Chill Out and Ambient Loop from Scratch in Bitwig

Tutorial | Mar 27, 2024

In this video, I take you through the process of building a sound in Bitwig Studio. Starting with a grid, I create a pattern using a sine oscillator, shape the volume with an envelope, and quantize the notes to a scale. I also add voice stacking, effects, and layer different elements to create a complete composition.

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Today's tutorial in Bitwig Studio covered creating a complex track from scratch, focusing on building rhythms, melodies, and atmospheres within the Bitwig environment. Here's a summary of the process and techniques used:

1. Started with the Grid: Began by setting up a pulley grid in monophonic mode for simplicity. Deleted unnecessary tracks for a streamlined workspace.

2. Basic Sound Design:

   • Utilized a sine oscillator and an audio envelope to craft a basic sound.
   • Adjusted BPM to 85 for a downtempo feel, with a 16-step pattern for the rhythm.
   • Introduced voice stacking for richer textures and a pitch module for controlling pitch directly, circumventing keyboard control for a fixed pitch setup.

3. Complex Harmonies and Rhythms:

   • Employed a quantizer to lock pitches to a D# minor scale, selectively omitting dissonant notes.
   • Implemented voice stacking to create harmonies, using stack spread modulators to fine-tune the harmonic spread.
   • Manipulated pattern lengths among voice stacks for intricate rhythmic patterns, aiming for a polyrhythmic effect.

4. Creating a Soundscape:

   • Added effects like convolution reverb, chorus, and phasers to enrich the texture.
   • Utilized MIDI note export to integrate with other elements in the project, creating cohesive melodies and harmonies.

5. Kick Drum and Rhythmic Elements:

   • Designed a kick drum from a sine wave, augmented with envelopes for amplitude and pitch modulation.
   • Incorporated noise and filtering for texture, adding a knock element for additional punch.

6. Bassline and Melodic Elements:

   • Introduced a bassline using Polymer, carefully shaping it to fit around the kick drum frequencies.
   • Explored melodic content using a piano sound, controlled via a complex setup of random triggers and modulation to fit within the established scale and harmony.

7. Glitch Sounds and Rhythmic Complexity:

   • Crafted glitch sounds and additional rhythmic layers using noise and phase modulation for hi-hats and snares, aiming for a richly textured rhythmic backdrop.

8. Lead Sounds and Final Touches:

   • Created a lead sound within the Grid, exploring various synthesis techniques and effects to sculpt a distinctive voice for the track.
   • Finalized the composition by adjusting elements to sit well together, such as making room for the bass in the mix and ensuring a cohesive sound.

The tutorial encapsulates a detailed exploration of Bitwig Studio's capabilities for sound design, rhythm creation, and melodic composition, showcasing how to build a track from the ground up. Techniques like voice stacking, modulation, and the innovative use of the Grid illustrate Bitwig's powerful tools for electronic music production.

Questions & Answers #

Maybe you dont watch the video, here are some important takeaways:

What did the video teach me about building a track in Bitwig Studio? #

The video taught me the process of building a track in Bitwig Studio, starting from creating a grid and setting up the BPM, to adding different modules and effects to create sounds and rhythms. It emphasized the use of the grid and various modulators to create unique and dynamic sounds.

How can I create different variations of sounds within a track using Bitwig Studio? #

In Bitwig Studio, I can create different variations of sounds by using voice stacking and duplication, modulating parameters with different values, and using different modulators to affect the sound. By manipulating pitch, length, pattern and other parameters, I can create diverse and evolving sounds within a track.

How can I incorporate MIDI notes into my track in Bitwig Studio? #

To incorporate MIDI notes in Bitwig Studio, I can use the note grid module and the quantizer module. By importing MIDI notes from another track or creating my own notes, I can quantize them to fit a specific scale and sequence them to create melodies or harmonies. This allows me to add musical elements to my track.

What are some tips for building a cohesive track in Bitwig Studio? #

To build a cohesive track in Bitwig Studio, it is important to establish a consistent BPM, choose a specific scale or musical key, and use modulators and effects to create variations and transitions. Additionally, layering different sounds and applying compression and EQ can help create a balanced and cohesive sound.

Transcription #

This is what im talking about in this video. The text is transcribed by AI, so it might not be perfect. If you find any mistakes, please let me know.
You can also click on the timestamps to jump to the right part of the video, which should be helpful.

