Bitwig Studio 6 Scale Highlighting Feature Explained

[00:00:00] Hey, folks, welcome back.
[00:00:01] So Bitwig Studio 6 has a lot of new features, a lot of new stuff to explore
[00:00:06] and to unpack.
[00:00:07] And I want to make or plan a series of videos to actually show you every feature,
[00:00:12] give you ideas how to use it and make use of it because you paid for it.
[00:00:16] So you probably want to use it, right?
[00:00:18] So this video or today's video is about the scale feature.
[00:00:23] And it's probably not interesting only for Bitwig users because every
[00:00:26] door has some kind of scale highlighting feature nowadays.
[00:00:30] And thank God we finally have it in Bitwig Studio because we are finally
[00:00:35] able to make decent music.
[00:00:36] Am I right?
[00:00:37] So I want to show you this in today's video.
[00:00:40] So let's head over here to Bitwig.
[00:00:41] This is how it looks like.
[00:00:43] We talk about here these clips in a minute, but just watch here at the top.
[00:00:47] This, this is where we start.
[00:00:49] We have a global selector.
[00:00:51] We can change the root node and we can change the mode here.
[00:00:55] And this is not in a specific order, even though I wished we had a specific order.
[00:01:01] So my opinion here, instead of using this kind of keyboard ordering.
[00:01:06] So we start with D and D sharp, which is or D flat, which is C sharp and D and
[00:01:13] E flat and so on.
[00:01:14] Why not have this like on the circle of fifth?
[00:01:17] So we start you with C and then we go to G and then we go to D and so on, right?
[00:01:22] So we have only a fifth between the nodes because this could be nice.
[00:01:28] Maybe if you modulate this with an LFO and you want to go from scale to scale and
[00:01:36] each scale is just a fifth apart.
[00:01:38] So you're basically circling around the circle of fifth, which makes it very
[00:01:43] pleasing to listen to.
[00:01:45] If you ask me, maybe this would be cool to have your different ordering.
[00:01:48] Maybe make an option into the settings.
[00:01:51] I have no idea.
[00:01:52] Maybe it's a stupid idea.
[00:01:53] It's probably, it probably is.
[00:01:55] Then you're also the modes.
[00:01:57] These are also not in a specific order, I guess, loosely sorted or ordered.
[00:02:03] In my melody maker script here, I am basically used from bright to dark.
[00:02:08] So I start here with the brightest mode, which is Lydian, then major mixer, Lydian,
[00:02:12] Dorian, natural, minor, Phygin, Locrian, which is the darkest mode here of the
[00:02:16] church modes and also from mode to mode, there's only just one node going down or
[00:02:23] changing.
[00:02:24] I show you this a minute, which makes it also easy to get what's actually
[00:02:29] happening with these modes, right?
[00:02:31] So this is the global selector and you can change this here and we can also
[00:02:36] modulate this.
[00:02:37] You can see here, there is an automation.
[00:02:39] Yeah, we can modulate it and we can automate it.
[00:02:43] So we have here automation.
[00:02:44] I change it basically in different time zones to different modes and different
[00:02:49] root nodes and yeah, we can change basically the harmony there or the note
[00:02:54] grid or the scale highlighter grid and it changes in these clips.
[00:02:58] So what I want to show you now here is, let's zoom out.
[00:03:02] I played basically a major melody in each of these sections here of the
[00:03:08] ranger, which gives you the opportunity to see here these kind of striped nodes.
[00:03:16] These nodes are out of the scale and this is the snap to, what's the name
[00:03:21] here, snap to key feature.
[00:03:23] So when we have this on, you can see with this striped coloring here that these
[00:03:29] nodes are out of the scale, which makes it actually very visible.
[00:03:33] What is the difference in this mode?
[00:03:37] So I started here with the major mode, major melody.
[00:03:40] Maybe I play you this.
[00:03:41] So you get, you get the feel for the major mode.
[00:03:44] You probably never heard it before.
[00:03:46] Okay.
[00:03:51] So this is the major, major mode or the major scale.
[00:03:54] And then I just copied this over here to Lydian.
