Bitwig Studio Launches March 26, Priced At $399

2014 NAMM Show: Bitwig has announced that Bitwig Studio, long in beta, will launch on March 26th, 2014.

The cross platform DAW (Windows, Mac OS X, Linux) is created by some of the original developers of Ableton Live. It offers deep multi-core and multi-processor support, built-in 32/64-bit bridging, plugin-crash-protection, multi-display support, the ability to open multiple projects at once, 50 included devices and open controller API and more.

Bitwig Studio is priced at US $399/299 Euro for the download version. A boxed version will also be available. A free demo version will also be available.

We’ll have more info from the NAMM Show – but check out the details and let us know what you think!

Key Features:

  • Full multi-core and multi-processor support.
  • VST 2.4 support with built-in 32/64-bit bridging and plug-in crash protection.
  • Proprietary time-stretching technology.
  • Multi-display support for up to 3 displays.
  • Tabbed document interface for multiple projects open at once with drag-and-drop between them.
  • Over 50 included devices, including conventional Instruments (Polysynth, FM-4, Organ, Sampler and analog-style Drum Modules) and FX (Delays, Equalizers, Compressors), as well as Container devices (to build parallel instrument or effect chains), Note FX, and Modulator devices (additional controllers like LFOs and step sequencers for modulating any other device)..
  • Unified Modulation System: Use Macro Controls, Note Expressions, LFOs, and Envelope Followers to modulate any device parameter, including nested internal devices and even VST plug-ins.
  • Advanced layered editing.
  • Note and Audio expressions, including per-note Micro-Pitch Control.
  • Dynamic Object Inspector: Select multiple notes or events and edit them together with the interactive parameter histogram, easily adding variations as you go.
  • Automatic sample slicing to both Sampler or Drum Machine.
  • Multiple audio events per clip: Automatically cut up samples and rearrange them on the fly in the Detail Editor.
  • Support for various MIDI controllers out of the box.
  • Sound Content: Over one thousand presets and sounds, 3 GB of factory content: Drum Machines (808, 909… Percussion), Acoustic Drums, multi-sampled instruments like Wurlitzer, Rhodes, Vibraphone, Marimba, Acoustic and Electric Bass, Sampled Drum and Instrument loops, Various Sound FX, and additional partner content.
  • Open Controller API: Create and customize functionality for virtually any MIDI controller, including scripting access to nearly every feature of BITWIG STUDIO.

107 thoughts on “Bitwig Studio Launches March 26, Priced At $399”

  3. But but…. You’re a few days too early for April fools day!

    Hehe, joking aside, I am happy they have finally made it, I’ll probably have a play with a com, but unlikely I will purchase having invested so much cash into Live, Suite, Max etc…

    1. Wait what?! Have you not been following this at all?! If you know how to use Ableton, the transition will be super easy. Don’t make me explain it…

    2. I don’t think Ableton has anything to fear, with that price. Problem would be if the announced is lower. It’s clear Bitwig knows nothing about business. On the release you need lots of people to adopt your platform. For that price, for a software that needs to be tested and consolidated, no.

  7. Looks interesting but no AU support? Logic is my current DAW, so in the interest of having a clean and tidy computer, I never install the VST components during plugin installs. For me to even try this would be a huge hassle since I’d basically have no plugins to try out in it barring reinstalling everything again.

      1. I’m a Logic user and I’ve been following Bitwigs progress and I agree, if you’re an OS X user, you’re an Audio Unit user. I’d weighed up getting on board with this, but no AU’s plus the hefty price tag (compared to LPX) is a bummer.

        2. Cubase on OSX is much more popular, than it would seem from sites like this. Ableton uses tend to be have tech day jobs and can post all the time.

