Metadata Management System and Multiple Document Editing It saves you the time of having to switch between multiple tracks and edit each individually-which is especially helpful, as beats become more and more complex with multiple interacting elements. You simply select which tracks you want to appear within the editor, and Bitwig superimposes the color-coded MIDI data accordingly. This makes it easy to align the timing and adjust the velocity, gain, pan, and timbre of the various elements that form your beat. One of my favorite features in Bitwig is the layered editing system, which enables you to edit multiple MIDI tracks from your arrangement within the same piano-roll view. The sense of groove and musicality in the included loops kept me up playing with the software until five or six in the morning, the first few nights. I found the sound of Bitwig’s in-house-developed virtual instruments and effects to be warm and engaging. I primarily use Ableton’s Complex and Complex Pro warping algorithms, and it felt very natural working with Bitwig’s Stretch and Stretch HD modes. Ableton Live did so much to innovate in this regard, and I was pleased that Bitwig offered comparable functionality, albeit with slightly fewer algorithms for controlling the way time can be manipulated. For my music-making interests, time-stretching audio files is one of the most important functions of the sequencing software. To my ear, comparing the two programs side by side, I was able to stretch audio files equally well in all modes in both DAWs. Sound Engineīitwig supports time-stretching in a manner similar to Ableton’s Repitch, Complex, and Complex Pro warping algorithms. It was clear that the developers had dedicated a tremendous amount of time and effort to optimize the friendliness of the overall user experience. I was able to create freely, without having to slow down too much, or stop to consult a manual or help box. I was able to make my way around the software so intuitively that it felt like I had used it in a past life. This made learning to use the program quick, easy, and very satisfying. The user interface of the program is pretty ingenious, with every function appearing in a place one would expect. Every time I open the program, I feel like I'm opening up a new box of 96-count crayons, and I feel inspired to get creative. Visual Design and User Interface Experienceīitwig’s visual design is colorful, simple, and clean. For this review, I opted to install everything, so I could get a better idea of the software’s functionality, as well as the sound designer support, as of the launch. Then the installer offered me the option of installing Bitwig’s associated sound content (a few gigs of virtual instruments, samples, and loops). Upon launching the software for the first time, I was prompted with an activation log-in and asked to authenticate my installation. It will give you a good idea of the program’s potential, and how it can help you make music. The demo is a fully functional version that allows you to do everything except save and export. I strongly recommend downloading the demo of the software so you can try it out for yourself. Within a few minutes of creating my user account at, I downloaded the installer file (which is about 144MB compressed), and was up and running with the software (approximately 300MB uncompressed). Installationīitwig is available for computers that run Mac, Windows, and Linux operating systems, making it one of the few DAWs on the market that's cross-compatible between the three. In this article, I will provide you with an overview of the program, highlight some of the features that make Bitwig special, compare the workflow with Ableton Live 9, and share my recommendation. A few weeks ago, I started using Bitwig Studio, a new music-production software from a team of developers based in Berlin, Germany.
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