff frequency is controlled by incoming note pitches, and
a control for how much and at what slope the filter envelope generator
(EG) affects the cutoff frequency. (And don't forget the filter FM control
that lives in the previous section and was mentioned there.)
The odd control out in that last row was the waveshaping parameter in
the center. This nonlinear distortion offers several modes in the drop-
down menu beneath the amount knob. If you want more or less of this
effect, try adjusting the Drive control from the previous section. Or even
modulate Drive and/or the shaper amount.
Below the filter section are the instrument's two envelope generators.
The filter envelope generator (FEG) is normalled to the filter cutoff
frequency (via the EG attenuator knob in the filter section). The
amplitude envelope generator (AEG) controls the instrument's main
amplifier. Both envelope generators can also be used as modulation
signals for other purposes by using their modulation routing buttons.
And each envelope generator has standard Attack, Decay, Sustain, and
Release controls of their own.
The final parameter section contains four knobs: controls for Vel(ocity
sensitivity), Gain, Pan(ning), and Output level.
Modulation Sources:
› FEG (filter envelope generator) [polyphonic] - The signal of this

instrument's filter envelope generator module.


reach this device.
19.23.5. Sampler
A sampler that can handle single or multiple samples in zones (with
resizeable mapping editors) and has multiple play modes, a multimode
filter, and numerous modulation opportunities.
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This instrument plays back one or more audio files as its source material.
The instrument's primary section focuses on the current source material
with a waveform display and numerous parameters surrounding it. The
options here differ in cases where a single audio file is loaded or when
multiple audio files are being used.
When only one audio file is loaded into the instrument, all relevant
parameters appear within this section.
Relevant sample parameters appear above and below the waveform

editor. Section labels are gray. The top row contains blue clickable icons
and numeric controls for general parameters. On the bottom row are
PLAY parameters in yellow and LOOP parameters in green, colors that
are also used within the waveform display to visualize these settings.
Starting in the top row, first is a folder icon along with the loaded
sample's filename. When the folder button is clicked, the Pop-up
Browser is called up so you can select a different audio file to load. You
can also drag the sample's filename into the Arranger Timeline or Clip
Launcher to create an audio clip.
Next is a piano keyboard button followed by a percentage value for the

amount of keyboard tracking being used. When set to 0 %, any note
played will trigger the sample at its original pitch. When set to 100 %,
incoming note pitches alter sample playback based on their distance
from the ROOT settings (of root note and cents offset). Clicking the
piano icon toggles between full keyboard tracking (100 %) and none (0
%), but values in between can be set manually.
The gain control that follows adjusts the sample's level from anywhere
between -12.0 dB and +12.0 dB. And at the end of this top row is a
vertical cursor icon with arrows pointing inward. When enabled, edits
done on the waveform editor will snap to zero crossings.
The bottom row starts with PLAY controls. The left-facing arrow button
capped with an R enables reverse mode, causing the sample to play
backwards, effectively swapping the play start and play end times (and
the loop points as well, when in use). Next are the aforementioned play
start and play end times, both set in time units.
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Four LOOP parameters come next. First are buttons to select which
loop mode is in use. The three choices are the single forward arrow (no
looping), the stacked forward arrows (single-direction looping), and the
stacked forward and reverse arrows (ping-pong looping). Next come
the loop start and loop end times, set as exact times just like their PLAY
counterparts. Finally, a loop crossfade amount is set as a percentage of
the available audio material.
When working in a multisample context, two editors are available. Either

can be seen in the Expanded Device View (see section 8.1.4). We will
first look at what is unique about each editor and then cover the vast
amount that they have in common.
Shown above is the grid editor. This display shows an overlapping view
of all current zones. These individual sample zones are visualized from
low to high note pitches horizontally, and they are shown vertically
either by their velocity range (the standard note strike, "pin" icon on the
top right) or by their select parameter range (the star icon). Within each
zone is the sample's name along with a small triangle pointing down
to the root key for that zone. Each zone can be moved by clicking its
center and dragging, or each edge of a zone can be adjusted by clicking
on that edge and dragging. While the central display stays put, all zones
are in a vertically scrollable list on the left side.
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In this image is the list editor. This view still uses a list of zones on the
left side, but only shows those zones that are currently on-screen. The
purpose of this view is to display the full details of each zone, including
its key range (and root note, shown as a gray, diagonally striped
rectangle) in the middle, and either its velocity or select parameter range
on the right. All three of these ranges also visualize any crossfading
used, allowing gradual transitions at the ends of each range. These
ranges can also be interacted with, either by dragging to move an entire
range, dragging from an edge to adjust the start or end points, or [ALT]-
dragging to add a crossfade to any range.
The editors are identical in many other ways, starting with the top row of
either interface.
Starting at the far left is a button to Save… the current multisample into
the library. After that are filters for viewing either All Zones or only the
Ungrouped zones. Next come any groups that have been created within
this multisample, either by clicking the + icon at the end of this row,
or by selecting multiple zones and choosing the Group function. In the
examples above, groups called Piano and Flute are present. Clicking any
group name will display only its zones and automatically select them all,
allowing you to act upon the zones in tandem from the Inspector Panel.
At the right edge of this row are two pairs of toggles. This first pair of
buttons is for switching between the grid editor and the list editor, and
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the second pair chooses whether velocity or the select parameter is

being displayed as a secondary axis.
The list of zones on the left displays each zone's group color (in case it is
part of a group) and the name of the sample it uses. The top row above
the zones provides various filters for how and what to display, including
a drop-down menu of sorting options, a search field for filtering zones
by part of their sample name, and a toggle button showing a five-pin
MIDI port that automatically selects the zone matching the last incoming
note message.
The waveform editor will appear at the bottom of the Expanded Device
View when only one zone is selected. All of the same parameters appear
here as when in single sample mode. All of those details and more will
also be present in the Inspector Panel, even when multiple zones are
selected so they can be edited together. Inspector options include:
› Group that the zone is a part of, if any.
› Key shows the lowest and highest notes that will trigger this zone.
Beneath the two note fields are corresponding Fade amount fields,
showing the length of crossfade (in number of notes) on that side of
the range.
› Velocity shows the lowest and highest velocities that will trigger this
zone. Beneath the two velocity fields are corresponding Fade amount
fields, showing the length of crossfade (in velocity units) on that side of
the range.
› Select shows the lowest and highest select parameter values that will
trigger this zone. Beneath the two select value fields are corresponding
Fade amount fields, showing the length of crossfade (in select
parameter units) on that side of the range.
› Zone logic determines when this zone should sound, particularly when
one note is triggering multiple zones. Options include Always play
(which will always play this zone when triggered) and Round-robin
(which will only play one matching zone in round-robin mode at a
time).
› Z Param 1, Z Param 2, and Z Param 3 are amounts of modulation

applied via the P 1 , P 2, and P 3 modulation sources when this zone is
triggered. Those sources appear in the regular Device Panel interface
of Sampler when it is in multisample mode. These modulations are
polyphonic, allowing you to offset any parameter by a set amount
when a particular zone is triggered.
› Root key for this zone, or the note at which no transposition is applied.
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› Fine tune amount for the root key value.
› Keytrack amount as a percentage.
› Gain amount applied to the sample.
› Play start and Play end times, same as the yellow markers in the
waveform view, as well as the Reverse Direction option, which
effectively swaps the start and end times.
› Looping, Loop start, Loop end, and Crossfade amounts, all of which
correspond to the FADE parameters discussed earlier.
All other sections and controls of Sampler are the same, regardless of
the number of samples being used.
The leftmost section in the device interface contains three parameters.

The Select parameter decides which multisample is triggered (when
select parameter ranges have been defined). Pitch can be shifted in
semitones, with a range of three octaves in either direction (from -36.00
to +36.00). And Glide sets the amount of time that it takes for each new
note to smoothly transition from the previous pitch to the current one. In
musical terminology, this effect is called portamento.
Next is the play mode section. It starts with a drop-down menu of the
various mode options, which will in turn determine which parameters are
available below. Modes include:
› Repitch - traditional sampler mode, where the Speed parameter

changes both playback speed and pitch.
› Cycles - a wavetable playback mode that captures periods of the

waveform for playback. Speed doesn't affect pitch, and broad Formant
shifting is available as a timbre control. (While this mode excels at
reshaping waveforms for pitched playback, disabling keyboard tracking
for pitch can produce interesting metallic sounds when different notes
are played.)
Note
When a WAV file with a "clm" chunk is imported into Sampler, the
file will recognized it as wavetable audio, the play mode will be set
to Cycles, and the Root key will use the appropriate value (which
determines the size of the wavetables in use).
› Textures - a granular playback mode. Speed doesn't affect pitch, Grain

size can be controlled, and randomized Motion can be added to the
playhead for a less static sound.
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Two toggle buttons round out the play mode section. The snowflake
icon freezes the sampler's playhead. This gives control of the playhead
to you (and any modulators you assign) via the playhead POS(ition)
control in the following section. Finally, the RAM chip icon toggles
whether the sample(s) used by this instance of Sampler are loaded into
memory or not. There is a trade-off, of course: loading samples into
RAM consumes memory, but it also allows play and loop points to be
modulated.
The following OFFSETS section contains playback modulation controls.

