Absolutely loving the new modules in Filter+
5.1 is great. Hoping they give me a video window (I use an external plugin) and port it to ipad (like logic)

I use the iPad pro m2 as a synth, editor, touch surface etc. I have it connected to a UA volt usbc.. I have Bias ultimate for guitar etc..Hoping Bitwig is ported over to iOS.

I control Bitwig remotely via streamdeck for iPad even though I have a Streamdeck for Davinci Resolve & Affinity suite both of which are are awesome on ipadwith the Pencil. The M2 ipad is really powerful and is like a touch laptop.
IPad pro is a pretty decent screen using sidecar too.

I have a full cinema rig cage for the iPhone shooting Log onto an SSD.

Pretty much use Bitwig for everything nowadays. The modulation, grid & optioned are incredibly powerful.

 

Last edited: Dec 24, 2023

Spoiler: Bitwig Studio 5.1.1 prerelease [released 21 December 2023]

IMPROVEMENTS

• EQ-DJ (EQ) device: Added a remote control page oriented for vertical controllers
• Send's enable and pre/post settings are now mappable
• CLAP: Improved automation playback
• CLAP: Voice Stacking Limit increased to 16

FIXES

• Fixed a crash when launching set-clip-start action on selected clip automation time range [33991]
• Fixed a crash when using plug-ins in a project with more than 12 (twelve) return tracks [34660]
• Polymer (Synth) device: Fixed a crash when switching presets while the Expanded Device View is open [34295]
• Dragging a Poly Grid preset onto Polymer now properly loads the preset [33494]
• User-assigned shortcut for zooming arranger lane height of selected tracks affected all tracks [34649]
• Shorter French and Spanish translations for fade-in/out, as it was changing the width of the inspector [34648]
• Pasting time-range from multiple tracks including master track in a group was not working if Show Master Track Content was selected [34586]
• Using scale actions on clips did not scale automation when automation-follow was active [34333]
• Sample preview in browser did not sync to project tempo upon initial selection [34717]
• Fixed excessive memory use of certain projects [34593]
• Controllers: button mapping feedback was not updated during automation playback [34572]
• CLAP/PresetDiscovery: connection to the plug-in host is no longer lost when setting the metadata flags
• ALS Import: Allow 3rd party files which have automation events sorted in the wrong order to be imported [34647]

Spoiler: Bitwig Studio 5.1.2 prerelease [released 22 December 2023]

FIXES

• Previewing one-shot samples in the preview player could leave it spinning in a load-loop forever, when set to sync to tempo. [34736]

 

Spoiler: Bitwig Studio 5.1.3 [released 02 February 2024]

NEW FEATURES

• Swapping from one filter module to another now finds the best match for any filter mode and/or slope parameters
• This works for the following filters when in Polymer (Synth), Filter+ & Sweep (Filter), or any device using The Grid:
  • Sallen-Key
  • XP
  • SVF
  • Rasp
  • Low-pass LD
  • Low-pass MG (when switching from this module to another)
  • Low-pass (available in The Grid)
  • High-pass (available in The Grid)
• Controller script added for Akai APC64

IMPROVEMENTS

• Note In (I/O) Grid module: Now has an option to receive both Note On & Off Velocities
  • This is off by default when loading the module, providing only note on velocities
  • Note Grid (The Grid) device: Default patch has the new Note On & Off Velocities setting on by default, setting note off velocities thru for further use [31281]
• Velocity In (I/O) Grid module: Now has an option for which messages to respond to:
  • Note Ons (the default setting) provides velocities from note on messages
  • Note Offs provides velocities from note off messages
  • Ons and Offs dynamically provides both note on velocities and note off velocities
• CLAP: Updated to version 1.2.0
• Controller Scripts: Novation Launchpad Mini Mk3 and Launchpad X: Added Session Overview Mode