[00:00:00] So we built something inside of Bitwig Studio today.
[00:00:04] I'll take you through the whole process starting up,
[00:00:08] getting some ideas, building something, and you learn hopefully something along the way.
[00:00:14] And you also can ask questions in the comments down below.
[00:00:19] So we start here by creating some kind of grid.
[00:00:23] So I'm using the pulley grid.
[00:00:27] The pulley grid itself here is at the moment in monophonic mode.
[00:00:31] It's important.
[00:00:34] The second track is an audio track. We don't need this. We can delete it.
[00:00:38] And then here I probably start by using something simple like a sine oscillator.
[00:00:48] And I'm using a transport.
[00:00:52] The transport is basically synchronized here to the BPM of the track.
[00:00:56] So we go to 85 BPM because I like down tempo stuff.
[00:01:02] So what we have here is basically 16 nodes.
[00:01:05] The pattern length is 16 steps.
[00:01:08] Each one is triggered in a 16-node kind of way with 85 BPM.
[00:01:15] We can also offset here the pattern and we get here a gate signal and we get a phase signal here.
[00:01:22] So I probably want to use voice stacking later on.
[00:01:29] So now I'm using here an audio envelope to shape basically or to change the volume of the sine output.
[00:01:37] And I want to use an audio out that I connect later.
[00:01:42] And we want to create some kind of pitch here.
[00:01:46] So I'm going for a fixed pitch at the moment.
[00:01:49] This one here.
[00:01:51] We dial in here something like D#1.
[00:01:55] And I'm going here a bit lower, right? A lower octave.
[00:01:58] So it's D#1. Maybe you can also go to D#0, which is also one octave lower then or two octaves lower now from D3.
[00:02:08] So we can go straight into the sine oscillator here, pull this all the way up and disable the pre-chord.
[00:02:15] So we can't influence the pitch with the keyboard anymore.
[00:02:18] So it's only driven here by this pitch module.
[00:02:23] So now that we have this, we basically kind of play a signal.
[00:02:29] We can also trigger the amplitude envelope so we get some sounds.
[00:02:35] That's basically just the bass sound at the moment.
[00:02:40] And then we want to change the pitch here.
[00:02:44] Let's say with a transpose.
[00:02:48] And then we want to use a quantizer to quantize everything to a scale.
[00:02:52] And we are on the scale of D# minor.
[00:02:54] So I'm selecting all the notes here.
[00:02:57] I'm leaving out this note.
[00:02:59] This is also in D# minor, but I don't like this note. It's too dissonant for this, what we want to do here now.
[00:03:08] So then I'm using on the Poly-Grid voice stacking, right?
[00:03:12] We can duplicate this basically in memory or virtually in the background.
[00:03:17] So we can say we want to have this patch running two times now or three times.
[00:03:22] And we introduce here the voice stack modulator or stack spread modulator.
[00:03:28] Having a value from zero to one, that's not what we need.
[00:03:32] We switched it to value.
[00:03:34] So now we multiply basically and we can dial in here something like one semitone,
[00:03:40] which means each voice stack.
[00:03:42] Let's actually type this in here one, which means each voice stack is exactly one semitone higher than the last voice stack.
[00:03:51] We have now three voice stacks here and each voice stack is basically the first one is zero semitones.
[00:03:59] The first one is one semitone higher.
[00:04:02] The second one is two semitone higher and the third one is three semitone higher.
[00:04:07] So we basically stack or spread these notes out.
[00:04:11] It sounds like this now here.
[00:04:13] Can't hear it. Let's go back to zero.
[00:04:20] So multiple tones at the same time.
[00:04:23] So we go back and then we spread this out not one semitone.
[00:04:31] We let's say two, three.
[00:04:33] So we have to spread out in minor thirds.
[00:04:37] It's nice.
[00:04:39] And then you go here basically in this quantizer to correct everything to the scale.
[00:04:48] You can see also already highlighting here with these yellow markers that we play multiple notes now.
[00:04:55] You can also increase here the voice stack into maybe let's say eight.
[00:04:59] So we have eight notes or eight sounds playing.
