i tried bitwig a few years back. early days? got free as some sort of linnstrument tie-in?
anyway, seemed less useful than abelton to me—and,iirc, it kind made some other stuff (abelton? other?) freeze up until i deleted it.
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Ambient/Post-Rock/Textural bass playing thread
- Thread starter ttasselm
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i tried bitwig a few years back. early days? got free as some sort of linnstrument tie-in?
anyway, seemed less useful than abelton to me—and,iirc, it kind made some other stuff (abelton? other?) freeze up until i deleted it.
@Starthief uses it. But they are at Knobcon. So we will have to wait for true Bitwig wisdom. I keep wanting to make it my main program, as it’s better than Live in some things—latency, MPE, modulation, effects inside effects, how it handles crashes, etc. But I find their way of handling external controllers absolutely maddening. I do find the interface occasionally confusing as well.
Today’s Covid update: it’s worse but I got Paxlovid.
- Mar 8, 2011
- 12,232
- 51,187
- Disclosures
- Authorized greenboy designs builder/Owner of BNA Audio
I'm at Knobcon but unfortunately awake thanks to a midnight fire alarm (I heard it was an alarm in a guest room, heard a staff member say probably a cigarette but someone else said the fire marshal said it was steam. Anyway: loudest and most intense drone I have heard in some time...)
Bitwig has its share of interface quirks (and yeah, controller setup could use some love... not everything is "generic MIDI keyboard" for crying out loud, at least let us rename them). But I think it's more coherent than, say, FL Studio which seems to have gotten about 35 different half-assed UI philosophy redesigns in its 20 or so versions. And then there's Maschine where if you can do it it's fairly easy, but whatever it is, you probably can't do it.
In Bitwig, you can almost always do the thing... but either there are five different ways to do it, or it requires a bizarre workaround.
I honestly never got far with Ableton, it just seemed completely bizarre to me. But then, when I started with Bitwig I watched a video tutorial series first and that probably made a huge difference.
Bitwig has its share of interface quirks (and yeah, controller setup could use some love... not everything is "generic MIDI keyboard" for crying out loud, at least let us rename them). But I think it's more coherent than, say, FL Studio which seems to have gotten about 35 different half-assed UI philosophy redesigns in its 20 or so versions. And then there's Maschine where if you can do it it's fairly easy, but whatever it is, you probably can't do it.
In Bitwig, you can almost always do the thing... but either there are five different ways to do it, or it requires a bizarre workaround.
I honestly never got far with Ableton, it just seemed completely bizarre to me. But then, when I started with Bitwig I watched a video tutorial series first and that probably made a huge difference.
I should add that I like Bitwig a lot, and it allows me to do stuff I didn't know DAWs can do. And it's kind of an extension of my modular setup.
With the exception of some kinds of feedback you can just about route audio from anywhere to anywhere (and you can often use workarounds to do feedback). You can modulate almost anything with almost anything else (and again, workarounds expand it further).
The workflow that I use is kind of counter to the design of either Bitwig or Ableton in some ways -- I only use one column of the clip launcher and just do my audio recording there on a channel routed from the master channel, and *rarely* drop a MIDI loop into another row of that first column.
With the exception of some kinds of feedback you can just about route audio from anywhere to anywhere (and you can often use workarounds to do feedback). You can modulate almost anything with almost anything else (and again, workarounds expand it further).
The workflow that I use is kind of counter to the design of either Bitwig or Ableton in some ways -- I only use one column of the clip launcher and just do my audio recording there on a channel routed from the master channel, and *rarely* drop a MIDI loop into another row of that first column.
Bummer about the fire alarm!
I agree about the modularity and routing possibilities of Bitwig. As far as MIDI controllers go, they don't even seem to maintain the ones they have, so it'll say "works out of the box with QuNexus" but it doesn't because the QuNexus has been updated. I understand the idea is the controller will work the same way across projects vs Live's way of MIDI mapping anything, but per project, but Bitwig's way of doing it really frustrates me (as in lost hours sort of frustration).
And now a question for feedback knowers. I've been experimenting with feedback on my Super 6. Finally got it working the way I want except that it goes from awesome bizarre to nasty clipping very fast. Is this a standard thing with feedback setups or specific to the Super 6? I mean, it makes sense: if I add more signal, like chorus or delay, it's going to multiply that to infinity pretty quick. But I haven't noticed the issue as much in my modular where the ceiling is a little softer. Here's some audio. You'll recognize the difference between the wanted and unwanted clipping, and it's straight Super 6 except for Logic's Adaptive Limiter. Right now it seems that it's just a matter of riding volume along with whatever else I'm doing, but I'm curious if this sounds like you doing a "bad job" with your feedback patching or whether the Super 6 is just less forgiving.
I agree about the modularity and routing possibilities of Bitwig. As far as MIDI controllers go, they don't even seem to maintain the ones they have, so it'll say "works out of the box with QuNexus" but it doesn't because the QuNexus has been updated. I understand the idea is the controller will work the same way across projects vs Live's way of MIDI mapping anything, but per project, but Bitwig's way of doing it really frustrates me (as in lost hours sort of frustration).