PLAY allows you to modulate the sample start time as a percentage.
(When the playhead is frozen, this parameter is renamed playhead
POS[ition].) LOOP modulates the entire loop region's relative position,
and LEN(gth) modulates the length of the loop to be proportionally
shorter. While sample/zone parameters cannot be controlled by
modulators, these performance controls can be.
The next section is for the instrument's filter module. Across the top is a
row of filter mode options shown with icons (and numeric pole counts
to indicate the mode's filter slope, where appropriate). Also included are
controls for the filter's cutoff, the amount of resonance being applied
(with a peak-shaped icon), and the amount of keyboard tracking (with a
keyboard icon bookended by outward facing arrows) that is applied to
the cutoff frequency, set relatively from 0 % to 200 %.
Then comes the instrument's amplitude envelope section. This envelope

generator module affects the entire instrument's audio output level. The
envelope generator is switchable between two types of envelopes:
› When the drop-down menu at top is set to AHDSR, standard Attack,

Decay, Sustain, and Release controls are available. Also available is
a Hold control, which sets the time that the envelope pauses at full
strength after the completion of the attack segment and before the
decay segment begins. Additionally, the timed segments (attack,
decay, and release) each have a shape control embedded in their label
for changing their curve.
Note
When in AHDSR mode, the envelope signal can also be routed

to additional modulation destinations via the modulation routing
button in the top right of this section. This modulation signal is only
generated when the instrument is set to use the AHDSR envelope.
› When the mode menu at top is set to Shot, the envelope generator
acts in a simple one-shot mode with controls for fade in and fade out
time. This also disables looping.
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Note
Shot mode is incompatible with playhead freeze. When both Shot

and playhead freeze are enabled, this section will show a red
snowflake button. When clicked, freeze mode will be disabled.
The final parameter section contains the nested device chains along
with four knobs. Controls for panning (labeled L and R at the extremes),
velocity sensitivity (the standard note strike, "pin" icon), gain (a speaker
icon), and the Out(put) level are all available.
Modulation Sources:
› Amplitude EG (amplitude envelope generator) [polyphonic] - The

signal of this instrument's amplitude envelope generator module when
it is in AHDSR mode. (The routing of this module to the instrument's
amplitude is hardwired.)
› P 1 (Zone Parameter 1; only active in multisample mode) [polyphonic]

- A modulation whose amount is set by each zone and then applied
while the zone is triggered.



reach this device.
› Release - A chain that receives a note on (of set Note Length) when
the Sampler receives a note off message. The velocity of this trigger
can either come from the original note On message, or the triggering
note Off.
19.24. The Grid

Each Grid device uses The Grid for constructing patches (see chapter
17).
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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 unique modular note processor or generator, including the option of
Voice Stacking, and the ability to create polyphonic effects with voice
management (see section 17.3.4.2).
19.24.3. Poly Grid

For creating instruments, be them mono-/poly-synths, samplers,
sequenced patches, cascading drones, or anything else you might
imagine.
19.25. Tom
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
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this oscillator is set by the Tune knob, and its level is controlled by an
adjustable Decay time. The Click option adds impact to the sound by
doubling portions of it, and the Tone control sets the cutoff frequency of
a gentle low-pass filter.
The PEG section concerns a separate AD envelope generator that

controls the oscillator's pitch. You can adjust the Decay time, the shape
of that decay segment with the contour control, and the Amount of
modulation in semitones.
19.26. Utility
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 or noise. No input is necessary.
Shapes include:
› Sine - a single harmonic, respecting the Frequency and Bipolar settings
› Triangle - odd harmonics at inverse squared proportions (with

alternating polarities), respecting the Frequency and Bipolar settings
› Square - odd harmonics at inverse proportions, respecting the

Frequency and Bipolar settings
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› Saw Up - ascending ramp with all harmonics at inverse proportions,

respecting the Frequency and Bipolar settings
› Saw Down - descending ramp with all harmonics at inverse

proportions, respecting the Frequency and Bipolar settings
› Dirac - A series of one-sample impulses, respecting the Frequency
› White Noise - Uniform random distribution, producing audio with equal

power per frequency
› Pink Noise - A 1/f ("one over f") distribution, producing audio with
equal power per octave
All modes respect the Gain setting for level and dry/wet Mix value.
19.26.4. Time Shift

A device for moving incoming audio and/or MIDI signals either forward
or backward in time. Whether set to operate in milliseconds (ms) or
samples, positive values represent delay times, and negative values
represent times shifted to happen earlier.
19.26.5. Tool
A utility tool for signals that includes amplitude, volume, panning, and
width controls as well as channel invert switches and high-resolution
output level meters.
19.27. Modulators
Each modulator is a special-purpose module that can be added to any
Bitwig device or plug-in. The modules output is then assigned to control
various parameters of the device.
As in Bitwig Studio, the modulators are categorized below by the type

of function they perform. For more information on using modulators, see
section 16.2.1.
19.27.1. Audio-driven Category

Devices that convert audio into a modulator signal
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19.27.1.1. Audio Rate
An instantaneous (read: non-averaged) sidechain control, routable from

any audio signal within the current project. Gain control, an optional
low-pass filter with adjustable cutoff frequency, and a Rectify switch (to
convert the incoming signal to all positive values) are all available.
19.27.1.2. Audio Sidechain
An averaged sidechain control, routable from any audio signal within

the current project. Analysis of the incoming signal uses adjustable gain,
switchable averaging modes, high- and low-pass filters, and Attack and
Release times.
19.27.1.3. Envelope Follower
A sidechain control that uses the device's incoming audio signal.

Analysis of the incoming signal provides adjustable gain, switchable
averaging modes, and Attack and Release times.
19.27.1.4. HW CV In
A sidechain control for control voltage devices that are connected to

your audio interface's inputs. Parameters include Gain, Smooth(ing),
and a toggle between alternating current (AC) and direct current (DC)
modes.
19.27.2. Envelope Category

Periodic generators triggered by note ons or offs.
19.27.2.1. ADSR
A standard envelope generator with attack, decay, sustain, and release

segments. There is also a Single Trigger option, and an option to Pre-
delay the envelope start in musical or real time.
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19.27.2.2. AHD on Release
An attack–hold–decay envelope generator triggered by note off

messages, with Single Trigger option. The timed segments also have
individual curve controls.
19.27.2.3. AHDSR
A standard envelope generator with attack, hold, decay, sustain, and

release segments. The timed segments also have individual curve
controls. There is also a Single Trigger option, and an option to Pre-delay
the envelope start in musical or real time.
19.27.2.4. Note Sidechain
A standard envelope generator with attack, decay, sustain, and release

segments. The gate message driving the envelope generator is routable
from any note message source within the current project. There is also
an option to Pre-delay the envelope start, in musical or real time.
19.27.2.5. Ramp
A simple ramp generator with switchable direction, curve, and optional

looping.
19.27.2.6. Segments
A freely drawable, segmented envelope generator, with BWCURVE file

support, making use of the Curve Editor (see section 16.2.1.1)
› With all familiar envelope modulator controls
› Four Play Mode options are available:
One-shot (⇀) - Plays thru the entire shape (while the voice is alive) at
note on
Hold (䷿) - Uses any one of the curve's points as the hold/sustain level,
which is also the release start
Looping (⥤) - Uses any two of the curve's points, and loops forwards
between them on sustain; the loop end point is also the release start
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Ping Pong (⇌) - Uses any two of the curve's points, and loops
forwards and backwards between them on sustain; the loop end point
is also the release start
The hold point or loop region & start/end points are shown in blue
You can either drag one of these points to another point, or right-click
on any point and choose the appropriate option — either Set Hold
Point (when in Hold mode), or Set Loop Start / Set Loop End (when in
Looping or Ping Pong modes)
› A set Rate (from 0.2 to 50) with regard to the set Timebase (either
Minutes, Seconds, Milliseconds, Bars or other beat-time units, Pitch (of
current note), or Hold)
Both the Rate and Timebase can be modulated for each note, for
example by Velocity (from the Expressions modulator), or any other
source
This Rate–Timebase pair defines the primary interval of the whole

envelope, which defaults to a setting of 1 bar, and with a shape that
ends after one iteration
The Curve Editor is scrollable and shows a time ruler in the primary
interval (1, 2… n), with the set number of grid units displaying within
each primary interval
Clicking and dragging in the ruler area allows for zooming and
scrolling, just as with the Arranger
Points can be added or dragged to extend the length of the envelope,

so taking the default settings and adding a point at the 4 line would
extend the shape to be 4 bars long
› Option to Enabling Smoothing, with Smoothing Time set in

milliseconds/seconds
Both settings can be automated and modulated, for controlling the

sharpness vs. smoothness of each voice, for example by Poly Pressure
(from the Expressions modulator), or any other source
On the Polymer module version of Segments, both parameters are

available in a context menu when right-clicking on the module's
background
› A Bipolar toggle (±) maintains the curve's shape but rescales it, so that
the minimum value is -1 and the middle value is now 0 (zero)
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› A Single Trigger option to keep the envelope from retriggering when

overlapping notes are received
› An Amount parameter controlling output scaling of each voice
19.27.3. Interface Category