[00:05:02] Every note is basically exactly here a minor third apart from the from the last one.
[00:05:08] Sounds like this.
[00:05:14] And then we want to use also the value to change the length, the pattern length.
[00:05:20] Maybe go down to one and then spread this out here.
[00:05:25] So each voice has a different pattern length now.
[00:05:30] First one is basically exactly one step long.
[00:05:33] The second one is two steps long.
[00:05:35] Third one is three steps long and so on.
[00:05:38] So you can see here we have this triggering in multiple times.
[00:05:42] And each trigger has a different note.
[00:05:46] It's probably too low here.
[00:05:52] Maybe go to the DUT shop one.
[00:05:54] So let's increase this here to 16.
[00:06:03] Maybe we can slow this down a bit.
[00:06:16] Let's go to eight and then change here.
[00:06:27] So we get some kind of head sound with different overtones with different notes from the scale here.
[00:06:35] We can also try and change this to different things.
[00:06:39] Maybe go to four or five.
[00:06:41] [Music]
[00:07:05] So with this we get some kind of head type of sound.
[00:07:12] Then I want to introduce here an amplifier.
[00:07:22] And I want to tone down the volume for higher arches.
[00:07:32] So I'm still in this value mode, right?
[00:07:34] So I only have to dial in here small amounts.
[00:07:37] So let's say -0.07.
[00:07:41] So each partial basically or each voice deck gets lowered by exactly this amount to the previous partial.
[00:07:50] And because each partial basically goes higher in pitch, the higher up notes are much much lower in volume than the lower ones.
[00:08:02] [Music]
[00:08:18] There you go.
[00:08:19] Back to D shop one.
[00:08:21] Then I'm bringing also in here the modulation from the value and just slightly bring in some detuning.
[00:08:31] Not too much just...
[00:08:34] Because it adds up, it multiplies, right?
[00:08:42] On each voice deck.
[00:08:59] And then we add here some, let's say, some reverb.
[00:09:03] So we start with the convolution reverb.
[00:09:06] Delay plus.
[00:09:09] Put this into space mode here.
[00:09:13] Maybe I add here some kind of chorus after the convolution because it's a static sample.
[00:09:24] [Music]
[00:09:32] But detuning is too much here.
[00:09:35] [Music]
[00:09:51] And then maybe after this here we use another delay 2.
[00:09:55] Maybe a phaser.
[00:10:01] Phaser plus.
[00:10:03] It's too fast.
[00:10:05] Stereo.
[00:10:07] [Music]
[00:10:26] There we go.
[00:10:27] To 7 here, 7 semitones.
[00:10:29] [Music]
[00:10:40] Oh, what I can do is I can use a value.
[00:10:43] And instead of modulating this, modulating this value.
[00:10:49] Use a modulator art.
[00:10:57] Modulating this with this.
[00:10:59] [Music]
[00:11:10] Then I can use an attenuate maybe here.
[00:11:13] [Music]
[00:11:28] Then we can change some kind of the pads in a chord progression kind of way.
[00:11:41] Maybe with the step mod here.
[00:11:43] Let's go to 4 steps.
[00:11:48] [Music]
[00:11:55] Then this goes to half note.
[00:11:57] We have to hit play probably.
[00:11:59] [Music]
[00:12:19] [Music]
[00:12:34] And we maybe use another step mod here.
[00:12:38] With different speed setting and also different length and step size here.
[00:12:43] So we have some kind of pulley rhythm or pulley meter running.
[00:12:46] And we change here the skew just to get some different overtones.
[00:12:50] [Music]
[00:13:10] You can hear some crackles or some, you know, some distortions there.
[00:13:15] That's because we switch here the skew around.
[00:13:18] So we can introduce you a bit of smoothing.
[00:13:21] It goes away.
[00:13:26] But I kind of like it that I have this kind of crackle in there.
[00:13:30] It's almost like a small little glitch sound that gives us some hint of rhythm.
[00:13:35] [Music]
[00:13:44] And we maybe want to EQ everything at the end a little bit.
[00:13:48] [Music]
[00:14:17] [Music]
[00:14:20] The interesting part is that we actually generate here already some notes, multiple notes.
[00:14:26] So I want to try and output here the MIDI notes.
[00:14:31] I use a note out here.
[00:14:34] [Music]
[00:14:37] And I also go out here with a gate.
[00:14:42] So we export basically here the MIDI notes, the pitch and the gate.