    2. Yup, same with me. If I can’t use my AUs I’m not installing it. The ironic thing is the people who use Logic would be a better bet to switch than Ableton people since this is basically an imitation Ableton. People who already spent a ton of money on Ableton aren’t going to switch…on the other hand people who use Logic might be interested…but not without AU they won’t be. I mean sure I could rewire my Reason rack into it and have a decent amount of synths to play with but I’m not going to spend 400 bucks on a DAW that doesn’t support AU. The thought of breaking out the Komplete DVDs and finding a USB DVD drive and then reinstalling the whole NI suite just for VST? Not going to happen.

      1. you have no idea how wrong you are lol. The only similarity is the framework. This trumps Ableton IMO and makes me bad I bought Suite and Max. Lol

        1. Well, it looks cool but nobody tried it out yet. From what I’ve read, some people are excited but others kind of dissapointed because it misses essential stuff professional daws have. And it looks quite complex actually.

      1. Yes, it does. I only use VSTs when I can’t find AUs.

        If I were buying my first DAW, this would be attractive, but having Live Suite and a lot of AUs.
        They should offer a crossgrade offer… if they have a friendly relationship with Ableton.

    1. no mention of demo version that I’ve found – likely to come out a few days before/on same day as release.

      no AU support mentioned is also a bummer.
      only thing id like to see is how it handles midi and audio routing – and how the ‘drum rack’ mixer works.
      don’t think that will justify owning both though.
      oh, and after a few months, id love to see some controllers with decent scripting in action (push).
      hopefully they get some solid documentation up soon, but knowing their pace…

    2. Yes there will be a demo version. I just got an email from them saying there will be. I also saw it in… Music Radar, I think it was. But I havent heard what the limitations will be.

      2. No Rewire support. Instead they use Jack, which is annoying.
        No AU support.
        No track groups, which are essential imo.
        No VST multiouts

        And there some more stuff I can’t remember in the KVR forums, posted by their beta testers.

  10. The Linux support is intriguing to me, but does anyone know if there are any VSTs that will work in a Linux environment? It seems most that I run across are Mac or PC only.

    2. There are some native Linux VSTs, but not that much. Their amount might grow drastically soon though, since audio frameworks like JUCE allow cross-compiling a Linux version quite painlessly. Small devs are mainly afraid of support issues since not many audio ppl have Linux experience…

      Here’s a list: http://www.linux-vst.com/

      Too bad the first version of Bitwig doesn’t have LV2 plugin support, since a lot more plugins are available for Linux in that format.

      1. Why the hell they bothered to do a Linux version? How many people are gonna use it? 30? 50? And it’s another plattform that requires support. They are a very small company. Kind of silly.

    2. Wow, Ableton must really suck if everyone wants to jump ship so bad. I use Logic/Reason so I don’t know much about Ableton but I figured that since everybody and their mom is using it these days it must be pretty decent. Oh well, maybe all those kids just saw Skrillex use it to play a DJ set and then ran home and torrented it.

      1. yeah I’m not sure what thats about either. as an ableton user myself – the original bigwig announce was interesting, but now that i see its (release) feature set, it only has 3-4 features that set it apart, and those 3-4 features are not massive imo. the device list is almost a carbon copy. if these people are that ‘upset’ with abletons workflow/devices/features, it does not appear they’re getting much for change by switching/adding this to their setup.

        as for me, im hopping for a ‘lite’ version, cut down device list (and price tag), for example. that would justify having both (maybe). i do like the plugin parameter list, audio as modulation device, and stacked editing, but thats about where my interest ends as an ableton user, and none of which are ‘massive’ features.

        1. Yeah, Bitwig has some nice stuff but it’s not worth switching DAWs over when all the others will add those features later in future releases. I mean there was a time when Cubase was the only DAW bundled with a native pitch correction now every DAW on the planet has it. So if you switched to Cubase for that well then you wasted time and money. Seems like Bitwig will be the same.

          1. It’s not a waste of money if you made money from using those features. Right?

            Cubase had midi from audio almost 3 years ago, as well. Also the very best ADC for us
            UAD users. Other Daws are still trying to get that one right.