Providing panel elements for better/unique control, or access to
Transport-level interface items.
19.27.3.1. Button
A binary toggle control. Selecting the modulator and viewing the

Inspector Panel shows an optional smoothing parameter.
19.27.3.2. Buttons
Two independent binary toggle controls. Selecting the modulator and

viewing the Inspector Panel shows an optional smoothing parameter
that applies to both buttons.
19.27.3.3. Globals
Provides modulator signals for three project-wide controls:
› Fill - A modulator signal reflecting the current Fill mode state (see
section 2.3.2)
› A◆B - A bipolar modulator signal reflecting the current Global

Crossfader value (see section 7.1.9)
› Play - A modulator signal reflecting whether the transport is currently

playing (1) or not (0)
The Fill and A◆B sources can be used as global control sources, routing
hardware controllers or automation (from Master > Transport) to any
and all tracks.
19.27.3.4. Macro
One continuous knob control.
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19.27.3.5. Macro-4
Four independent, continuous knob controls.
19.27.3.6. Select-4
Four control sources derived from one continuous fader control. The
single fader is essentially a crossfader whose position determines which
one or two control sources will receive a modulation value.
19.27.3.7. Vector-4
Four control sources derived from one continuous XY control. The single
fader is essentially a crossfader whose X and Y positions determine the
modulation values received by each control source.
19.27.3.8. Vector-8
Eight control sources derived from one continuous XY control. The

single fader is essentially a crossfader whose X and Y positions
determine the modulation values received by each control source.
19.27.3.9. XY
Two control sources derived from one continuous XY control. The single
fader is essentially a joystick whose X and Y positions are used as the
control sources' values.
19.27.4. LFO Category

For regularly repeating patterns or noise.
19.27.4.1. Beat LFO
A tempo-synced (including the option to follow global shuffle) low-

frequency oscillator, with shape, phase, and polarity controls.
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19.27.4.2. Classic LFO
A tempo-synced low-frequency oscillator, typically used in Bitwig Studio

version 1 devices. Provides a Note Trigger option and a Per-Voice toggle
(when applicable).
19.27.4.3. Curves
A freely drawable, segmented LFO, with BWCURVE file support, making

use of the Curve Editor (see section 16.2.1.1)
› With all familiar LFO modulator controls
Hertz, Kilohertz, Bars or other beat-time units, Pitch (of current note),
or Hold)
source
This Rate–Timebase pair defines the speed of the oscillator, which

defaults to a setting of 1 Hz
› Phase parameter allows for full control of the envelope's position, small
variations, or anything in between


› Five Trigger Mode options, similar to other LFOs:
Free - All voices play freely and never reset
Note - Each voice resets to the current Phase when it receives a note
Sync - Follows the relative phase (Phase + Global transport position)

while transport is playing
Grv (Groove) - Follows the groove-relative phase (Phase + Global

transport position, including groove) while transport is playing
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Rnd (Random) - Each voice goes to a random position when it

receives a note
› An Amount parameter controlling output scaling of each voice
19.27.4.4. LFO
A fully functional low-frequency oscillator, with shape, phase, and

polarity controls. It can also be tempo synced, set to fade in, given
various reset modes, and be toggled to a polyphonic mode.
19.27.4.5. Random
A tempo-synced random low-frequency oscillator. Output can be

discrete or slewed, be unipolar or bipolar, be retriggered by Note or
Sync messages, and be monophonic or polyphonic (when applicable).
19.27.4.6. Vibrato
A musical LFO whose amount can be normalled to Modwheel or

polyphonic Pressure (which will use channel aftertouch if poly pressure
isn't present).
19.27.4.7. Wavetable LFO
A morphable LFO, with Bitwig WT file support
19.27.5. Modifier Category

Processor modulators.
19.27.5.1. Math
One control source derived from two continuous knob controls. The
output signal is a mathematical relation of the two signals, which is
derived either by MUL(tiplying), ADD(ing), or SUB(tracting) the two
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signals, or simply taking the MIN(imum) or MAX(imum) of the two

values.
19.27.5.2. Mix
One control source derived from two continuous fader controls. The
output signal is determined by the current crossfade position between
the two fader values.
19.27.5.3. Polynom
A transfer function for reshaping an incoming modulation signal with

a basic polynomial equation. The way to pass a signal into the module
for processing is by modulating the x= parameter with any other
modulator(s).
Each of the four additional parameters represent a term of the cubic

0 1
function used. x represents the offset applied to the function. x
2
represents the function's slope (or rotation). x represents the parabolic
3
curve applied to the function, and x represents a cubic curve (like an
S-curve). The graphical interface helpfully visualizes the transfer function
being used, and the processor will clip the output signal to stay within
range.
19.27.5.4. Quantize
A processor for reducing the resolution of an incoming modulation

signal, often used to transform a fairly continuous signal into one that is
more discrete. The way to pass a signal into the module for processing is
by modulating the Input parameter with any other modulator(s).
The Quantize factor sets the resolution of the output signal. A low
setting restricts the output to be more like a pulse signal, and a high
setting preserves the more continuous elements of the original signal.
Additionally, four shape options (Linear, Log, Exp, and Sinh) adjust the
spacing of the resolution grid used by the device.
19.27.5.5. Sample and Hold
A processor that sustains (or holds) an incoming signal's value at the

moment of each clock event. The way to pass a signal into the module
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for processing is by modulating the Input parameter with any other

modulator(s). The Smooth parameter represents the transition time
between successive samples.
The sampling clock can be set to various metronomic values (such as

4th for quarter notes, 1/8. for dotted eighth notes, bar for one measure
at the project's current tempo, etc.), to free time values (either hertz
[Hz] or kilohertz [kHz]), to the Pitch of the latest received note message,
or to Hold, which keeps the output signal from changing. This base
clock rate can then be scaled by the adjacent modulation knob, which
at center is 1.00 (100% or no change), at far left is 0.02 (2%), and at far
right is 50.00 (5,000% or 50x).
At bottom, this device offers three modes of operation. Free allows the
sampling clock to run independently, Gate restarts the clock whenever a
new note message is received, and Sync restarts the clock whenever the
transport is started.
19.27.6. Note-driven Category

Devices triggered by notes or MIDI.
19.27.6.1. Channel-16
Sixteen control sources, one for each MIDI channel received. With global
Amount and Lag controls, and an option to Release with Note Offs or
not (for per-voice uses).
19.27.6.2. Expressions
A module to extract incoming VEL(ocity), REL(ease velocity), TIMB(re),

and PRES(sure) messages. Right-clicking the modulator's title or
selecting the modulator itself and viewing the Inspector Panel shows
parameters for enabling smoothing on all expressions and making the
timbre expression relative at the time of each new note. All expressions
are polyphonic when applicable.
19.27.6.3. Keytrack+
Uses an embedded Curve Editor for drawing, saving, or loading

keytracking curves (see section 16.2.1.1)
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19.27.6.4. MIDI
A module to extract either continuous controller (CC), PRESSURE, or

pitch BEND messages arriving at the device's input.
19.27.6.5. Note Counter
A module whose modulation output is incremented with each new

note message received. The number of Steps counted and the value
Increment-ed at each step can be set, as well as the OUTPUT SCALING
method to be used for the modulation signal.
19.27.6.6. Pitch-12
Twelve control sources, one for each pitch class (C, D, E, etc.) received.
With global Amount and Lag controls.
19.27.6.7. Relative Keytracking
Note pitch modulator, with Root note and Spread options.
19.27.7. Sequence Category

Providing step-/segment-based modulations.
19.27.7.1. 4-Stage
A looping four-stage envelope generator, with definable times