[00:03:57] So in Lydian, it's basically the major mode, but just one node is different.
[00:04:03] Here, this one, and this is, I think the fourth is raised.
[00:04:07] So you need to put this up to make it brighter.
[00:04:10] Okay.
[00:04:10] So we can do this here by just move this up.
[00:04:13] So this is now C Lydian instead of, instead of C major, it sounds a bit brighter.
[00:04:18] It's very subtle.
[00:04:33] You can barely hear it, but just raising this note from here to here makes it a bit brighter.
[00:04:40] So you have this half-slap in a different place and the whole scale shifts to a brighter
[00:04:46] or more happier place.
[00:04:47] This is basically what the, what these modes do.
[00:04:51] Nothing more.
[00:04:52] It's just shifting certain nodes to different places to give you a different mood.
[00:04:57] Okay.
[00:04:59] So Lydian is the brightest major is a bit darker.
[00:05:02] So one note goes basically down from Lydian or from major.
[00:05:05] You move this note up and then you have a different scale.
[00:05:09] Also very important, if your melody doesn't use this note or this, this interval here,
[00:05:18] you don't play in Lydian.
[00:05:21] So what, what I mean by this in practical terms is if your melody basically doesn't
[00:05:26] use these notes here, you can play in major or Lydian and doesn't matter.
[00:05:32] You, you just play in one mode, node.
[00:05:34] If you don't use these characteristic intervals here from the mode, you are not playing the mode.
[00:05:41] So this can happen still with scale highlighters here.
[00:05:45] This is something you have to know.
[00:05:49] This is harmony theory and you have to know it.
[00:05:51] It's not something a scale, high, high, high, highlighter tells you.
[00:05:55] If you don't play this characteristic interval, you are not playing the mode.
[00:06:00] Simple as that.
[00:06:02] Okay, so here we play it.
[00:06:04] So we play Lydian.
[00:06:05] Also mix a little mix a Lydian here.
[00:06:08] Same thing.
[00:06:09] This note goes basically down and then we play instead of major, we play mix a Lydian.
[00:06:16] If you don't play this note, you're not playing mix a Lydian.
[00:06:20] It's a bit darker.
[00:06:26] Okay.
[00:06:26] I play your major and mix a Lydian in a combination.
[00:06:30] Again, if your melody doesn't use this, you're not playing mix a Lydian.
[00:06:44] It's the same thing.
[00:06:44] Right.
[00:06:54] Same melody.
[00:06:55] It's just major.
[00:06:56] It's very important, in my opinion.
[00:06:59] Also, when you want to make a modal chord progressions and you choose a chord that's
[00:07:05] not using this interval, you're not having a modal chord progression, even though you
[00:07:11] switched or modulated or automated here from one scale to the other scale.
[00:07:17] You have to use this interval.
[00:07:18] Also Dorian here.
[00:07:20] And I want to use a new feature.
[00:07:22] When you right click here on the clip here or here, you can say quantize and then
[00:07:29] quantize to key and then it automatically snaps all of the notes to the next nearest
[00:07:37] thing.
[00:07:37] So you can see here are now two notes different from the major because we have
[00:07:43] already mixed a Lydian here in the middle.
[00:07:44] So for mode to mode to change only one note here, it's this note, basically, right?
[00:07:50] This goes down, then this goes down here to and also this note.
[00:07:55] So let's do this.
[00:07:57] Let's switch this down.
[00:07:59] So it's a bit darker.
[00:08:01] And so on.
[00:08:16] Then we have minor here.
[00:08:18] We also have to quantize this.
[00:08:20] Well, let's actually quantize everything here.
[00:08:22] But you can see from mode to mode, it's just one additional note that you have to
[00:08:27] move down to make the scale a bit darker.
[00:08:29] And your Locrian is the biggest difference between major, right?
[00:08:34] We have your one, two, three, four, five notes we need to move down.
[00:08:40] So it's very dark.
[00:08:43] Quantize, quantize to key.
[00:08:46] Okay.
[00:08:47] So these are the church modes.