FIXES

• Chebyshev (One Knob Shaper) Filter+/Sweep/Grid module: Remove DC filter is now inactive when loading older projects [34737]
  • When swapping to Chebyshev in Filter+ or Sweep (or within The Grid), the Remove DC option will be enabled
• Bouncing now considers any input dependencies from track modulators [34774]
• Improved GUI performance for projects with a large number of scenes and a large number of tracks [34662]
• Instrument Selector, FX Selector, and Note FX Selector (Container) devices: Now uses the correct MIDI channel for Keyswitch, CC, and Program Change voice modes [34858]
• DAWproject: Arranger Cue markers are now properly imported [34661]
• ALS import: Fixed an error with projects created by Korg Gadget [34853]
• Pasting notes was not allowed in some cases [34672]
• Keyboard shortcut to Remove/restore Stop Button of Clip Launcher slots now works [34925]
• Toggling a Launcher slot's Has stop/rec button parameter and then undoing the change would show the wrong state in the Inspector Panel
• Detail Editor Panel no longer scrolls slightly when transposing note selection that is longer than the visible area [34855]
• Hardware Controller API: Manual mappings from a button with a light to a toggle also visualizes the state on the light
• macOS: On Monterey, plug-ins should no longer crash when showing the system's open/save dialog [34926]
• Fixed rare crashes when invalid data is sent from some USB devices [30980]
• Controller Script: Launchpad X: Send B is working properly now in Mixer Mode [33493]

 

Spoiler: Changes in Bitwig Studio 5.1.4 prerelease [released 28 February 2024]

NEW FEATURES

Support for SSL hardware controllers and plug-in mixing system
Note: This requires the SSL 360° version 1.7 update

IMPROVEMENTS

Memory-usage optimizations when loading older projects in Bitwig Studio
Added mappable shortcuts to Increase/Decrease Tempo by 1 BPM and Increase/Decrease Tempo by 0.1 BPM

FIXES

Export audio in offline mode did not work with some plug-ins anymore (a regression) [35075]
Realtime rendering can now be turned off again [35060]
Clip Launcher: White highlight frame is now painted again for clips within group tracks (a regression) [35097]
FX Grid (The Grid) device: Loads pre v5.1.x FX Grid presets, etc. with Auto-gate from Notes disabled [35135]
Convolution (Reverb) device: No longer crashes Bitwig when dragging AIF files onto device [35053]
Detail Editor Panel: Drawing a velocity ramp was not working for some clips/notes in Track mode [35007]
Notes without gain expression no longer show a Spread value of 100 % in the Inspector Panel [35055]
Windows: Chain (Container) device's text isn't cut off anymore [32616]
Arturia Keylab Essential MK3 script: Fixed a crashing bug [#79]
Novation Launchpad Pro script: LEDs paint correct colors again (a regression)

Spoiler: Changes in Bitwig Studio 5.1.5 prerelease [released 29 February 2024]

FIXES

Deleting a scene no longer crashes the program (a regression in v5.1.4) [35184]

 

Spoiler: Changes in Bitwig Studio 5.1.6 [released 12 March 2024]

FIXES

• Control Surface API: Now truncates sent sysex messages to the first F7 byte
• TouchDesigner controller script: Is only included once

 

Spoiler: Changes in Bitwig Studio 5.1.7 [released 28 March 2024]

IMPROVEMENTS

• Sampler (Synth) device: Now loads the user-defined default preset when dropping in an audio file to create a Sampler instance [35150]

FIXES

• Creating audio expressions with the Pencil tool while holding [ALT] was sometimes leaving a lot of "ghost points" in the window and eventually crashing the app (a regression) [35325]
• Diode (Shaper) Filter+ / Sweep / Grid module: Was not always reseting properly, leading to silent output after bounce [FLOAT-35311]
• Latch (Note FX) device: Did not stop on transport when Note FX chain is closed [35169]
• MIDI Program Change (MIDI) device: Was not sending program 1 upon loading into the engine [35192]
• After re-activating a plug-in, its resources would never be freed (on delete) [34924]
• Copying clips or time to clipboard and then pasting in a drum pad would crash the program [34695]