[00:14:46] You can see here we get this.
[00:14:48] And you can maybe try and use a note grid on a second track here.
[00:14:57] And just import these notes with the quantizer here.
[00:15:01] Switch this to device input and we use the note grid from the first track as an input.
[00:15:08] And you can quantize everything to these notes.
[00:15:12] So that's not working.
[00:15:17] The question is why we put this here into polyphonic mode.
[00:15:25] [Music]
[00:15:38] Yeah, that's better.
[00:15:40] I was trying to get this here, the notes from this note grid.
[00:15:44] Okay, so we have 12 voices.
[00:15:50] And you can maybe just start and use here, let's say a piano.
[00:16:00] And every note I play on the keyboard should be corrected to the current notes of the add sound from the first track.
[00:16:09] [Music]
[00:16:19] [Music]
[00:16:29] [Music]
[00:16:39] So I could try instead of playing this on the piano, I could try and just generate some random triggers.
[00:16:53] Let's go for a clock.
[00:16:58] The clock just randomly generates here.
[00:17:03] I should put this into a monophonic mode back again.
[00:17:06] So we get here some triggers in hertz which is not synchronized to the PBM, but this one is synchronized to the PBM.
[00:17:13] So we go here to 16, 16 notes.
[00:17:17] And then we clock quantize this.
[00:17:21] So we get some kind of random triggers here that are still synchronized to the PBM.
[00:17:35] And then we use a dice module here to generate some random pitches.
[00:17:42] And some of these pitches are way too high and sometimes way too low.
[00:17:47] So I'm using an antennae which kind of compresses everything down to the range of C3.
[00:18:03] So we slow this down.
[00:18:06] And we use a chance module.
[00:18:26] And we maybe also want to change the velocity here.
[00:18:33] So every time we play a key or play a note, we have different randomized velocity here.
[00:18:55] And on that we use also convolution reverb.
[00:19:02] Delay 2.
[00:19:08] Delay plus.
[00:19:10] Maybe use reverse here.
[00:19:24] And we also put an attenuation here on the dice for the velocity so we can limit kind of the highest possible velocity.
[00:19:45] So everything is basically quantized to the right pitch and we get some sparse piano triggers here and there.
[00:20:03] Okay, so this adds piano.
[00:20:14] So we have already something very nicely sounding and we haven't even painted some single notes.
[00:20:24] So everything comes from within the grids here and we creating some kind of random notes inside of a scale and sequence everything.
[00:20:36] So here I want to introduce some kind of kick drums so we get some kind of rhythm.
[00:20:49] So I use also a sign.
[00:20:55] And I use segments for the envelopes.
[00:21:00] So one shot.
[00:21:10] This is the amplitude envelope here.
[00:21:14] It goes down two seconds.
[00:21:17] It's pretty short and we need a fixed pitch.
[00:21:24] Something around G0 is my favorite.
[00:21:31] Let's go to G0, yes.
[00:21:35] All the way up and then disable here the pre-chord.
[00:21:41] We trigger here this then we need an output.
[00:21:46] And we need a second envelope here only for the pitch.
[00:21:50] So the pitch envelope looks a bit different of course.
[00:21:56] Something like this.
[00:21:58] It's also in seconds and we modulate here just the pitch offset with some amount.
[00:22:07] And we probably also need a bit of noise.
[00:22:14] We also need here a short segment.
[00:22:18] And we mix this or we blend here the main partial with the noise.
[00:22:33] And let's use an attenuate here so we can kind of change the loudness of the noise layer.
[00:22:42] Let's see how this sounds.
[00:22:54] Okay, I need some tweaking of course.
[00:23:10] [Music]
[00:23:35] Maybe a high pass on the noise.
[00:24:00] So this basically kind of simulates here the rattle on the snare when you hit the kick drum.
[00:24:09] Then I want to use a second sine partial here for the knock.
[00:24:28] This goes way higher.
[00:24:36] Maybe go to milliseconds here.
[00:24:53] Something like this.
[00:25:02] Maybe a bit shorter.
[00:25:08] I want to e-trigger here the sine oscillator so we start at the same phase every time.
[00:25:23] [Music]
[00:25:41] So maybe a bit too loud.