And now a question for feedback knowers. I've been experimenting with feedback on my Super 6. Finally got it working the way I want except that it goes from awesome bizarre to nasty clipping very fast. Is this a standard thing with feedback setups or specific to the Super 6? I mean, it makes sense: if I add more signal, like chorus or delay, it's going to multiply that to infinity pretty quick. But I haven't noticed the issue as much in my modular where the ceiling is a little softer. Here's some audio. You'll recognize the difference between the wanted and unwanted clipping, and it's straight Super 6 except for Logic's Adaptive Limiter. Right now it seems that it's just a matter of riding volume along with whatever else I'm doing, but I'm curious if this sounds like you doing a "bad job" with your feedback patching or whether the Super 6 is just less forgiving.
Interesting article.
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I also just happened to be reading about...
Amusia - Wikipedia
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I also just happened to be reading about...
Amusia - Wikipedia
saw this pop up and assume that it might interest some of you.
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Man. Mixers are in style. ALM dropped theirs a little while ago. Then First Noise Engineering’s recent one. Boredbrain just announced theirs. Now this.
I have the 1010 but have moved away from it in favour of AUM and an audio interface. I should probably sell but a hardware mixer is useful as a utility.
i wonder if wmd going out of business prompted some folks, as the performance mixer no longer being made creates a vacuum.
I haven't been contributing but I have been reading. Then today, several things pop up that get me going 
I'm reminded of Aqua by Edgar Froese (of Tangerine Dream fame) which references the "artificial head system" of recording - I bet that technique has become much more sophisticated as reference in the first article.
Then just glanced at "amusia" - wow, gonna have to go back to that one later! I have thoughts on this that come from experience, but should dig into the data...
I've been working with my Blue Box recently - put it away for a while but pulled it out again and though it took a while to get it up and running again (as in remember how it works!), I'm really enjoying it. It appears that some people want it be a substitute for a DAW, but my impression is that it's really a mixer that can also record. I plugged in both the Hydrasynth and JX-08 in stereo, then can narrow the field on one. Can also have the DFAM & Subharmonicon plugged in at the same time, though I haven't done anything will all 4 yet.
I just realized, sometimes I feel pressure, like I should be recording. But I should let that go and just play. But if I do come up with something, I can record it! But the most important thing I have learned is - PRESS SAVE afterwards!!! That aspect is a bit cumbersome, but not too bad to me.
I sometimes pop in to the 1010music forum, and there are definitely at least a few people who feel like they've been abandoned and 1010music isn't addressing the shortcomings of the Blue Box. Realizing that they've been working on the Eurorack version - which has some new features, like being able to use CV to control panning, etc.
I'm reminded of Aqua by Edgar Froese (of Tangerine Dream fame) which references the "artificial head system" of recording - I bet that technique has become much more sophisticated as reference in the first article.
Then just glanced at "amusia" - wow, gonna have to go back to that one later! I have thoughts on this that come from experience, but should dig into the data...
I've been working with my Blue Box recently - put it away for a while but pulled it out again and though it took a while to get it up and running again (as in remember how it works!), I'm really enjoying it. It appears that some people want it be a substitute for a DAW, but my impression is that it's really a mixer that can also record. I plugged in both the Hydrasynth and JX-08 in stereo, then can narrow the field on one. Can also have the DFAM & Subharmonicon plugged in at the same time, though I haven't done anything will all 4 yet.
I just realized, sometimes I feel pressure, like I should be recording. But I should let that go and just play. But if I do come up with something, I can record it! But the most important thing I have learned is - PRESS SAVE afterwards!!! That aspect is a bit cumbersome, but not too bad to me.
I sometimes pop in to the 1010music forum, and there are definitely at least a few people who feel like they've been abandoned and 1010music isn't addressing the shortcomings of the Blue Box. Realizing that they've been working on the Eurorack version - which has some new features, like being able to use CV to control panning, etc.
Noise Engineering has been working on theirs forever apparently, the released one is revision 66. Saw it at Knobcon today and it looks very sharp.
I bought a New Systems Instruments Harmonic Shift Oscillator (HSO) today. Sounds gorgeous, like FM but it doesn't produce sidebands below the fundamental and is super clean and easy to dial in. Goes well up into the 50kHz range so I can use it to clock Drezno and other things above Nyquist, which is basically all I've been using Synchrodyne for.
I tried a bunch of other things and the only other gear I want is a Dreadbox Hypnosis. It sounds amazing. One of the local shops that had tables here has some Dreadbox stuff on discount, so I'll check them tomorrow morning.
(I loved the Therevox ET-5 too, but no room, no budget and there's a 24 month waiting list now...)
Them's strong words, especially coming in this thread!
Dub Station Zero had some pretty wild synth bass going on in his set last night, could have been the fire alarm sampled and pitched down a couple of octaves
I am generally too old and tired and out of shape for this poopie though. I overheard someone at breakfast talking about how they had 6 beers and an entire bottle of wine and danced through most of the Big Room stuff (running upstairs a couple of times to catch ambient acts) and then got up at 6 AM feeling fine and went for a walk. I had one beer all day, took it easy throughout the day, sat in a chair through two hours of extremely danceable awesomeness last night and decided I had to go crash at 10:30 and better not have too much bacon at the breakfast buffet this morning. Why am I not 23 anymore, it's still the 90s right?
I have some very bad news for you.
herbie ftw
unfortunately I can only cause auditory damage with synths and samplers.
I cant do “normal” , its even worse than said ear splitting damage
Herbie looks so young in that vid. Dude is now in his 80s, still killing it with a keytar live.
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