(optionally tempo-synced) and levels (optionally bipolar).
19.27.7.2. ParSeq-8
A special parameter sequencer, with the same global parameters as

Steps (see section 19.27.7.3). Each step is its own modulation source so
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assigned parameters are modulated and then reset when advancing to

the next step.
Each step starts with its step number, which can also be clicked to
temporarily disable that step's modulations from taking effect. Next
is a button with a musical fermata icon, which holds any previous
modulations when this step begins (instead of resetting them to
zero). Finally each step has a bipolar fader for scaling the depth of all
modulations on that step.
19.27.7.3. Steps
A tempo-syncable, bipolar step sequencer. Parameters include step

count, direction (forward, backward, and/or ping-pong mode that
switches direction on each loop), polarity, and phase (ø) for manual
control of the play position. Trigger modes determine when the step
sequencer advances:
› Transport - Links to the global transport for play–stop status, tempo,

and beat position
› with Groove - Links to the global transport for play–stop status, tempo,
and beat position with groove
› Free running - Plays at the set rate, independent of the transport and
incoming notes
› Note / Restart - Plays at the set rate, with new notes restarting the
pattern
› Note / Random - Plays at the set rate, with new notes randomizing the
position
› Note / Advance - Holds the playhead in place, advancing only on

incoming new note
Right-clicking on the pattern interface also provides options to copy and

paste the pattern, as well as to Generate a preset pattern to replace the
current one, or to Transform the current pattern .
19.27.8. Voice Stacking Category

Devices that work differently on each of the individual voices within
an active voice stack. Proper function of these modules requires Voice
Stacking to be active on the parent device (see section 16.2.5).
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19.27.8.1. Stack Spread
Offers 12 spread modes, for varying all voices in a stack with one
modulation mapping to any parameter(s). All modes visualize the
relative effect on each voice in the Inspector Panel.
The first four modes offer simple splits, most of which are evenly
distributed:
› 0 to 1 spreads voices in a unipolar fashion, from 0% of the set

modulation level to 100%.
› -1 to 1 spreads voices in a bipolar fashion, from -100% of the set

modulation level to 100% (just as the built-in Voice Stack Spread ±
modulator works).
› Value spreads voices from 0% in successive increments of 100% for

each additional voice, making it easier to set amounts in some cases
and to work with enumerated list parameters.
› Manual allows you to manually create the distribution of values

across voices with faders in the Inspector Panel (which can even be
automated/modulated themselves).
The middle four modes offer various defined distributions, all starting
with maximum modulation on voice 1, and then reflecting to smaller and
smaller values:
› Flipped provides simple reciprocals [1, 1/2, 1/3, ... 1/n].

n
› Straight gives harmonic relationships [1, 1/2, 1/4, ... 1/2 ], whether for
pitch or rhythms.
› Primes is the series of prime numbers, inverted [1, 1/2, 1/3, 1/5, 1/7,
1/11...].
› Golden provides the Fibonacci sequence [1, 1/2, 1/3, 1/5, 1/8, 1/13...].
Note
If you want to reorient any of these distributions, consider using the

modulation transfer functions (see section 16.2.4.3). For example, the
Toward Zero mode would flip any of the distribution modes, giving
the last voice a maximum modulation and the earlier voices getting
smaller and smaller.
The bottom four modes offer unique kinds of randomization, relating all
the voices in any particular stack to each other. In this way, you'll either
592
get centered values that tend to peak on few voices each time (with the
first and third modes), or you'll get more pronounced values that extend
to the minimum and maximum each time (with the second and fourth
modes):
› Rand+ creates a unipolar random value for each voice (at note on),
with all values adding up to 1.
› Rand+ ↕ offers a scaled, stronger version of Rand+, tending towards

more large values.
› Rand± creates a bipolar random value for each voice (at note on), with
all values adding up to 0 (zero).
› Rand+ ↕ offers a scaled, stronger version of Rand±, tending towards

more large values.
19.27.8.2. Voice Control
Offers individual control of each voice with an active voice stack, with
individual modulators for Stack Voice 1 thru Stack Voice 16 directly in the
modulator square.
19.28. Grid Modules

Each Grid module is a building block that can be loaded within any Grid
device and interconnected with other modules.
As in Bitwig Studio, the modules are categorized below by the type

of function they perform and can be browsed that way. For more
information on using The Grid and working with Grid devices, see
chapter 17. And for full information on the parameters of each module,
see the module's help view within Bitwig Studio (see section 17.1.2.1.).
19.28.1. I/O Category

Terminal modules for signals entering or exiting this Grid device
19.28.1.1. Gate In
Supplies note gate signals from the device
593
19.28.1.2. Phase In
Supplies the device's default phase signal
19.28.1.3. Pitch In
Supplies note pitch signals from the device
19.28.1.4. Velocity In
Supplies note velocity signals from the device.
Velocity Mode determines whether velocities are coming only from

note Ons or note Offs, or if both note Ons & Offs velocities are offered
together. Velocity Mode is visualized on the device face, and can
be adjusted from the device's context menu (via right-click) or the
Inspector Panel.
19.28.1.5. Audio In
Supplies audio signals from the device
19.28.1.6. Audio Out
Path to the device's audio output buss. Has an Output Clipping Mode
option (Off, Hard, or Soft) and an Output Clipping Level setting (0 dB,
+6 dB, +12 dB, or +24 dB) for how to handles overages.
19.28.1.7. Gain In
Supplies note gain expressions
19.28.1.8. Pan In
Supplies note pan expressions
594
19.28.1.9. Pressure In
Supplies note poly pressure signals from the device
19.28.1.10. Timbre In
Supplies timbre expressions from the device
19.28.1.11. CC In
Supplies select continuous control signals from any/all MIDI channels
19.28.1.12. CC Out
Outputs continuous control signals on any MIDI channel
19.28.1.13. Note In
Provides gate, expressions, and channel of every incoming note. Its eight
out ports match the Note Out configuration (including the Enable All
Expressions […] toggle for unfolding and showing all ports), for easy
processor patching.
19.28.1.14. Note Out
Creates output notes, with all expressions available via eight in ports.
› Gate In port triggers a note to be created
› Pitch In, Velocity In, and Channel In can either be set with fixed values
on the module's face, or provided with signals
Note
The Pitch In port requires an input signal between note C-2 (-0.5)
and G8 (+0.558).
The Velocity In port requires an input signal at or above zero.
595
Only when these conditions are met will a high-logic signal at the
Gate In port create a new note on.
› When Enable All Expressions (… toggle) is on, Timbre In, Pressure In,
Gain In, and Pan In ports are available for signal control of all note
expressions
› When Enable All Expressions (… toggle) is off, connections to these

additional expression ports are remembered but inactive
› As with any module, multiple Note Out modules can be loaded, helpful
for sequencer or "groovebox" style patches, or whenever you want to
group notes onto different MIDI channels, etc. etc.
19.28.1.15. Audio Sidechain
Supplies audio signals from a selected project path
19.28.1.16. HW In
Supplies audio signals from a selected external path
19.28.1.17. HW Out
Path to a selected external audio output buss
19.28.1.18. CV In
Supplies control voltage (CV) signals from a selected external path
19.28.1.19. CV Out
Path to a selected external CV output buss
19.28.1.20. CV Pitch Out
Path to a selected external CV output pitch buss
596
19.28.1.21. Key On
Supplies note gate signals from a specified note and channel
19.28.1.22. Keys Held
Number of keys currently held
19.28.1.23. Transport Playing
Supplies the application's playback status
19.28.1.24. Voice Stack Info
Supplies current voice stack index (a polyphonic signal) and the voice
stack size
19.28.1.25. Modulator Out
Makes incoming signals available as a modulator signal
19.28.2. Display Category

Visualization and note-taking modules
19.28.2.1. Label
Large text widget
19.28.2.2. Comment
Smaller text widget
597
19.28.2.3. Oscilloscope
Dual trace oscilloscope, with thru ports and controls for the Y Maximum
level, whether to paint Y Bipolar or not (for unipolar), and whether the
Voice Shown should be only the Last voice played or a sum of All voices.
19.28.2.4. Spectrum
Spectrogram for up to four signals
19.28.2.5. VU Meter
Averaging meter
19.28.2.6. XY
Two-dimensional control pad
19.28.2.7. Value Readout
Stereo numeric readout for various domains
19.28.3. Phase Category