      2. Ableton is great.

        What you’re seeing here is an internet phenomenon known as Ultra-Hyperbole coupled with the internet-mode-of-thinking that when one new thing is released it must be declared 100% better or 100% worse than the thing it can most likely be compared to.

        On the internet, people can only like one thing at a time, and anything else, or anything else someone else likes, must be a terrible POS.

        1. “On the internet, people can only like one thing at a time, and anything else, or anything else someone else likes, must be a terrible POS.”

          Agreed. Reminds me of when I was a kid. Atari vs IntelliVision. Then Atari 8-bits vs Commodore 64, Nintendo vs Sega, PC vs Mac, Sony vs X-Box, etc… People hate on what they don’t have. Never understood it.

      3. because ableton has always been buggy

        they rushed out their release without finishing PDC

        and the people are still complaining like a year ago.

    1. It makes since, because of the multiplatform support. I think they’re going to find they have tons of Mac users, though, and that they want AU.

        1. no it doesn’t, not on Linux. Renoise runs on Linux, but you don’t get AU support. it’s not possible to run AUs on Linux with any DAW. go read the Renoise FAQ…the Linux version supports native VSTs, DSSI, and LV plugins. the only OS that can do AU is OSX. cross-platform DAWs don’t magically change that.

          1. It was not what the user you replied to was saying.
            AU is not supported on Linux nor on Windows, because they are Mac only.

            The user was saying that a DAW can support AU (on Mac version only) *and* be multiplatform, as Renoise does. The two things are not mutually exclusive.

      2. No. 5 years of development and no AU for Mac it’s a complete lack of strategy. These guys must have been living in a partallel reality.

    2. Yeah, it’s ridiculous. Maybe they got in trouble and had to release their thing under pressure. It’s quite obvious they had some sort of trouble. The way they communicate with their potential users relect that. 2 years of beta, keeping their mouth shut, not saying anything about the progress, they announced the release date like, ahh.. 3 months before it. It looks like they’re a bit out of control. If they can pull it off, great. But it’s gonna be very hard for them I think. The competition had plenty of time to figure out what they’ve been working on and no delivery. And I suppose the company is gonna need some good chunk of money in order to sustain itself.

  15. Peter, or anybody else,

    Any word on the long missing (from Ableton):

    Sysex support (better hardware synths integration!)

    and Comping/Takes (multiple lanes within Clip Edit detail view would be great)

    ?

  17. I’m not sure if readers understand how deep Bitwig is. Think Max or Reactor baked into a DAW, rather than tacked on as an afterthought.

      1. some people have no clue how long it takes to think, write, program and test all these new innovations that are imbedded into the software not 3rd party addons…

        so opposite of fruity loops… and minus all the workarounds and weird ways of doing things.

        1. Studio One took 3 years of development. Bitwig, 5. Same amount of coders. And I don’t think Bitwig has a superior level of complexity.

    2. Often I find that more techy options do not lead to better music.

      I’m constantly thinking of ways to make my music better, and never once has something like per-note-automation, or layered piano roles been the thing that would make my music better.

      I’m usually thinking of ways to improve my ability to make music by learning more about my instruments and how to play them.

      2. I was just think that this morning actually. I was listening to the new EP from Loose Shus and I was like damn how does he get that perfect retro sound. I wonder what gear…so I find a “in the studio” youtube with him. He has piles of old Japanese shit stacked up in his messy ass studio. At no point is he talking about DAWs it’s just not relevant…but to be fair you could see Ableton in the background…rather than by Yet Another DAW maybe better to put the $400 against some vintage gear? Yeah, probably.

  18. It would be nice if they included a cross grade option for us Live 9 Suite users because 400 is kinda steep. I hope it has a least a decent sound library.

  19. Glad my ableton was pirated, just kidding, maybe? I almost bought it recently, but their payment system was down. Glad that was the case.