 

Last edited: Apr 19, 2024

Spoiler: Changes in Bitwig Studio 5.1.8 BETA [released 17 April 2024]

FIXES

• Fixed cases where the engine could sometimes get stuck loading a plug-in (if the sandbox crashed at a very early point) [35268]
• Clock Divide (Logic) Grid module: Reset in port was not being respected (a regression) [35524]
• Recording Launcher into Arranger ("global record") could produce slightly wrong automation in some cases [35457, 35580]
• Editing Launcher clip automation while it is being recorded to the Arranger was recording the wrong automation, and sometimes deleting points that have already been recorded [35586]
• Automation was displayed incorrectly in the Automation Editor Panel (in Clip mode) after recording a Launcher clip with automation to the Arranger [35585]
• Automation Editor Panel in Clip mode was sometimes displaying as empty when selecting an Arranger clip
• Recording a discrete parameter from the clip Launcher with a point at the loop end would cause an infinitely thin automation spike to be recorded [35583]
• Realtime Bounce and Export functions always process every single track, so you can hear them [35523]
• Double quotes (") in comments or project metadata no longer break MP3 exports [35421]
• VST3: Fixed a memory leak in message handling [LSP #383]
• Linux: Corrected bad plug-in window hints

 

Spoiler: Bitwig Studio 5.2, Beta 1 [released 25 April 2024]

NEW DEVICE: COMPRESSOR+ (DYNAMICS)

• Takes a different approach to compression with:
  • Three modes of operation, beginning with Standard
  • Character options for different styles of compression
  • Multiband analysis of the incoming (or sidechained) signal
  • VCA Color options for toning up only the affected signal
  • And more…

THREE MODELS IN ONE

• 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
  • 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

CHARACTER COUNTS

• 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, UNIFIED COMPRESSION

• Analysis happens in four different frequency bands
• The central display visualizes how much gain change is being contributed by each band:
  • Lows are shown in red
  • 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

A CHOICE OF VCA FLAVORS

• VCA Color Mode determines the tonal character imbued upon the compressed signal only:
  • Clear (the default) applies no coloring
  • 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

AND MORE

• 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 earlier 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
  • 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+

INSPIRED EQS

• A new trio of musical EQs are here
• All three work with fewer parameters to achiever quicker, trusted results
• Each marries a classic design and interface with modern niceties, such as:
  • 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 gain curve of each EQ both on the device panel and in the Mixer Panel

NEW DEVICE: SCULPT (EQ)

• A component-model of the renowned Pultec EQP-1, but with variable Color options, and other modern niceties
• 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:
  • 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

NEW DEVICE: FOCUS (EQ)

• 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
  • 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

NEW DEVICE: TILT (EQ)

• 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.

PRECISION EDITING

• Bitwig has long had both object selection (when clicking on a clip, event, automation point…) and time selection (when dragging an area of time across one or more tracks)
• Time Selection mode now has key commands for jumping across areas of interest, making editing both fast and precise
• New functions are available for editing with a single point in time selected
• Object Selection improvements have come too

