The range of oscillators is particularly strong, with analogue-style sine, square, saw and triangle oscillators joined by a specialist phase modulation oscillator, the unison-focussed Swarm device and a sampler module. In all, there’s an absolute wealth of tools to experiment with, and a ton of potential available, although - understandably at this stage - some types of module are better represented than others. The available modules themselves are broken up into 16 categories, ranging from simple virtual synth elements through to an extensive assortment of modulators, as well as logic and maths-based signal processors that take their inspiration from the hardware modular realm. It really is a great system it impressed us immensely at the time it was unveiled and Bitwig remains head and shoulders above the rest of the market on that front. It’s a simple system to use but can be incredibly powerful, particularly since it also works with Bitwig’s MIDI and CV I/O devices, effectively allowing you to add an expansive array of additional modulation tools to your studio hardware. This allows any device, be it native or third party, to have an unlimited number of additional modulators attached, selected from an impressively diverse line-up of LFOs, envelope generators, randomisers, performance tools and more. The most significant of those additions has been the flexible modulation system introduced for Bitwig 2.
The application has come a long way in that time though, throwing off the shackles of its inevitable Ableton Live comparisons - the two share a number of original developers and some significant workflow similarities - by adding multiple features that have bolstered Bitwig’s reputation as possibly the most creative DAW on the market.
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