  21. I’m loving the hybrid audio tracks. A lot of these features can be duplicated and since an Ableton update well most likely be cheaper then buying Bitwig I think I’ll stick with live.

  22. To those people who are outraged at Ableton’s childish smear tactics, this letter will be of interest. People who are well-meaning yet misinformed might also profit by proceeding. For the remainder who are indifferent, faint of heart, or content to let Ableton muzzle its foes, I regret that there is little reason to read further. Before I get moving here, let me point out that it has been waffling on all the issues. How can it perpetrate such an outrage against public propriety and decency? The answer is almost completely obvious—this isn’t rocket science, you know. The key is that I have some of Ableton’s writings in front of me right now. In one of them, Ableton maintains that it is better that a hundred thousand people should perish than that it should be even slightly inconvenienced. If you don’t find that shocking then consider that I recently stated that terrorism has long been Ableton’s lodestar. I had considered my comment to be fairly anodyne, but Ableton went into quite a swivet over it. I guess if it found that sort of comment offensive, it should really cover its ears when I state that its spin doctors allege that those who disagree with it should be cast into the outer darkness, should be shunned, should starve. Sorry, guys, but the inconvenient truth is that the last time I told Ableton’s shock troops that I want to lend a helping hand they declared in response, “But exhibitionism can quell the hatred and disorder in our society.” Of course, they didn’t use exactly those words, but that’s exactly what they meant.

    I’m not a psychiatrist. Sometimes, though, I wish I were, so that I could better understand what makes organizations like Ableton want to reduce history to an overdetermined, wireframe sketch of what are, in reality, complex, dynamic events. Ableton somehow manages to maintain a straight face when saying that people prefer “cultural integrity” and “multicultural sensitivity” to health, food, safety, and the opportunity to choose their own course through life. I, for one, am greatly grieved by this occurrence of falsehood and fantastic storytelling which is the resultant of layers of social dishevelment and disillusionment amongst the fine citizens of a once organized, motivated, and cognitively enlightened civilization. I find Ableton’s failed attempts to shank the working class in the back to keep the cash spigots flowing mildly amusing. In reaching that conclusion I have made the usual assumption that life isn’t fair. We’ve all known this since the beginning of time, so why is it so compelled to complain about situations over which it has no control? It doesn’t want you to know the answer to that question; it wants to ensure you don’t bear the flambeau of freedom.

    I once had a nightmare in which Ableton was free to turn the world’s most civilized societies into pestholes of death, disease, and horror. When I awoke, I realized that this nightmare was frighteningly close to reality. For instance, it is the case both in my nightmare and in reality that Ableton’s antics are not our only concern. To state the matter in a few words, I personally am a law-and-order kind of person. I hate to see crimes go unpunished. That’s why I undoubtedly hope that Ableton serves a long prison term for its illegal attempts to hornswoggle people into voting against their own self interests. I’m willing to accept that Ableton was rather wide of the mark when it said that it can make all of our problems go away merely by sprinkling some sort of magic pink pixie dust over everything that it considers refractory or slimy. I’m even willing to accept that when one succeeds in eking out a kernel of content from its linguistic games and complex exegeses, it usually turns out to be either banal or blatantly false. But it likes to posture as a guardian of virtue and manners. However, when it comes right down to it, what Ableton is pushing is both condescending and aberrant.

    Ableton is extremely unconscionable. In fact, my handy-dandy Unconscionable-O-Meter confirms that Oblomovism is dangerous. Ableton’s splenetic version of it is doubly so. Why does Ableton want to get as many people as possible to line up behind the geek-tent barkers at the latest and greatest carnival of Dadaism? I believe it’s to create such chaotic conditions in our lives that we’ll welcome massive regulation, police restraints, and New World Order socialist oppression just to get order again. If you don’t believe me then consider that any rational argument must acknowledge this. Ableton’s capricious propositions, naturally, do not.