TIME SELECTION + KEY COMMANDS = QUICK EDITS

• With a time selection (such as clicking in the lower half of any Arranger clip, or in an editor panel), the default Bitwig Studio key commands allow:
  • [←] and [→] move to the next relevant event
  • These events include:
    • For note clips, note start and end positions
    • For audio clips:
      • Onsets positions (above the set Onset Threshold)
      • Fade start and end positions
      • Pre-fade start times
    • Event start and end positions
    • Clip start and end positions
    • Loops start and end times
    • Arranger Loop start and end times
    • Arranger Cue Marker positions (if cue markers are visible in the current editor)
  • [SHIFT]+[←] and [SHIFT]+[→] create or extend a selection to the next relevant event
  • [ALT]+[←] and [ALT]+[→] move using the editor's current beat grid marker value
  • [SHIFT]+[ALT]+[←] and [SHIFT]+[ALT]+[→] move a finer amount, using a sixteenth of the editor's current beat grid value
  • [CTRL]+[←] and [CTRL]+[→] ([CMD]+[←] and [CMD]+[→] on Mac) jump to the first or last relevant event
    • Adding [SHIFT] creates or extends your current selection
  • On the Arranger, [↑] and [↓] move between tracks or, if selection is in an automation lane, between automation lanes of the current tracks
    • Adding [SHIFT] extends your current selection to include this track as well, even if only a single point in time is selected

NEW TIME-SELECTION EDITING FUNCTIONS

• Set Object Start (default mapping: [SHIFT]+[8]) makes the current time the new start time for the clip or event happening here, removing any earlier material
• Set Object End (default mapping: [SHIFT]+[9]) makes the current time the new end time for the clip or event happening here, removing any later material
• Fade In to Here (default mapping: [SHIFT]+[7]) makes the current time the end of a fade in for the audio clip or event happening here
• Fade Out to Here (default mapping: [SHIFT]+[0]) makes the current time the end of a fade out for the audio clip or event happening here
• All four functions can be applied to single tracks, or to multiple tracks when selected (by [SHIFT]+[↑] and [SHIFT]+[↓], for example)
• Switch between Object and Time Selection (default mapping: [CTRL]+[T]) is available in the Edit menu
  • This lets you take advantage of both workflows

OBJECT SELECTION IMPROVEMENTS

• [ALT]+[←] and [ALT]+[→] move selected clips on the Arranger by the current beat grid value
  • [SHIFT]+[ALT]+[←] and [SHIFT]+[ALT]+[→] move by a sixteenth of the current beat grid value
• [↑] and [↓] now transpose audio clips on the Arranger by a half step (semitone) up or down
• [SHIFT]+[↑] and [SHIFT]+[↓] transpose audio clips on the Arranger by an octave up or down
  • When the clip already contains Pitch expressions, all points are transposed by a semitone or an octave

BEAT DETECTION AND NEW FUNCTIONS

• Our new, higher-resolution onset detector from Bitwig Studio v5 provides even better data and allows for new functions
• By doing beat detection, beat markers (and audio start positions) are now placed more accurately, to match your project like a glove
• This includes both fix-tempo cases, as well as audio with changing tempo
• Or redefine your project based on the tempo map of imported audio

IN THE GROOVE

• When audio is dragged into a project (with default Import Mode of Sync to Playing Tempo), beats are now detected better to identify tempo and tempo changes
• When a clear first beat is found, the playback start time of the new clip is automatically set, saving time and ready for clips to firing in a good place
• A preference has been added in the Dashboard > Behavior > Audio Preview / Import Mode section
  • Detect Tempo Changes is the default, letting the program determine whether the audio should use a fixed-tempo algorithm, or an algorithm suited for material with tempo changes
  • When set to Assume Fixed Tempo, the program will only run the fixed-tempo algorithm
• A new Detect/Set Tempo function is available for audio events and clips, with two modes available:
  • Detect Tempo re-runs the beat and tempo analysis, with Detection Sensitivity slider
  • Set Fixed Tempo allows you to define the tempo to be used for this audio event, defaulting to the current project tempo
  • If Detect/Set Tempo is triggered on an audio event in the Detail Editor Panel, Stretch expressions will be shown
    • While the dialog is open, changing Detection Sensitivity will visualize the beat markers to be added, and length changes can be shown for Set Fixed Tempo, etc.