Modules that output wrapped phase signals
19.28.3.1. Phasor
Phase signal generator with typical oscillator controls
19.28.3.2. Ø Bend
Imposes a variable curve onto a phase signal
598
19.28.3.3. Ø Pinch
Imposes an S-curve onto a phase signal
19.28.3.4. Ø Reset
Offsets the incoming phase signal to 0 each time a trigger is received
19.28.3.5. Ø Scaler
Scales an incoming phase signal to be proportionally faster or slower
19.28.3.6. Ø Reverse
Inverts a proper phase signal
19.28.3.7. Ø Wrap
Wraps any signal into the phase signal range
19.28.3.8. Pitch → Ø
Wraps pitch signal's octave as phase signal
19.28.3.9. Ø Counter
Translates successive trigger signals into discrete phase values
19.28.3.10. Ø Formant
Amplifies the incoming signal around +0.5
19.28.3.11. Ø Lag
Lag processor that stays within the phase range
599
19.28.3.12. Ø Mirror
Applies gain to the incoming phase signal and then reflects it
19.28.3.13. Ø Shift
Offsets the incoming phase signal by a set amount
19.28.3.14. Ø Sinemod
Modulates the incoming phase signal with a sine wave
19.28.3.15. Ø Skew
Sets the incoming level to remap to +0.5
19.28.3.16. Ø Sync
Amplifies the incoming phase signal before wrapping it
19.28.3.17. Ø Split
Equally distributes phase signal across up to 8 out ports
19.28.4. Data Category

Lookup modules that are read with incoming phase signals
19.28.4.1. Gates
Event sequencer
19.28.4.2. Pitches
Mono pitch sequencer
600
19.28.4.3. Slopes
A freely drawable, segmented sequencer, with BWCURVE file support,

making use of the Curve Editor (see section 16.2.1.1)
› With all familiar data sequencer module controls, and their common
phase-driven approach
› A stereo Phase In port for controlling playback, along with a Use Device
Phase pre-cord
› Anti-aliasing toggle enables smoothed playback of the curve
› Mute when stopped option will force 0 (zero) output when the global
transport isn't running
19.28.4.4. Steps
Step sequencer
19.28.4.5. Triggers
Generates N triggers evenly across each cycle
19.28.4.6. Probabilities
Probabilistic event sequencer
19.28.4.7. Ø Pulse
Pulse lookup module
19.28.4.8. Ø Saw
Saw lookup module
601
19.28.4.9. Ø Sine
Sine lookup module
19.28.4.10. Ø Triangle
Triangle lookup module
19.28.4.11. Ø Window
Cosine window module
19.28.4.12. Array
Recordable lookup table
19.28.5. Oscillator Category

Periodic signal generators based on waveforms or samples
19.28.5.1. Pulse
Geometric pulse oscillator
19.28.5.2. Sawtooth
Geometric sawtooth oscillator
19.28.5.3. Sine
Sine wave oscillator
19.28.5.4. Triangle
Geometric triangle oscillator
602
19.28.5.5. Union
A DC-drifting, analog-inspired oscillator that blends pulse, saw, and

triangle waves. Each of these three waves has its own Level control,
or each waveform visual can be clicked to turn that wave all the way
up (100 %) and to set the other two waves to zero. Pulse Width can be
controlled directly by dragging the slider within the overview display.
19.28.5.6. Wavetable
Wavetable oscillator, with special unison modes & processing options
› Embedded graphic shows the full table contents with the current,
interpolated output on top
› Clicking on the display loads a visual wavetable browser, showing

previews of all files, side by side
› Factory content includes over 200 wavetables (WT files) across

various categories, including:
Acoustic - Based on real-world instruments & sounds
Analog - Using analog techniques and sources
Digital - Using digital techniques and sources
Fractal - Spectra that grow recursively
Harmonics - Basic wave morphs and harmonic series
LFO and Sequences - Control signals of various kinds, well suited

for the Wavetable LFO modulator (see section 19.27.4.7) and Grid
module (see section 19.28.7.3)
› Any WT file (Surge format [https://github.com/surge-synthesizer/

surge/blob/bffb770fe8a93db2587ac97ffda99121782a2e5b/doc/
wavetables.md]) can be read, as well as Serum- and WaveEdit-
compatible WAV files, etc.
› All in ports are fully stereo including Table Index, so the left and right
channels can read different parts of the same wavetable
Defaults to interpolating the loaded wavetable for smooth transitions,

but has an option to disable this (so that only tables in the loaded file
are available)
› Three unique unison modes:
603
Fat, for stacking detuned voices flatly
Focused, keeping in-tune voices more center and loud
Complex, producing polyrhythms between voices (and providing

smoother retriggering)
› Spread Unison Phases option, which gives a different phase offset

for each unison voice, resulting in a smoother unison sound with less
beating
› Harmonic Phases option, with different modes for affecting the loaded
wavetable:
Aligned - All harmonics use the same phase (for a "focused" sound)
Diffuse - All phases are randomized (for a "blurred" sound)
Original - Original wavetable file's values are preserved
› Remove Fundamental option, to suppress the fundamental from each

table (which can be a nice bass trick)
› Remove DC Offset option, to offset the signal output so that it centers

around zero. This can transform wavetables made for modulation (such
as the LFO and Sequences category) into interesting audio sources.
› When loaded in Polymer, these various processing options are

available within a Pop-out Editor
› Context-specific anti-aliasing is applied on playback
19.28.5.7. Sub
Sub oscillator, with six Waveform options and an Octave offset
19.28.5.8. Bite
A Techniques-driven oscillator, offering exponential FM, hard sync, PWM,

and ring mod from dual oscillator feedback
› Anti-aliasing and internal feedback allow for some very crisp, fresh,
and/or modular analog sounds
› Internal Oscillator A & B are identical, each providing seven

waveshapes with Pulse Width controls, as well as fixed Saw and Sine
options
604
Like the Union oscillator, the oscillators exhibit some smooth analog
drift when Pulse Width, for example, is moved
› Oscillator B can pulse-width modulate (PWM) Oscillator A
› Oscillator A can do exponential frequency modulation (xFM) on

Oscillator B
› Oscillator A can also hard SYNC Oscillator B:
SYNC is a useful way to use exponential FM without breaking the

pitch of Oscillator B
Oscillator B also has its own Pitch Offset control, for setting (or
modulating) more interesting hard sync waveshapes
› A trio of mix controls set the output level for oscillator A, oscillator B,
and a ring-modulated mix (RM) of the two
› The Grid module version has a special Independent Mono Mode toggle
in the Inspector Panel
This flattens the module to a mono output
This also allows individual oscillator targeting via the in ports, routing
left channel inputs only to Oscillator A and right channel inputs to
Oscillator B
19.28.5.9. Phase-1
Phase distortion oscillator
19.28.5.10. Scrawl
A freely drawable, segmented oscillator, with BWCURVE file support,

› With anti-aliasing on the oscillator, to help make (almost) any shape

work
› With all familiar oscillator module controls
› All the standard module pitch controls:
Key Tracking pre-cord, automatically connecting note pitches to the

pitch buss
605
Numerator and Denominator controls, for controlling pitch via ratio
A Pitch Offset, for adjustment in semitones
A Detune control, for adjustment in Hertz, along with the Stereo

Detune toggle for an inverse detuning of the right channel
› A Retrigger on Notes pre-cord, for reseting the oscillator's phase at

note on
› The Polymer module version of Scrawl also has:
Phase Modulation Amount attenuator (range 0 % to 800 %) to allow

modulation from the Sub
↑SYNC↑ toggle to enable hard sync from the Sub
› The Grid module version of Scrawl also has standard oscillator module
options:
A stereo Retrigger In port
A stereo Phase In port, with attenuator (range 0 % to 800 %)
A stereo Pitch In port and input attenuator
19.28.5.11. Swarm
Unison oscillator
19.28.5.12. Sampler
Module version of the Sampler device (see section 19.23.5).
19.28.6. Random Category

Aperiodic and randomized signal generators
19.28.6.1. Noise
White/pink noise generator
606
19.28.6.2. S/H LFO
Free/beat-synced random oscillator
19.28.6.3. Chance
Weighted random logic signal generator
19.28.6.4. Dice
Uniform random value generator
19.28.7. LFO Category

Periodic low frequency oscillators
19.28.7.1. LFO
Free/beat-synced geometric oscillator
19.28.7.2. Curves
A freely drawable, segmented LFO, with BWCURVE file support, making

use of the Curve Editor (see section 16.2.1.1)
› With all familiar LFO modulator/module controls
Hertz, Kilohertz, Bars or other beat-time units, or Hold)
source
This Rate–Timebase pair defines the speed of the oscillator, which

defaults to a setting of 1 Hz
› Phase parameter allows for full control of the envelope's position, small
variations, or anything in between
607