    It’s precisely because it is myopic and more than cruel to believe that people find Ableton’s unrelenting, over-the-top hostility rather refreshing that I defy the brutal traitors who reopen wounds that seem scarcely healed, and I defy the powers of darkness that they represent. Ableton frequently accuses its castigators of belittling all fine social standards. This is yet another example of the growing lack of civility in our civil discourse that ranges from the featherbrained to the furacious and even destructive. In a more proper debate, one would instead politely point out that Ableton unfairly lambastes people who are trying to do the best they can in a bad situation. But I digress. Ableton has long been getting away with hurting people’s feelings. I, not being one of the many lackadaisical polluters of this world, urge all of my beautiful and loyal fans to walk with me side-by-side as we march up the steps of justice to right this unconscionable wrong and prove to the world that Ableton seems to have recently added the word “pseudolamellibranchiate” to its otherwise simplistic vocabulary. I suppose it intends to use big words like that to obscure the fact that its rodomontades are a crazy-quilt patchwork of the most irritating classes of commercialism you’ll ever see. That’s self-evident, and even Ableton would probably agree with me on that. Even so, there is no doubt that it will make nearby communities victims of environmental degradation and toxic waste dumping within a short period of time. Believe me, I would give everything I own to be wrong on that point, but the truth is that trying to keep Ableton from fixing blame for social stress, economic loss, or loss of political power on a target group whose constructed guilt provides a simplistic explanation is a sucker’s game. No matter how hard we try to stop it, it’ll always find some new way to contaminate or cut off our cities’ water supply.

    While Ableton’s obloquies may seem brassbound, they’re in agreement with Ableton’s soporific, indecent strictures. Ableton maintains that either all it takes to solve our social woes are shotgun marriages, heavy-handed divorce laws, and a return to some mythical 1950s Shangri-la or that it knows 100% of everything 100% of the time. Ableton denies any other possibility. Ableton’s apologists have discounted their brain as a useless organ. You don’t need to be the smartest guy on the planet to figure that out. Heck, even the lowliest Joe Six-Pack knows that Ableton should start developing the parts of its brain that have been impaired by misoneism. At least then it’ll stop trying to treat anyone who doesn’t agree with it to a torrent of vitriol and vilification.

    There are bountiful stories attesting to Ableton’s volcanic lack of self control, capricious moral standards, and total lack of judgment. (Note the heroic restraint stopping me from saying that Ableton’s callow, bilious chargés d’affaires exert themselves to muddy the water, obfuscate the record, and cover up, by sophistries and denials, all of Ableton’s vapid contretemps.) While Ableton might be able to convince the canaille that it understands the difference between civilization and savagery, I hope the readers of this letter can tell that Ableton contends that it has a fearless dedication to reason and truth and that, therefore, censorship could benefit us. This bizarre pattern of thinking leads to strange conclusions. For example, it convinces spleenful twaddlers (as distinct from the scabrous, complacent swaggerers who prefer to chirrup while hopping from cloud to cloud in Nephelococcygia) that honor counts for nothing. In reality, contrariwise, Ableton wants me to stop trying to speak up and speak out against it. Instead, it’d rather I die a slow and painful death. Sorry, but I don’t accept defeat that easily.

    Of perhaps even more concern is that it seems that no one else is telling you that what may seem insignificant or humorous to Ableton is often hurtful and confusing to others. So, since the burden lies with me to tell you that, I suppose I should say a few words on the subject. To begin with, Ableton exhibits an overweening sense of entitlement and a predilection for depreciating others. I always catch holy hell whenever I say something like that so let me assure you that it wants us to feel sorry for the benighted, self-pitying proponents of ruffianism who overthrow the government and eliminate the money system. I maintain we should instead feel sorry for their victims, all of whom know full well that someone once said to me, “Every perceptive person who examines the evidence objectively will understand that the idea of letting Ableton preach hatred is, in itself, self-serving.” This phrase struck me so forcefully that I have often used it since.