ELEVATING AUDIO'S TEMPO TO THE PROJECT LEVEL

• A new Set Current Tempo function is available on Launcher and Arranger audio clips, changing the project tempo to match the primary tempo of the selected audio
• A new Apply Tempo Curve to Arranger function is available on Arranger audio clips or time selection, writing tempo automation from the selection into the project
  • The selected audio file should now play back "neutrally" as the project will change tempo to match the file
  • Adding tracks around this audio will now work on a proper beat grid
  • If tempo automation exists outside the selection, it will be preserved

NEW GRAPHICS ENGINE, SPORTING HARDWARE ACCELERATION

• Bitwig Studio's graphics engine has been rewritten, making the program more responsive and efficient
• Painting our interface on your computer's GPU gives us native hardware acceleration
  • This also leaves more CPU for your audio
• Some style changes have come along already, with knobs popping more and scopes have a fresh look
• Drawing in general has been highly optimized as well, running fewer commands and giving springier results
  • Care was taken for projects with high track and event counts

PLUG-INS CAN UNDO TOO

• Changes made to VST and CLAP plug-ins are now tracked as part of Bitwig's undo history
• Triggering Undo/Redo within the program will take plug-in changes a step back, the same as with native device changes
  • If a plug-in has its own undo history, that is separate from Bitwig's history

NEW FEATURES

• New Over (Distortion) device: Anti-aliased clipper, with multiband options and more
  • Threshold defines the base level above which clipping is applied (or in Delta mode, the level above which signal is heard)
  • 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, because
• New Crossover-2 (Mix) Grid module: Two-band frequency split for subsequent routing/audio processing of your choice
• New Crossover-3 (Mix) Grid module: Three-band frequency split for subsequent routing/audio processing of your choice
• New All-pass (Filter) Grid module: All-pass filter with adjustable slope in a simple 1×1 interface
• New Shift Register (Level) Grid module: Serial level sampler, with up to eight out ports (found next to Sample / Hold)
• Chain (Container) device: Now has a Learn Wet Gain function
  • When the L button beside Wet Gain is clicked on, the learn function runs
  • The device then matches the wet signal loudness (by 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
  • This will work for any nested audio effect chain, whether you are using normal Bitwig devices, plug-ins, or both
  • The learn function will run for 25 seconds, or earlier if you click the trigger button again to turn it off
• FX Selector (Container) device: Now has input signal Fade In and Fade Out parameters, for adjusting transitions when switching between layers
  • Fade In is only applied when input signal was occurring; otherwise, the fade is skipped
• Multi-note (Note FX) device: Now has a Learn Chord function in the Inspector Panel
  • When triggered, 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
  • Chance and Velocity Spread parameters are disabled during learning, then are used again when regular functioning resumes

IMPROVEMENTS

• Arpeggiator (Note FX) device: Increased precision when modulated or automated
• Don't restore the last manual parameter value after clip launcher automation terminates
• Direct Arranger tempo automation is no longer delayed by one audio buffer [24175]

FIXES

• Sampler (Synth) device: Round-robin and velocity-crossfades now work together [35052]

Now available in your account if you have an active plan.

https://www.bitwig.com/whats-new/

 

Last edited: Apr 25, 2024 at 4:28 PM

Lot of stuff not mentioned in the vids:

https://downloads.bitwig.com/5.2 Beta 1/Release-Notes-5.2 Beta 1.html

These stand out to me personally


New Graphics Engine, Sporting Hardware Acceleration

• Bitwig Studio's graphics engine has been rewritten, making the program more responsive and efficient
• Painting our interface on your computer's GPU gives us native hardware acceleration
  • This also leaves more CPU for your audio
• Some style changes have come along already, with knobs popping more and scopes have a fresh look
• Drawing in general has been highly optimized as well, running fewer commands and giving springier results
  • Care was taken for projects with high track and event counts

Plug-ins can Undo too

• Changes made to VST and CLAP plug-ins are now tracked as part of Bitwig's undo history
• Triggering Undo/Redo within the program will take plug-in changes a step back, the same as with native device changes
  • If a plug-in has its own undo history, that is separate from Bitwig's history