[00:09:04] Most people already know the names, heard of it, but you can really use them like tools.
[00:09:11] It's not something special to it, in my opinion.
[00:09:15] Just use them as tools.
[00:09:17] If you have a melody and you see you play, I don't know, a lot of these in there or
[00:09:23] a lot of C's, you can say, oh, this is my root.
[00:09:27] Root is C, you dial in C, right?
[00:09:30] And then you switch to whatever you want to have.
[00:09:34] Like, let's say you play this melody and you say, oh, it's too dark or it's too bright.
[00:09:39] It's too happy, right?
[00:09:40] And then you select something that's a bit darker and then you change all these
[00:09:44] notes so it fits the scale.
[00:09:46] And then you have a darker melody or a brighter melody.
[00:09:50] So it's just like a tool to make a melody brighter or darker.
[00:09:55] Also, of course, chord progressions.
[00:09:57] So it's just simple as that.
[00:09:59] And I also personally, I just use it like this.
[00:10:02] So these are the church modes.
[00:10:04] Then we have the extended modes.
[00:10:06] They change basically certain things, your certain vibes, harmonic minor, harmonic major,
[00:10:13] jazz, jazz minor, which is probably melodic minor, I guess.
[00:10:18] So yeah, different things here.
[00:10:20] I play you these also here, different notes, a bit different.
[00:10:24] So you have more in harmonic minor.
[00:10:27] So you have more like these half steps in there, right?
[00:10:29] So from here to here, just one semitone.
[00:10:32] And this makes a scale very dissonant.
[00:10:36] So this can help sometimes if you make drum bass, right?
[00:10:40] You want to have bass sounds here, sometimes just moving in semitone steps.
[00:10:44] Almost traumatic because you want to have sound evil and dark and you don't
[00:10:49] want to have tappy.
[00:10:50] That's not what you want with drum bass.
[00:10:52] Maybe you make happy drum bass.
[00:10:54] But here you have a lot of half times steps or half tone steps in there.
[00:11:00] And it makes it sound dissonant and evil.
[00:11:07] Also very Arabic feel to it.
[00:11:11] Egyptian, whatever, you know what I mean.
[00:11:17] Major, harmonic major here.
[00:11:22] Maybe I'll collect everything or try to quantize everything here.
[00:11:26] Very Prince of Persia-esque.
[00:11:35] So yeah, harmonic minor is also something I use a lot for drum bass.
[00:11:48] Sometimes minor, if I do a liquid drum bass, ambient is a minor major.
[00:11:54] It for me, it sounds too basic to so I usually go to minor.
[00:11:59] Sometimes I switch to switch to Phrygian because with Phrygian, you
[00:12:04] have like here the root note and then you have already one half step higher.
[00:12:10] You have the next note.
[00:12:12] So you have already here some kind of dissonance there, which I really like.
[00:12:16] And then the second dissonance here from, I think this is the fifth to the sixth.
[00:12:21] Very nice to have.
[00:12:23] And with harmonic minor, you have even more.
[00:12:26] You have here half step, here half and also here half.
[00:12:31] So more dissonance means more darkness, more darkness is nice.
[00:12:38] If you ask me, harmonic minor or my is my friend, more or less.
[00:12:44] So these are the extended modes.
[00:12:46] Then we have pentatonic.
[00:12:47] The big difference between pentatonic and diatonic is just the number of notes.
[00:12:53] Diatonic is usually seven notes.
[00:12:56] Also here, these modes, one, two, three, four, five, six, seven, and then the same
[00:13:01] note here we started on, which is C. So seven notes.
[00:13:04] Pentatonic is just using five notes.
[00:13:07] So the idea here is we just remove these half tone steps.
[00:13:12] Here, this is a major basically.
[00:13:16] So here we remove that and this and just have five notes.
[00:13:21] One, two, three, four, five.
[00:13:24] So this is something you want to use if you do 80s synth wave music.
[00:13:29] This is perfect for lead sounds or rave music, trance.
[00:13:34] If you need some a cool melody that is, you know, very characteristic and easy
[00:13:41] to listen to, this is pentatonic.
