I love making music without a computer screen and a mouse, but the modules included in The Grid environment expanded my synthesis by the number of outputs I have – add something like an Expert Sleepers' ES-8 USB interface for the Eurorack, and you have even more CV options!īitwig implements what is called a Hybrid Track that allows for both audio and note clips on the same channel without bouncing in place or losing Devices. Through a DC-coupled interface, external hardware modular systems can not only be controlled by and within Bitwig, but parameters can also be commanded via control voltage. I have invested a considerable amount of money into the Eurorack format, and with Bitwig the integration between DAW and modular has never been tighter. This would be worthless if it didn't sound good, but it does – good enough to be a standalone device.
The Grid's devices can be nested with other devices and are completely intertwined in your project. Within the Grid environment there are over 160 modules, ranging from oscillators, filters, and math-to-logic functions (which can be cabled together in any fashion). With the release of Bitwig 3, The Grid was announced as a modular environment, bringing us two devices: The Poly Grid and the FX Grid.
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From simple uses of a sine wave LFO modulating a filter cutoff, to more complex concepts via modulating the modulator, these sources can be routed anywhere within a nested chain, plus a single modulator can affect multiple destinations. With over 30 modulation types, what was once static becomes very dynamic. There is modulation on every device, including third-party plug-ins – the power of this is not to be understated. It utilizes a simple concept called Device Nesting in order to create complex signal chains that can be saved and recalled, but more importantly, it allows for creative signal routing – think feedback loops or creating need-specific multiband devices. I did not have the capabilities to try the touch integration built into the DAWs architecture, but Bitwig hosts an open controller API which allowed me to utilize an existing Ableton Push controller, as well as a Lemur iPad controller template to interact with the software. If a plug-in crashes during a session, the Sandbox feature keeps your project from crashing and allows control over plug-in hosting options.
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However, full native support of both 32 and 64-bit VSTs do exist without need for a bridge. Bitwig is cross-platform compatible – macOS, Windows, and Linux (about time)! Because of this, there is no support for Audio Units. While learning what every knob and button does, you are actually changing the Device on that track. With a keystroke, the brilliant Help window appears, featuring an annotated, interactive version of the Device in question. Navigating Samples, Presets, and Devices (virtual instruments, audio effects, and other tools to create and process sound) via the pop-up browser allows auditioning, tweaking, and playing of different sounds without stopping playback.
The GUI is vector-based, and scalable, displaying as much or as little as is required.
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After investing time learning Bitwig's workflow, I must admit that there is no way I can cover all the features of this software within the scope of this review, so let's focus on the features and concepts that I found most exciting.īitwig's UX design is well considered and musically mindful. The tools you have come to expect from a recording platform are all there, and it is a serious music creation tool. Modularity weaves through all facets of this application, and full modular systems cannot only be constructed but also interact inside of the DAW. Is it a modular sound design tool masquerading as a DAW, or is it a DAW acting as a modular instrument? Bitwig Studio blurs these boundaries, creating an environment where traditional linear time and clip-based arrangements coexist.
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