› A stereo Retrigger In port, as well as a pre-cord to Retrigger on Notes
› A stereo Phase In port and input attenuator
› A stereo Rate In port and input attenuator
› A Phase Offset (R) control, for adjusting the right channel's phase in
relation to the general Phase value
19.28.7.3. Wavetable LFO
A morphable LFO, with Bitwig WT file support
19.28.7.4. Clock
Phase-signal generator set in Hertz
19.28.7.5. Transport
Synced phase-signal generator
19.28.8. Envelope Category

Modules that produce or extract an envelope, often with a normalled
amplifier
19.28.8.1. ADSR
Four-stage gated envelope generator with amplifier. Three Model

options are available, shown by a clickable letter icon in the top left of
the module (A, R, or D):
608
› Analog - Emulating Moog-style fixed curves and nonlinearities
› Relative - With adjustable rate-differential curves
› Digital - Clean math with adjustable curves, for precise time segments
ADSR has the common Gate In port (for controlling the envelope), the
Envelope Out port (for the created envelope signal), and the Signal In
and Out ports (for attenuating any incoming signal via the envelope).
Additionally, ADSR also has a special Bias Out port. This port outputs
an offset version of the envelope signal that centers around zero in the
sustain segment. So if the Sustain level is set to 35.0 %, the Bias Out
signal will go from -0.35 to +0.65 in the attack segment, then coming
down to 0 (zero) in the decay segment. After holding at zero for the
sustain segment, the release will go from zero back down to -0.35. This
could be used for a pitch effect that stabilizes in the sustain segment, or
anything else you want to try.
19.28.8.2. AD
Two-stage triggered envelope generator with amplifier, looping mode,

and three Model options (see section 19.28.8.1)
19.28.8.3. AR
Three-stage gated envelope generator with amplifier and three Model

options (see section 19.28.8.1)
19.28.8.4. Pluck
Plucked string-style envelope generator with amplifier
19.28.8.5. Segments
A freely drawable, segmented envelope generator, with BWCURVE file

support, making use of the Curve Editor (see section 16.2.1.1)
› A freely drawable, segmented envelope generator
› With all familiar envelope module controls
› Four Play Mode options are available:
609
One-shot (⇀) - Plays thru the entire shape (while the voice is alive) at
note on
Hold (䷿) - Uses any one of the curve's points as the hold/sustain level,
which is also the release start
Looping (⥤) - Uses any two of the curve's points, and loops forwards
between them on sustain; the loop end point is also the release start
Ping Pong (⇌) - Uses any two of the curve's points, and loops
forwards and backwards between them on sustain; the loop end point
is also the release start
The hold point or loop region & start/end points are shown in the
inverse color of the interface
You can either drag one of these points to another point, or right-click
on any point and choose the appropriate option — either Set Hold
Point (when in Hold mode), or Set Loop Start / Set Loop End (when in
Looping or Ping Pong modes)
Minutes, Seconds, Milliseconds, Bars or other beat-time units, or Hold)
source
This Rate –Timebase pair defines the primary interval of the whole
envelope, which defaults to a setting of 1 bar, and with a shape that
ends after one iteration
The Curve Editor is scrollable and shows a time ruler in the primary
interval (1, 2… n), with the set number of grid units displaying within
each primary interval
Clicking and dragging in the ruler area allows for zooming and
scrolling, just as with the Arranger
Points can be added or dragged to extend the length of the envelope,

so taking the default settings and adding a point at the 4 line would
extend the shape to be 4 bars long


610
On the Polymer module version of Segments, both parameters are

available in a context menu when right-clicking on the module's
background
› A stereo Gate In port, as well as a pre-cord to Gate on Notes
› A stereo in and out port for an internal amplifier, under the control of
the envelope signal
› An Affect voice lifetime toggle to allow the module to keep voices

active
19.28.8.6. Follower-RF
Envelope extractor with segment times
19.28.8.7. Slope ↗
Slope shaper for rising signals
19.28.8.8. Slope ↘
Slope shaper for falling signals
19.28.8.9. Follower
Symmetric envelope extractor
19.28.9. Filter Category

Frequency-dependent amplifiers
19.28.9.1. Low-pass LD
Resonant low-pass ladder filter
611
19.28.9.2. Low-pass MG
A Moog-inspired low-pass filter, with mix buss saturation via the Drive
control
19.28.9.3. Sallen-Key
Resonant Sallen-Key filter, with 16 different models of either low-pass,

high-pass, or band-pass configurations, with various slopes
19.28.9.4. SVF
Highly resonant multimode filter
19.28.9.5. XP
Friend of Ladder device and inspired by Mr Oberheim, with 15 filter

configurations
19.28.9.6. Comb
Comb filter with Feedback control and Dampening Frequency (which is

relative to the module's Cutoff Frequency)
19.28.9.7. Vowels
An Inspired filter that produces vowel sounds
› Can be used several ways, including:
Setting (or hard modulating/automating) a single vowel
Setting and morphing anywhere between two and five vowels
Any combination, all with different configurations and vowel models
› Standard filter controls include:
Drive to affect the incoming signal level
612
A Q Limit Inspector Panel (or Resonance Limit via right-click context

menu) control, for adjusting when the filter model saturates
› Five Vowel Position choosers are available, located around a central,

bipolar Vowel Blend knob:
Vowel Blend at -100 % uses only the nearby Vowel Position 1
Vowel Blend at 0 % uses only the nearby Vowel Position 3
Vowel Blend at +100 % uses only the nearby Vowel Position 5
Vowel Blend corresponds to Vowel Position 2 at -50 % and Vowel

Position 4 at +50 %; if set to vowel sounds, only those values will be
heard; if set to None (the default), the surrounding vowels will be
blended perfectly there
Each position offers 27 different vowel sounds to choose from:
i - As in “see” or “eat”
y - With a rounded w-, like “we”
ɪ - As in “sit” or “hit”
ʏ - A medium oo, like “ooze”
ɨ - An exaggerated oo, like “eww” (gross)
ʉ - A slow oo, like "ooh!" (surprise)
ɯ - As in “hook” or “book”
u - As in “pool” or “cool”
e - As in “say” or “rain”
ø - With a closed -l, like “ool”
ɘ - Partly closed, as in “eh”
ɵ - As in “foot” or “would”
ɣ - Partly closed, as in “uh”
o - First sound in “coat” or “bold”
ə - As in “run” or “ton”
ɛ - As in “get” or “rent”
613
œ - With a round -l, like “ole”
ɜ - Partly closed, as in “ah”
ɞ - Partly closed, as in “aw”
ʌ - As in “fun” or “come”
ɔ - As in “more” or “floor”
æ - As in “cat” or “hat”
ɐ - With a subtle -r, like “are”
a - First sound in “hi” or “fight”
Œ - With an open -l, like “all”
ɑ - As in “far” or “star”
ɒ - As in “want” or “job”
Each Vowel Position can be set in two ways:
Clicking on any position opens a pop-up menu of all available vowels

sounds and description texts
Clicking and dragging on any position starts moving thru the vowels
sounds, for a quick workflow with audible results (if audio is passing)
In The Grid, a stereo in port (Vowel In) is available for adding to the
Vowel Blend value
› Profile selects which set of vowel data to use, with choices including:
Women 1 - an older data set, with average values from several women
Women 2 - a modern data set, with average values from several

women
Female - values from one individual female
Men 1 - an older data set, with average values from several men
Men 2 - a modern data set, with average values from several men
Male - values from one individual male
Kids - average values from several children

614
› The Topology chooser (on the right edge of the module) sets the
structure of the filter, from three choices:
Cascade - Serial low-pass filters; a bit better for traditional text-to-

speech sounds
LP/BP - Low-pass and band-pass filters, processed in parallel; a

synth-ier, Autobahn-friendly vibe
LP/BP/HP - Low-pass, band-pass, and high-pass filters in parallel;

adds a slight bit more highs
› Several parameters influence the tuning of the internal filters in use:
Cutoff Pitch Offset moves the internal filters by semitones
The Cutoff In port and its associated Cutoff Modulation Amount

attenuator allows stereo manipulation of the Cutoff Pitch Offset
Note: While this is like moving the cutoff of a normal filter up and
down, the result is different and you might want to start by disabling
pitch modulation
The Cutoff Frequency Offset (in the Inspector Panel or via right-click
context menu) allows linear frequency manipulation, which can be
interesting for formants
Resonance adjusts the relative sharpness of the internal filters
19.28.9.8. Fizz
A modern Character filter for spreading harmonic nodes around
› Has a bit of a moving formant sensibility
› Takes place inside a stereo, resonant low-pass filter, with standard

options:
Main Cutoff Frequency control
Stereo input for cutoff modulation, with Cutoff Modulation Amount

set in semitones
Key Tracking Amount, for using incoming note pitches to affect the
cutoff buss
› For this algorithm, additional controls include:
615
Feedback Gain, which feeds or chokes the nested filter
Feedback Cutoff Frequency, for tuning the nested filter
A bipolar Color control, which shifts the placement and variation of

formant peaks
An Alternate Color toggle, for a reorienting and different tuning of the

circuit
19.28.9.9. Rasp
A modern Character filter that can scream or whisper
› Creates resonant peaks on top of the standard filter
› Takes place inside a stereo, resonant filter, with standard options:
A Filter Type setting, to switch between an outer Low-pass filter or a

