Bitwig Studio 4.2 lands with new modulation effects, and they’re quite literally bursting with Character

At first glance, it looks like Bitwig Studio 4.2 - the latest update to Bitwig’s almost eponymous DAW - comes with three new effects, but it turns out that looks can be deceiving.

That’s what Bitwig would have us believe, anyway; it says that, because each of these effects has four different ‘Characters’, you’re effectively getting 12 new audio processing tools.

Upselling aside, there are definitely three ‘main’ effects, all of which come from the modulation family. They go by the names of Chorus+, Flanger+ and Phaser+.

Bitwig says that each of the Characters is similar to a different era of vintage studio hardware and, as a result, will give you a different type of sound.

If you want to get under the hood, you can mix and match LFOs, step sequencers and any of Bitwig Studio’s 38 modulator devices to make the algorithms your own, and it’s worth noting that all three of the effects are available as modules for Bitwig’s Grid modular sound design environment, too.

Speaking of which, Bitwig Studio 4.2 adds a third device to The Grid: the Note Grid. Designed for processing and even generating notes, this can access The Grid’s 184 modules and polyphonic structure.

There’s a new Note Out module, too - connect a gate signal and this will start outputting notes. Pitch, velocity, and channel can be set manually or with dynamic signals, and MPE fans can go even deeper by accessing signals for each note’s timbre, pressure, gain and panning expressions. The Note Out module can also be used in the other Grid devices - Poly Grid and FX Grid.

Note Grid comes with eight “production-ready” presets that are designed to show off what it can do.

Bitwig Studio 4.2 arrives with a number of other tweaks, too, and includes a French language option. Tres bon!

Anyone with an active Bitwig Studio upgrade plan can update to version 4.2 from today. Find out more on the Bitwig website.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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