[00:25:48] And I want to use this to actually duck the frequency here.
[00:25:56] Or not the frequency, the loudness basically.
[00:25:59] Just want to make room for the attack here at the beginning.
[00:26:16] Maybe I need to also low pass the high pass.
[00:26:24] [Music]
[00:26:53] Okay, so we try out here let's say a hard clip.
[00:27:03] [Music]
[00:27:21] Nice.
[00:27:26] So then we can try and put something beneath everything, let's say a bass line.
[00:27:34] So we can take here a polymer.
[00:27:39] And now the scale.
[00:27:46] That's too fast.
[00:27:57] It's too slow.
[00:28:21] The kick drum is obviously in the same frequency range so we get rid of the bass here.
[00:28:30] The kick drum plays.
[00:28:52] We put the polymer here into monophonic mode so we choke basically at the notes when there's a release.
[00:29:14] So here I'm using unison but I put the spread on zero so it's basically unison but a mono.
[00:29:35] With the free burp here and we cut out all the low end and a bit of the high end.
[00:29:48] And maybe a delay.
[00:30:08] Cool. Now we can create some glitch sounds on top maybe, get better feel for the rhythm.
[00:30:22] So this is the bass, piano sound, pads.
[00:30:28] So here we create another pulley grid.
[00:30:34] Maybe you can go back into the bass and say these two are played only in the second iteration.
[00:30:42] And in the first iteration we have these two.
[00:30:50] First iteration these two, second iteration.
[00:31:17] So in here we start by using noise, maybe white noise, AD.
[00:31:29] Maybe I bring the volume down here from the project.
[00:31:34] Just a little bit for the moment so when I explain stuff here.
[00:31:38] Okay, so we have this and we go also here for transport.
[00:31:44] I was transport a lot lately and I pull this down to one length here and I trigger this AD.
[00:31:52] Basically just gives us here something like this.
[00:31:57] Maybe stereo and a high pass.
[00:32:12] And then we use the second transport here and here we put this to three.
[00:32:16] So the length of the pattern is actually three.
[00:32:19] And we can use then the phase signal which is just a ramp.
[00:32:26] As you can see on the left side it's just a ramp going up exactly in the time span of three 16 notes.
[00:32:37] So we get this kind of rhythm.
[00:32:46] I'm using another one, go to six maybe.
[00:32:59] So we get some kind of polymeter or polyrhythm feel for the hi-hats.
[00:33:12] Or maybe I use your different phase signal.
[00:33:24] Or maybe something different.
[00:33:35] Let's go for this one.
[00:33:44] Okay, and after this we put here maybe the length.
[00:34:01] Nice.
[00:34:25] Then we can maybe change this here to merge.
[00:34:35] So instead of having only these triggers here we can maybe also go for multiple triggers.
[00:34:44] 16 notes here.
[00:34:47] I have to see what the phase disabled is.
[00:34:52] And go here for 32.
[00:34:57] And here for 64 maybe.
[00:35:05] And here maybe for eight.
[00:35:09] And let's go to four here.
[00:35:13] Every time we trigger here we use a dice.
[00:35:18] And get a random value, get a different output here.
[00:35:22] And this one we switch to nearest.
[00:35:26] Or maybe it's a bit too often so let's go here for...
[00:35:33] Let's go to trigger four.
[00:35:44] That's a bit too fast here I think.
[00:35:47] Let's disable this.
[00:35:50] And go here for the phase input.
[00:36:19] Okay I'll do another one here.
[00:36:21] Also with 16.
[00:36:43] That's okay.
[00:36:53] Maybe I don't like the CM.
[00:37:21] Okay I'll just leave this as it is just in the background.
[00:37:27] Then we add some hi-hats on top.
[00:37:40] Maybe some acoustic hi-hats.
[00:37:56] Maybe some high-pitched hi-hats.
[00:38:09] That's okay.
[00:38:38] And then we add some hi-hats to bring in some straight sounds, some straight rhythm.
[00:38:55] And then maybe we do another pulley grid for the snare.
[00:39:05] We do basically the same thing as with the kick drum.
[00:39:25] We probably don't need pitch in the loop.
[00:39:36] Make this very short here.
[00:40:01] We need some noise.
[00:40:10] Maybe blend.
[00:40:26] Let's continue it.
[00:40:45] And we want to copy this click sound here.
[00:41:14] And we're done.
[00:41:26] And a bit of that clipping.