Band-pass model
Cutoff/Center Frequency control

set in semitones
cutoff buss
A Feedback Limit Inspector Panel (and right-click context menu)

control, for adjusting when the filter model saturates
Resonance, which enunciates or chokes the nested filter
A Brightness Mode setting, with various options for how resonance

peaks move:
Shift - Gently moves past the main cutoff, usually emphasizing a

central peak
Double - A tuned mixture of the Shift and Gravity modes
Gravity - Pulls and pushes toward the main cutoff with a bit of
magnetism
616
The bipolar Brightness control applies the set Brightness Mode,

bending the new resonant nodes thru various harmonic — and
inharmonic — positions
19.28.9.10. Ripple
A modern Character filter with hyper-resonance
› Three elemental modes provide different levels of fun/wreckage that

often anchors to harmonics of the incoming signal
› Takes place inside a stereo, resonant filter, with standard options:
Main Cutoff Frequency control

set in semitones
cutoff buss
Bipolar Feedback Gain, which feeds or chokes the nested filter
Feedback Cutoff Frequency, for tuning the nested filter
A Nature setting, with various models for the filter:
Earth - Gently moves past the main cutoff, usually emphasizing a

central peak
Wind - Focused feedback, ready to blow
Fire - Broad feedback, with some motion
Two additional toggles, Tweak Feedback and Tweak Feedforward,

modify those points in the filter circuit, either dampening or
expanding resonance
A Low Quality toggle (in the Inspector Panel or via right-click context
menu), for adjusting the filter's tuning and reducing the CPU load
617
19.28.9.11. All-pass
All-pass filter with adjustable slope
19.28.9.12. High-pass
High-pass filter with adjustable slope
19.28.9.13. Low-pass
Low-pass filter with adjustable slope
19.28.10. Shaper Category

Various linear and nonlinear waveshapers
19.28.10.1. Chebyshev
Nonlinear shaper that can target harmonics
19.28.10.2. Distortion
Gentle distortion, with optional Anti-aliasing mode
19.28.10.3. Hard Clip
Simple clipper, with optional Anti-aliasing mode
19.28.10.4. Quantizer
Reduces signal resolution, with optional Anti-aliasing mode
19.28.10.5. Wavefolder
Reflects each cycle back on itself, with optional Anti-aliasing mode
618
19.28.10.6. Diode
A Parametric shaper modeling the classic circuit in a modern way
› Bias parameter for offsetting the signal to be asymmetric
› Drive parameter for pushing the signal to bend
› Low-pass Cutoff Frequency control for rounding it off and restoring

some order
› One Drive parameter for going thru the module's unique path, with
optional high-order Anti-aliasing (AA)
19.28.10.7. Rectifier
Scales the positive and negative signal excursions separately, with

optional Anti-aliasing mode
19.28.10.8. Saturator
Waveshaper with loud/quiet settings + bipolar skews. Module version of

the Saturator device (see section 19.6.5).
19.28.10.9. Transfer
A freely drawable, segmented waveshaper, with BWCURVE file support,

› A freely drawable, segmented waveshaper
› With familiar shaper module controls and form
› Anti-aliasing (AA) toggle enables smoothed response of the shaper
› Modulatable Drive control that goes in both directions (±24 dB), for
pushing the incoming signal to interesting parts of the curve
› The unipolar mode (when Bipolar is off) has two options:
Clip - To truncate signals below zero at the value set there
619
Reflect - To mirror signal below zero negatively, good for processing

a bipolar signal symmetrically
19.28.10.10. Push
A Character soft clipper with a detailed curve, using one Drive parameter
for going thru the module's unique path, with optional high-order Anti-
aliasing (AA)
19.28.10.11. Heat
A Character S-shaped clipper that starts soft but can drive hard, using
one Drive parameter for going thru the module's unique path, with
19.28.10.12. Soar
A Character soft wave folder that makes the quietest parts loud, using
one Drive parameter for going thru the module's unique path, with
19.28.10.13. Howl
A Character wave folder that puts different parts of the signal into loud
focus, using one Drive parameter for going thru the module's unique
path, with optional high-order Anti-aliasing (AA)
19.28.10.14. Shred
A Character non-linear wave folder for subtle cancellation or big-time

artifacts, using one Drive parameter for going thru the module's unique
path, with optional high-order Anti-aliasing (AA)
19.28.10.15. Curve
Remaps defined input and output levels
620
19.28.11. Delay/FX Category

Delay functions and other time-based audio FX
19.28.11.1. Delay
Simple delay
19.28.11.2. Long Delay
Delay set in time or beat units; also allows feedback connections
19.28.11.3. Mod Delay
Modulator delay with internal feedback loop
19.28.11.4. Chorus+
Chorus, with four different Character modes. Module version of the

Chorus+ device (see section 19.14.1).
19.28.11.5. Flanger+
Flanger, with four different Character modes. Module version of the

Flanger+ device (see section 19.14.3).
19.28.11.6. Phaser+
Phaser, with four different Character modes. Module version of the

Phaser+ device (see section 19.14.5).
19.28.11.7. All-pass Delay
All-pass filter configured as a delay
621
19.28.11.8. Recorder
Signal capture device
19.28.12. Mix Category

Signal routing and mixing modules
19.28.12.1. Blend
Crossfades between two incoming signals
19.28.12.2. Mixer
Stereo mixer for up to six channels
19.28.12.3. Pan
Panning control
19.28.12.4. Stereo Width
Signal width control
19.28.12.5. Toggle In
Switch between two incoming signals, with a button directly on the

module
19.28.12.6. Toggle Out
Switch between two outgoing paths, with a button directly on the

module
622
19.28.12.7. Toggle
Signal gate, with an on/off button directly on the module
19.28.12.8. Crossover-2
Two-band Linkwitz–Riley frequency split, for subsequent routing/audio

processing of your choice
Note
This module swaps well Filter modules, maintaining the Crossover-2

frequency by using it for the primary frequency control of just about
any filter, and vice versa.
19.28.12.9. Crossover-3
Three-band Linkwitz–Riley frequency split, for subsequent routing/audio

processing of your choice
Note
When replacing Crossover-2 with Crossover-3, the Crossover-2

frequency will be used for the Low Crossover Frequency parameter of
Crossover-3.
19.28.12.10. Select In
Binary selector between two incoming signals
19.28.12.11. Select Out
Binary selector between two outputs
19.28.12.12. Merge
Router with up to eight in ports, passing one or two adjacent incoming

signals out at a time
623
19.28.12.13. Split
Router with up to eight out ports, sending the incoming signal to one or
two adjacent out ports at a time
19.28.12.14. LR Gain
Independent gain controls for a signal's left and right channels
19.28.12.15. Stereo Merge
Constructs a signal from left/right and mid/side components
19.28.12.16. Stereo Split
Separates a signal into its left/right and mid/side components
19.28.12.17. Voice Stack Mix
Modulatable processor with standard mix controls (volume, panning,

solo, enable) for each voice in the stack, at any point within a patch
19.28.12.18. Voice Stack Tog
Modulatable processor to toggle the signal for each voice in the stack, at
any point within a patch
19.28.13. Level Category

Amplitude-based functions, values, and converters
19.28.13.1. Level
Constant set in decibels
624
19.28.13.2. Value
Constant set as percentage
19.28.13.3. Amplify
Signal amplifier set in percentage (up to 800 %)
19.28.13.4. Attenuate
Signal attenuator
19.28.13.5. Bias
Signal offset
19.28.13.6. Gain - dB
Decibel gain control
19.28.13.7. Gain - Vol
Volume gain control
19.28.13.8. Velo Mult
Velocity-controlled scaler
19.28.13.9. Average
Signal averager
19.28.13.10. Lag
Lag processor
625
19.28.13.11. Bend
Imposes a variable curve onto a signal
19.28.13.12. Clip
Signal clipper
19.28.13.13. Level Scaler
Scales incoming unipolar signal to a defined decibel range
19.28.13.14. Pinch
Imposes an S-curve onto an audio signal, with Stereo-ize option
19.28.13.15. Value Scaler
Scales incoming unipolar signal to a defined value range
19.28.13.16. AM/RM
Crossfades between dry carrier, classic amplitude modulation, and ring

modulation
19.28.13.17. Hold
Level sustainer
19.28.13.18. Sample / Hold
Level sampler
19.28.13.19. Shift Register
Serial level sampler, with up to eight out ports
626
19.28.13.20. Bi→Uni
Converts a bipolar signal to unipolar
19.28.13.21. Uni→Bi
Converts a unipolar signal to bipolar
19.28.13.22. Poly→Mono
Flattens any signal, making it the same for all voices. With five modes:
› Last - Newest voice's signal
› Sum - All voices are added together
› Average - All voices are averaged
› Min - Lowest signal level is used
› Max - Highest signal level is used
19.28.14. Pitch Category

