A floating window then pops up, showing you a graph of the statistical breakdown of values of the property or expression that's currently selected. This is revealed when clicking the little button next to some of the Inspector Panel's properties when multiple items are selected. Hiding within the Inspector Panel is what I consider to be one of Bitwig's secret weapons: the histogram. It then provides a detailed view of the available properties of the selection, allowing you to take out your scalpel for detailed editing. This is a window that lives on the left side of the screen in Bitwig and adapts to whatever is presently selected within the application. The whole clip/event/expression breakdown gets even more interesting once you discover the Inspector Panel. These include gain, pan, micro-pitch and timbre, which can all be automated (including the ability to draw curves) to provide a level of expression unachievable with normal MIDI. MIDI events also have the expected velocity values, but there are an additional three expressions that can be set when the MIDI clip is controlling one of Bitwig's devices. For audio events, this includes the obvious choices such as gain, pan, pitch, stretch and onsets (warp markers). Each event then has a set of corresponding expressions, which are parameters that can be set and automated across the event. A single clip can have multiple events in it, which means you could have snippets from different samples inside a single clip. You can even overlay the waveform of an audio track as a background, providing yet another frame of reference for a cohesive MIDI-editing experience.Īudio and MIDI editing in Bitwig is more comprehensive than in most DAWs, thanks in part to what they call events and expressions. This lets you reference the timing of notes from one track while editing another. Another lesser-known example of Bitwig's polish is the ability to layer multiple clips together for viewing and editing. This makes for a much nicer transition between the sketching and arranging phases of production, smoothing out what is one of the roughest spots in many producers' workflow. The most obvious and well-marketed example of this is the ability to view the clip launch matrix right next to the arrange view. But in Bitwig these have a much more dynamic nature, offering more options to shape what is presented at any given time. The Arrange and Mix views will feel familiar to anyone who has used Live before.
#Rewire vst and bitwig full
This allows you to have, for example, an overview of the full project on one monitor and select tracks or clips for editing on another. The workflow feels similarly refined, with three main views (Arrange, Mix and Edit) that can span up to three monitors by way of user-configurable display profiles. Although tastes will vary, Bitwig Studio's UI is fairly sleek and modern, landing somewhere between Logic and Ableton on the surface. The first thing you'll notice is the user interface. As a longtime Ableton Live user, I was interested to see what was left to really set it apart from all of the DAW options out there, especially its obvious inspiration. On March 26th, Bitwig finally emerged from a lengthy beta phase and was released into the wild. Live 9 was released, beating Bitwig to the punch on some of the features they'd touted in that early reveal, like dual screen support and session view automation. Two years on, much has happened in the world of music tech. A short video and accompanying press release was all we got back then, but that was enough for more than a few people to preemptively declare Bitwig to be the future king of DAWs. The development team was rumored to include more than one former Ableton programmer, and Bitwig appeared to improve on many of the core constructs that made Live such a huge success.
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