[00:41:55] So maybe you can also layer here some kind of acoustic clap in there.
[00:42:19] I'm searching here for clap.
[00:42:29] And we're done.
[00:42:58] And we're done.
[00:43:08] Maybe a high pass.
[00:43:23] Nice.
[00:43:38] That's a nice little loop.
[00:43:52] Maybe let's try and implement here.
[00:43:57] Small little pitch shift.
[00:44:03] Or transpose. Let's call it transpose.
[00:44:07] And we want to change everything by, let's say, by 12 semitones around.
[00:44:36] Or transpose. 12 semitones.
[00:44:45] And just copy this over here to bass.
[00:44:51] Yeah, that's better.
[00:45:07] I think these notes are wrong. I think I have to check here.
[00:45:22] Yeah, I need to put this here.
[00:45:51] This needs to be here. Okay.
[00:46:20] So I put this here into a group called drums.
[00:46:37] Maybe the glitch is also in there.
[00:46:40] I put here a transient control on it to glue it a bit together.
[00:46:51] Yeah, that's fine.
[00:46:55] And I put a hot clip on there.
[00:47:20] Yeah, nice.
[00:47:45] Okay, so we have drums, we have some pads, we have a piano.
[00:47:51] We need maybe some kind of main lead sound.
[00:47:56] So we can create something in the grid again.
[00:48:03] And start with a sign.
[00:48:06] It's an ADSR.
[00:48:12] Output maybe a FIS here.
[00:48:19] The wave folder.
[00:48:24] And then go here with a long delay.
[00:48:30] Go back into the sign.
[00:48:35] Or just take here another sign.
[00:48:39] Take a different ratio here.
[00:48:58] And some reverb in the FX box here.
[00:49:11] Switch this on so you can play it on the keyboard.
[00:49:27] [Music]
[00:49:54] Let's use chroma here.
[00:49:57] Right in the scale.
[00:50:00] [Music]
[00:50:29] [Music]
[00:50:55] [Music]
[00:51:01] I'm just experimenting here around with the sound.
[00:51:06] [Music]
[00:51:31] [Music]
[00:51:41] [Music]
[00:51:51] [Music]
[00:52:17] I will use a fixed note here.
[00:52:21] The root note.
[00:52:24] [Music]
[00:52:44] [Music]
[00:53:03] Maybe we can instead of the Bitwig stuff.
[00:53:06] We use here the supermassive.
[00:53:13] [Music]
[00:53:33] So you can play some notes or just use a MIDI modulator here.
[00:53:39] And modulate basically with the mod wheel while I'm playing here.
[00:53:43] Intensity of the phase modulation.
[00:53:48] [Music]
[00:54:08] [Music]
[00:54:18] And then I just record this.
[00:54:21] [Music]
[00:54:41] [Music]
[00:54:51] [Music]
[00:55:01] [Music]
[00:55:22] [Music]
[00:55:32] [Music]
[00:55:42] [Music]
[00:55:51] Okay, let's stop this for a moment here.
[00:55:55] Put this free run mode off.
[00:56:00] Also the glitches.
[00:56:03] Free run off.
[00:56:08] That sounds...
[00:56:12] Oh yeah, they still get triggered here.
[00:56:16] [Music]
[00:56:24] So now only the trigger is switched on when I hit play.
[00:56:31] And also the piano sounds.
[00:56:34] Free run when stopped.
[00:56:37] Yeah, nice.
[00:56:40] So now we have a small little piece.
[00:56:43] We can push in all kinds of directions.
[00:56:46] There's a small little atmosphere.
[00:56:49] Some glitches, some bass sound, melody.
[00:56:53] Not really a melody, it's more like atmosphere, a background.
[00:56:56] But you can put a melody on top and then, you know, push it in all kinds of directions.
[00:57:02] The chords, the ambient.
[00:57:05] Also change the...
[00:57:11] Change the notes or transpose it around.
[00:57:14] Everything depends on each other in smaller amounts, in smaller ways.
[00:57:19] So yeah.
[00:57:21] [Music]
[00:57:50] Maybe the pads need to make some room for the bass.
[00:57:54] [Music]
[00:58:14] So yeah, it's a nice beginning.
[00:58:17] I put this on my Patreon if you want to examine this, or if you want to build upon this, you can do it.
[00:58:24] And like I said, I put this on my Patreon so you can download it for the current Bitwig version.
[00:58:29] And yeah, play around with it.
[00:58:32] I think that's it for this video. Thanks for watching.
[00:58:34] I hope you learned something.
[00:58:36] Keep asking questions in the comments down below.
[00:58:38] Leave a like if you like the video, of course.
[00:58:40] If you don't like it, then leave a dislike or whatever.
[00:58:44] And see you in the next video.
[00:58:46] Thanks for watching and bye!
[00:58:48] [BLANK_AUDIO]