Modules that produce pitch values
19.28.14.1. Pitch
Constant set as pitch
19.28.14.2. Octaver
Octave pitch shifter
19.28.14.3. Ratio
Ratio-based pitch shifter
627
19.28.14.4. Transpose
Semitone pitch shifter
19.28.14.5. Pitch Quantize
Quantizes incoming signal to designated or currently held pitch classes
19.28.14.6. by Semitone
Quantizes incoming signal to exact semitones
19.28.14.7. Pitch Buss
Pitch summing buss with attenuators for up to six inputs
› Attenuators are set in a range of ±36 semitones
› Inputs two to six also have a Thru (No Attenuation) option (a clickable
= icon) that adds that incoming signal without attenuation, good in the
case of actual pitch signals, etc.
19.28.14.8. Pitch Scaler
Scales incoming unipolar signal to a defined pitch range
19.28.14.9. Zero Crossings
Rough pitch estimator
19.28.14.10. Freq → Pitch
Hertz (or kilohertz) to pitch converter, with optional stereo detune
19.28.14.11. Pitch → Freq
Pitch to Hertz (or kilohertz) converter, with optional stereo detune
628
19.28.15. Math Category

Basic arithmetic operators
19.28.15.1. Constant
Constant for large, precise numbers
19.28.15.2. Invert
Gives a button to reverse polarity (× -1) of the incoming signal, with

Stereo-ness option
19.28.15.3. Reciprocal
Gives a button to flip (1/x) the incoming signal, with Stereo-ness option
19.28.15.4. Add
Add two signals
19.28.15.5. Divide
Divide one signal from another
19.28.15.6. Multiply
Multiply two signals
19.28.15.7. Subtract
Subtract one signal from another
19.28.15.8. Abs
Separates a signal into its magnitude and sign components
629
19.28.15.9. Ceil
Rounds all decimal values up to the next integer
19.28.15.10. Floor
Rounds all decimal values down to the previous integer
19.28.15.11. MinMax
Provides the current higher and lower values of two signals
19.28.15.12. Quantize
Uses a set step size for the signal
19.28.15.13. Round
Rounds all decimal values below '0.5' increments down and those at or
above '0.5' up
19.28.15.14. Product
Multiplies all inputs together
19.28.15.15. Sum
Adds all inputs together
19.28.15.16. Exp
x x x
Provides either 2 , e , or 10 of the incoming signal (x), depending on the
Base parameter
630
19.28.15.17. Exponents
Provides a power of the incoming signal, with an integer Exponent

parameter between -9 and +9
19.28.15.18. Lin → dB
Converts linear amplitudes to decibel values
19.28.15.19. Log
Provides either log2x, logex, or log10x of the incoming signal (x),

depending on the Base parameter
19.28.15.20. Power
Raises one signal to the power of another
19.28.15.21. Roots
Provides a root of the incoming signal, with an integer Degree parameter

between 1 and 9
19.28.15.22. dB → Lin
Converts decibel values to linear amplitudes
19.28.16. Logic Category

Comparators and other modules that output logic signals
19.28.16.1. Button
Toggle for sending a logic signal
631
19.28.16.2. Trigger
Momentary toggle for sending a logic signal
19.28.16.3. Clock Divide
Divides a clock signal to trigger every N pulses
19.28.16.4. Clock Quantize
Holds a trigger signal until the next clock pulse
19.28.16.5. Gate Length
Produces a logic pulse of set duration on trigger
19.28.16.6. Gate Repeat
Produces repeated logic pulses of set duration while input is high
19.28.16.7. Logic Delay
Delays the high- or low-logic states
19.28.16.8. Latch
Allows trigger signals to alternate or set an output state
19.28.16.9. N-Latch
Allows trigger signals to alternate between multiple output states
19.28.16.10. =
Comparator assessing if two signals are roughly equal
632
19.28.16.11. ≥
Comparator assessing if one signal is either greater than or equal to

another
19.28.16.12. >
Comparator assessing if one signal is greater than another
19.28.16.13. ≤
Comparator assessing if one signal is either less than or equal to another
19.28.16.14. <
Comparator assessing if one signal is less than another
19.28.16.15. ≠
Comparator assessing if two signals are unequal
19.28.16.16. NOT
Logic inverter
19.28.16.17. AND
Logic gate seeking all inputs to be true
19.28.16.18. OR
Logic gate seeking any input to be true
19.28.16.19. XOR
Logic gate seeking only one input to be true
633
19.28.16.20. NAND
Logic gate seeking any inputs to be false
19.28.16.21. NOR
Logic gate seeking all inputs to be false
19.28.16.22. XNOR
Logic gate seeking all inputs to be matching
19.29. Legacy Devices

These Bitwig devices were previously included at the top level of the
program. They are still part of Bitwig Studio for compatibility purposes.
19.29.1. Audio MOD

(A Bitwig Studio version 1 modulator device; now a container device,
when shown) A modulator that applies a filter and envelope follower to
an incoming audio signal, which is then used as the control signal.
19.29.2. LFO MOD

when shown) A modulator that provides two low-frequency, tempo-
syncable oscillators as independent modulation sources.
19.29.3. Note MOD

when shown) A modulator that takes incoming or designated note
signals and creates summed, monophonic versions of their expressions
along with a configurable envelope signal.
634
19.29.4. Step MOD

when shown) A step sequencer whose output is used as a modulation
source.
635

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BITWIG STUDIO 5.

This user guide was written by Dave Linnenbank.

Updated for Bitwig Studio version 5.2, July 2024.

Bitwig GmbH | Schwedter Str. 13 | 10119 Berlin - Germany

©2024 Bitwig GmbH, Berlin, Germany. All rights reserved.

1. Bitwig Studio Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

2. Anatomy of the Bitwig Studio Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

3. The Arrange View and Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

3.2. Intro to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

4. Browsers in Bitwig Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

5. Arranger Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

5.1.8. Looping Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

6. The Clip Launcher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

6.3.1. How the Arranger and Launcher Work Together . . . . . 167

7. The Mix View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

8. Introduction to Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

9.2.2. Clip Editing Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

10. Working with Audio Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

11. Working with Note Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

11.1.2.5. Timbre Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

12. Operators, for Animating Musical Sequences . . . . . . . . . . . . . . . . . . . . . . . . . 344

13. Going Between Notes and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

14. Working with Projects and Exporting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

14.2.2. Project Remotes Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

15. MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

16. Modulators, Device Nesting, and More . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

17. Welcome to The Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

17.1.2. Working with Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

18. Working on a Tablet Computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500

19. Device Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510

19.4.12. Stereo Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516

19.12.1. E-Hat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

19.20. Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554

19.27.3.6. Select-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

19.28.1.13. Note In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

19.28.4.8. Ø Saw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601

19.28.9.8. Fizz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

19.28.12.16. Stereo Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624

19.28.15.9. Ceil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630

The purpose of this document is to walk you thru most of Bitwig

In addition to this document, other resources will be mentioned

0.1. What's New in Bitwig Studio v5.2

› New audio FX device: Compressor+ (Dynamics), an all-in-one

› New audio FX device: Over (Distortion), an anti-aliased clipper, with

A Trio of Inspired EQs

› New audio effect: Sculpt (EQ), a component-model of the renowned

› New audio effect: Focus (EQ), a component-model of the renowned

Precision Editing, with Key Commands and Time Selection

› Clip editing in the Arranger offers various functions and default

› Automation editing offers various functions and default mapping (see

Beat Detection & New Tempo Functions

› A new Apply Tempo Curve to Arranger function writes tempo

› A new Set Project Tempo function changes the project tempo to

Other new things include:

› New Grid module: Crossover-2 (Mix), a two-band frequency split (see

› New Grid module: Crossover-3 (Mix), a three-band frequency split (see

› New Grid module: All-pass (Filter), a filter with adjustable slope in a

› Updated device: FX Selector (Container) now has adjustable fade

› Updated Polymer/Grid module: Wavetable (Oscillator) now has new

› Updated Grid module: Velocity In (I/O) now has a Velocity Mode