[00:13:43] Just use five notes and leave all the dissonance steps out, the half tone steps out.
[00:13:52] Also here, I think this one needs to move up, this needs to go.
[00:13:57] This needs to go.
[00:13:58] This goes down.
[00:13:59] It sounds like this.
[00:14:00] So a lot of pop music from the 80s is just only these notes and they play basically
[00:14:15] melodies and I also use D sharp minor pentatonic a lot.
[00:14:20] You notice you see this in my videos, which is basically just the black keys.
[00:14:24] You just use the black keys because there are only five black keys, which makes sense.
[00:14:30] OK, so you can play these pentatonic melodies very easy on the keyboard.
[00:14:35] If you stick to the black keys.
[00:14:38] So then we have blues here, the blues scales.
[00:14:42] And here it's a bit different instead of leaving notes out, you add a note.
[00:14:48] So here, for instance, you add this note between here.
[00:14:50] What's the the second, the second, the third and you add a note between that.
[00:14:57] And this is also called like I have no idea.
[00:15:00] I'm I'm not trained with this, but I think it's called the blue note.
[00:15:04] And it gives it this bluesy feel.
[00:15:08] So let's listen to this.
[00:15:10] There's some kind of jazzy blues feel to it.
[00:15:17] Also very nice that we have here three notes in a row in a chromatic order.
[00:15:23] Just a half step away each.
[00:15:26] So you can sometimes also utilize this for drum and bass.
[00:15:30] If you want to keep here this for the bass and then you want to play something on top
[00:15:34] and you get this kind of bluesy jazzy feel very easily with these blues scales.
[00:15:42] Also your blues minor there is just these three chromatic notes
[00:15:48] are just in a different place.
[00:15:49] They are here instead of here, just the same thing.
[00:15:52] OK, these are the blues scales that we have here symmetric.
[00:15:56] So these kind of modes are very technically so it's all about the spacing.
[00:16:04] So here the whole tone scale is very easy.
[00:16:07] It's just always a whole tone step away, right?
[00:16:11] So we have one note, then we have a half step, half step or whole tone step here.
[00:16:15] So always just skip a note and go to the next note, which means there are no
[00:16:20] this dissonant intervals in here.
[00:16:25] So this makes it very nice for ambient also because you have no dissonance.
[00:16:30] It's just very pleasing, right?
[00:16:36] No dissonance whatsoever, perfect for ambient.
[00:16:40] And then you're also the next to repeat.
[00:16:42] Basically, you have a whole tone step always and it repeats.
[00:16:45] Then we have your diminished whole half step.
[00:16:49] So it's exactly what the name says.
[00:16:55] We have a whole tone step here, then we have a half step, then we have a whole tone step,
[00:16:59] half step, whole tone, half and so on.
[00:17:01] You get the idea.
[00:17:06] Right? All half, whole half.
[00:17:08] And then here it's the other way around.
[00:17:10] We have half, whole, half, whole.
[00:17:12] So it's very symmetric, technical, spaced out.
[00:17:17] But you get the very also dissonant feel because we have a lot of halftime
[00:17:24] half tone steps in here.
[00:17:26] And this is also perfect for acid, techno, drum base,
[00:17:34] bass lines or drum base in general, or this kind of cyberpunk.
[00:17:39] This is actually dark techno, dark techno, cyberpunk music.
[00:17:43] Yeah, if you do leads or arps with this, it sounds perfect.
[00:17:48] OK, diminished, whole half and half whole.
[00:17:51] Also, you're half diminished to different spacings,
[00:17:54] also overtone different spacings.
[00:17:56] It's basically all the same, just different rhythms, but there's no meaning to it.
[00:18:03] Then we have your double harmonic major and double harmonic minor.
[00:18:07] So here it's a bit different, spaced out.
[00:18:11] It's just, you know, it has a different sound to it.
[00:18:16] Maybe I give you here a listen.
[00:18:18] Double harmonic major.
[00:18:21] So also, again, a very Arabic kind of feel.
[00:18:29] Also, here we have three notes in a row, chromatic row, very nice for bass lines.