    While Ableton’s resentment of life’s myriad insults and disappointments is perhaps what spurs on its tactless behavior, Ableton yearns for the Oriental despotisms of pre-Hellenic times, the neolithic culture that preceded the rise of self-consciousness and egoism. By the same token, it abhors the current era, in which people are free to push the envelope on our knowledge of the world around us. Ableton’s epigones tend to fall into the mistaken belief that larrikinism is the key to world peace, mainly because they live inside an Ableton-generated illusion world and talk only with each other. Ableton claims that pessimism provides an easy escape from a life of frustration, unhappiness, desperation, depression, and loneliness. That claim is preposterous and, to use Ableton’s own language, overtly apolaustic. No history can justify it.

    A recent series of hearings, lawsuits, and media reports demonstrates that Ableton oppresses its adversaries by crushing them, expelling them, pauperizing them, and cutting them off from families and friends. From this anecdotal evidence I would argue that if I hear its yeomen say, “Ableton has a close-to-perfect existence that’s the envy of the contemptible smart alecks around it” one more time, I’m decidedly going to throw up. Ableton’s habitués say, “This is the best of all possible worlds and that Ableton is the best of all possible organizations.” Yes, I’m afraid they really do talk like that. It’s the only way for them to conceal that in these days of political correctness and the changing of how history is taught in schools to fulfill a particular agenda, many people respond to Ableton’s malignant zingers in much the same way that they respond to television dramas. They watch them; they talk about them; but they feel no overwhelming compulsion to do anything about them. That’s why I insist we take advantage of a rare opportunity to invite all the people who have been harmed by Ableton to continue to express and assert their concerns in a constructive and productive fashion. If Ableton could have one wish, it’d wish for the ability to reinforce the concept of collective guilt that is the root of all prejudice. Then, people the world over would be too terrified to acknowledge that Ableton’s idea of a good time is to make moral relativism socially acceptable. It’s that simple. To summarize what I’ve written up to this point, the continuing misunderstandings that some intolerant, hateful dolts seem to have merely underscore this point. You know I’m right. Now what are you going to do about it?

    http://www.pakin.org/complaint/

      2. He he … I’m ok. Its a script generated complaint letter. The script generates random complaint letters that make you sound as if you have gone mental. I actually like Ableton and am very curious about Bitwig. I sent my sister one off these and she thought I had finally fully lost it.

  23. I use AU plug-ins on a Mac, VST was for PC long ago… and we all know where PC’s are going, so I pose the question, “Why would a new DAW software feature VST which is a dead technology?”

    2. I have a mac, and I use VST all the time. Very few developers release only on AU. “AU only” is only a Logic thing. The rest of us are free and easy.

    3. Get a grip. Mac Fan-Boy. All Mac’s run the same hardware as Windows except you are limited to what Apple decides to give you.

  24. I could be wrong, Since I’m in a Mac bubble with all my loved AU’s Iv’e got over the years. PC and VST aren’t dead yet?

  25. My guess is that the reason why it does not support AU plugins has something to do with the Unified Modulation System. Perhaps, due to different implementations, they have not figured out a way to modulate AU parameters in real time like they can with VST parameters.

    Anyone can chime in on this?

    1. 1) It’s not in their plans (which would be retarded)
      2) They need to release and don’t have time to do it
      3) They thing AU plugins are for gay people

  26. I’m glad Bitwig is finally coming out. I’m glad they also support linux os, I would be happy to see the audio world moving to linux, that’d be great. But we’re not quite there yet. Linux support for ableton would be a huge step though. Not talking about FL Studio moving to linux, they’ll probably make a crossover version like they did for mac, bunch of lazy dev.

    1. Anyone with a single neuron inside the brain wouldn’t bother doing that. Otherwise every important music software company would have done it. It’s just a waste of time and resources and no money.

