When setting a modulation range of a cubic parameter (such as any envelope time setting, or module attenuator, etc. When setting a modulation range of a logarithmic parameter (such as the Rate scaler for the LFO modulator or Grid module), positive modulations will be shown with × and negative modulations with ÷, since the modulations are multiplicative of the current setting. When setting a modulation range of a linear parameter, the unit will be shown while mapping. Polymer/Grid module update: Sub (Oscillator) now has a Sawtooth option for Waveform, offering six settings (see Sub).Ĭomments can now be added to any track, layer (within one of our Layer devices), drum chain (within our Drum Machine device), Launcher scene, or Arranger cue marker: Polymer/Grid oscillator module updates: Pulse, Sawtooth, Sine, Triangle, Union, Wavetable, Phase-1, and Swarm each have an extended Phase Modulation Amount range, going up to 800 % for a broader range of digital phase/frequency modulation sounds (see Polymer). Polymer/Grid filter module updates: Low-pass LD, Low-pass MG, Sallen-Key, SVF, XP, and Comb each have a Resonance Limit parameter (sometimes shortened as Q Limit), defining the point of clipping/saturation within each filter's resonance stage - and contributing to the color of its sound (see Polymer). Polymer/Grid module update: Comb (Filter) now has a low-pass filter in the feedback loop and a Dampening Frequency control, which is relative to the module's Cutoff Frequency (see Comb). Polymer/Grid module update: Sallen-Key (Filter previously "Low-pass SK") now has 16 Filter Mode options, including low-, high-, and band-pass configurations (see Sallen-Key). The Polymer default preset now uses an ADSR envelope set to Analog mode, for its classic response and ease of use. The top left of each module shows capital letter icon (either A, R, or D) to reflect the mode, and is clickable to switch modes via pop-up menu. But you will not make sound in this chapter that is what the rest of this document is for.
Finally, we outline a few conventions that will be used across this document.
We will move on to the Dashboard, which is more or less the command center of Bitwig Studio. In this chapter, we will begin with links to sections that have changed in this version. And please share any feedback you have or issues you encounter by visiting our support portal. In addition to this document, other resources will be mentioned when appropriate, and you can always visit Bitwig's website for the latest information.
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. The chapters and topics are arranged progressively, with basic concepts appearing first and advanced ideas showing up later.
The purpose of this document is to walk you thru most of Bitwig Studio's functions and show you how to operate the program.
And if you are viewing the PDF version, use your program's normal features for browsing sections, searching, etc. 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). Welcome to Bitwig Studio! We are glad you have joined us and are excited to help you create, compose, polish, and perform your music.Īnd welcome also to our Bitwig Studio 16-Track and Bitwig Studio 8-Track 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.