[00:18:34] You know, you know, the deal.
[00:18:36] So as when you see basically on notes close together, it means this this harmony
[00:18:42] and it makes it automatically sound dark.
[00:18:45] So the more you have from these half step inside of the scale, the darker the scale is.
[00:18:50] OK, these are the symmetric things.
[00:18:53] And then we have here at the end, we have reduced chord based.
[00:18:56] So this is these are kind of very tool based.
[00:19:00] Yeah, tool based utility based scales, because it just emphasizes here
[00:19:09] certain aspects of the major scale in the minor scale.
[00:19:13] So let's say you have a minor melody and it sounds very random
[00:19:19] or you want to make it more stable than you add more notes in these regions
[00:19:24] here because this is the root, this is the major third and this is the fifth.
[00:19:30] And these are basically the main in the most important notes in the scale
[00:19:35] to define the scale.
[00:19:38] And yeah, you have a melody that it's this is probably in the scale of major.
[00:19:43] See major, but you want to make it more stable and more focused
[00:19:47] than your amplifiers and emphasize here these kind of notes
[00:19:51] and add more notes to your melody in these kind of positions here.
[00:19:56] Or the other way around, you just remove the notes here
[00:19:59] and then you make the melody more unstable, more vague.
[00:20:03] You know, this is also something you can do with this.
[00:20:06] But usually if you have knowledge of that, you probably don't need
[00:20:11] a scale highlighter for that because you can already see if you're on the minor scale.
[00:20:17] Or I want to remove maybe this because he has a half tone step
[00:20:20] or I want to move this right because he has a half tone step.
[00:20:23] So it's more pleasing here.
[00:20:25] This is the root, this is the fifth, this is the third.
[00:20:28] Maybe I should emphasize the melody more on these notes to make it more stable.
[00:20:32] Or I need to remove these notes to make it more unstable.
[00:20:35] So I don't know.
[00:20:37] You can use the scale highlighter for that if you want to.
[00:20:39] But if you know if you have knowledge of that, you probably can do it already in here.
[00:20:45] OK, and these are the scales actually at the moment inside of Bitwig.
[00:20:49] Maybe there will be more over the course of the beta.
[00:20:52] Maybe we get custom scales.
[00:20:54] I have no idea.
[00:20:56] That's the state Bitwig is currently in.
[00:20:59] OK. OK.
[00:21:01] So here we have some kind of ARP running in the background with a synth.
[00:21:05] So very basic, nothing special.
[00:21:07] I just want to highlight some some things here.
[00:21:11] So let's play it for a moment.
[00:21:14] So it's a random melody, which is OK.
[00:21:21] So with the scale highlighter here, we have C major.
[00:21:25] So you can see C is already more or less highlighted here,
[00:21:31] a bit brighter than all the other backgrounds.
[00:21:34] And by the way, you can switch this here with this options panel.
[00:21:38] At the moment, we have here a note background adapt to key.
[00:21:41] You can also switch it to piano pattern if you want to.
[00:21:44] And if you enable switch to key, you have like these lines in the background.
[00:21:48] If you like this more for me, I like here, adapt to key a bit more
[00:21:53] because it's easier to the eyes, more pleasing.
[00:21:56] But it's kind of the same thing.
[00:22:00] So snap to keys on and here you can see the C, which is the root note,
[00:22:05] is a bit brighter because it's very important note.
[00:22:08] You need to play this a lot.
[00:22:10] If you want to stick to the scale of C major, right, so we can pull this down, maybe.
[00:22:14] This is basically what I told you a few minutes ago to make a melody more stable.
[00:22:22] So here we have the this is the fifth note.
[00:22:25] It's actually this year, this is the fourth.
[00:22:28] And also you can see these notes are different colored, right?
[00:22:32] With this, we can already see which kind of notes belong together.
[00:22:39] So we have here the root note, which is kind of in a red or cyan kind of color.
[00:22:43] And then we have here G, which is the dominant, which is also red colored, right?
[00:22:48] But when we use something that's not in the scale, for instance, this note here,
[00:22:53] it's green, it's completely different color than red, right?