  28. Anyone would have to be crazy to think they can challenge the establishment at this point… with all the offerings out there. That is, unless they truly believe it’s possible to offer something better to musicians than what’s currently out there. I mean, if you think about it, why would anyone spend so much time and effort just trying to duplicate another product that’s already out there?

    I imagine what we’ll get to see in March will be cool, perhaps greater, I bet it will be an idea of what this means for the future. Bitwig is in a prime position to learn from all the lousy mistakes made by others (ahem.. rhymes with shmaybleton) to offer something fresh, new, and useful.

    The fact is, in order for Bitwig to be successful, they need to make something extraordinary.

    For the amount of time they have spent, the challenges they are almost certainly aware of, I bet it will be 🙂

    It’s crazy… but more than that, it’s freakin’ awesome.

    I hope they do well! I for one am going to jump in at the beginning.

  29. VST only.
    This is sooo not a deal-breaker.

    Who knows, if enough people ask for it, they might actually listen.

    Wouldn’t that be nice for a change???
    Hahaha 😀

  30. The ultimate test for bitwig would be latency compensation and external hardware instruments…If it runs without any probs then bye bye Ableton…

  31. I own Live 9 Suite and I’ll definitely give Bitwig a try** 🙂
    I often get hangs with Live 9 64bit even when loading Ableton’s own Packs,as well as a few crashes.
    I play real instruments 🙂 as well as VSTi stuff in a live gigging setup.
    I’ve been practising in my home studio for almost a year to get to a standard I’m happy with,but Ableton doesn’t inspire much confidence for the above reasons,and also…..

    *Ableton’s own website recommends using the 32bit version “unless you NEED to address more than 4GB RAM”. !!!
    What’s that about?
    Nearly a year after releasing the 64bit version they seemingly still don’t have much confidence in it.

    *Ableton’s CPU use is,in my experience,generally twice that of Cockos Reaper – if Bitwig is coded as well as Reaper I’ll be happy – well,almost – see below** (I still use Reaper for all recording duties,and would use it live if it had the multiple clip abilities of Ableton).

    **One last moan is that Bitwig,like Ableton,CLAIM to be a “live-performance” DAW.
    In reality,for anyone using live looping even as part of their show,both Anleton and Bitwig lack basic clip functions like CHOOSING clip-length BEFORE recording into a clip.
    Of course,that’s not a problem if you use pre-made clips as loops for live (DJ style) performance BUT
    if,like me,you actually play and record your loops live (or would find it handy for recording into length pre-determined slots for composing)
    then the ability to record into a 2bar,or 4bar,8bar (etc,etc!) clip slot seems like an unbelievably basic omission.

    Thankfully someone has (eventually) written a max for live device that pretty much does this,but it’s something that IMO should be written into the software.
    AFAIK (and I corresponded with Bitwig about this over a year ago) Bitwig hasn’t thought of this either,and I’m not sure what kind of workaround,if any,will be available.

    Oh,and I nearly forgot – another thing missing in Ableton for REAL instrument live performance (rather than pre-made clip triggering DJ-style) is the ability to MIDI-map a time stretch or tempo controller to a clip.
    In Ableton,the clip has to be recorded first before these functions can be accessed,so it’s useless unless to me.

    [/rant]

    1. Quote..”Ableton’s CPU use is,in my experience,generally twice that of Cockos Reaper.”

      You are so right on that … Reaper is my general recording DAW software but there is definitely room for an Ableton alternative for live work.

  33. I just found out you’ve to be a true masochist to buy this software. The whole ‘innovative’ definition of Bitwig is truly nothing more or less than a toupee. And you know what..? They’ve already adopted the same strategy which made Ableton so ‘popular’ regarding their users. It’s your choice.. take it.. or.. leave it!

    1. Um, you can modulate anything without losing control of the mapped parameters… “relative mapping”??
      Holy sheeeez.

      No need for max for live to use a damn LFO.

      This is wicked.

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