[00:22:57] So also this one here, it's purple.
[00:23:00] It's also kind of red ish, which is the fourth.
[00:23:03] So root fourth and fifth.
[00:23:06] You can see this already here with the coloring.
[00:23:09] I don't know how this is called.
[00:23:11] Synthesia or something like this, probably not the right term.
[00:23:15] Anyway, so it's colored in a meaningful way.
[00:23:19] You can see with the color what's going on.
[00:23:22] And the brightness gives you a hint of the velocity.
[00:23:27] OK, that's it.
[00:23:31] So with this, now we can make this melody more stable in the terms
[00:23:36] that we focus more here, maybe on the third, which is this here and the root.
[00:23:44] Maybe this one, we go here to the fifth.
[00:23:47] And this one also goes to the fifth.
[00:23:49] And this is one of the third.
[00:23:50] So it should be sound more stable now.
[00:23:53] Maybe you can go up to C here, up to C, super stable, probably.
[00:23:58] So we really emphasize that we are in C major because we play C a lot.
[00:24:08] We play the dominant here, the fifth a lot, and also here to see at the top.
[00:24:13] Also here, see, so very C major ish kind of, right?
[00:24:18] But sometimes you don't want that, right?
[00:24:21] You don't want to have this stable.
[00:24:23] So you put this out in a different place here.
[00:24:26] So we don't play these notes.
[00:24:28] You play other notes.
[00:24:33] So you can't hear any more in what kind of key you are.
[00:24:40] Even though you are in C major, it sounds a bit darker.
[00:24:43] We have still one C in here, but this is how we can utilize basically
[00:24:48] this kind of scale highlighter.
[00:24:51] We can also switch it to C major triad.
[00:24:54] You can see it shouldn't sound stable.
[00:24:57] Let's put it back into the important places here.
[00:25:02] And let's give it a play.
[00:25:06] Yeah, it's also very boring, of course.
[00:25:12] OK, C minor back to that.
[00:25:15] Let's put this down.
[00:25:20] OK, let's make it a bit darker.
[00:25:27] We have a minor here, and the next darker mode is basically fridgen.
[00:25:31] So fridgen has here this kind of half step right in the beginning.
[00:25:36] And to make it to make this melody actually fridgen,
[00:25:39] we have to use this kind of step also here.
[00:25:41] This note, you can move down this up.
[00:25:44] So now it sounds a bit different.
[00:25:46] Let's use here the key filter plus because we can use instead
[00:26:02] of the global scale, we can use your local different scale.
[00:26:04] So let's switch here to minor.
[00:26:08] All right, that's a small difference.
[00:26:26] It's very subtle, but you can hear it in the mood change from major to fridgen.
[00:26:32] So yeah, this is how you can utilize this.
[00:26:35] I also want to give you an example for what's the name diminished,
[00:26:41] which is pretty cool sometimes to have C here.
[00:26:44] Let's use utilize here these half steps.
[00:26:48] And put this down here.
[00:26:57] So we can make acid with this pretty easily.
[00:27:17] And it sounds not wack.
[00:27:21] Maybe an octa floor, maybe a bit of distortion filter plus and here the diode.
[00:27:46] . And maybe a clip up.
[00:27:58] Yeah, pretty nice.
[00:28:20] These diminished modes here for this kind of cyberpunk acid techno sound.
[00:28:28] I love it.
[00:28:28] Okay, but anyway, this is how you use it.
[00:28:33] Or this is how you make use out of these scales for different things.
[00:28:37] I also want to show you here some of the tools that use this.
[00:28:42] So we have to transpose now here, the transpose, no transpose.
[00:28:46] We have this small little button here on the left side.
[00:28:49] I think I showed this also in the overview video, but you can make
[00:28:54] some interesting things with this.
[00:28:56] So we can just use one note here, right?
[00:28:59] And then say, maybe you want to have a note repeater and just repeat this.
[00:29:03] Something like this, or we can make it a bit odd, one point five, right?
[00:29:13] And then use a quantizer on that.
[00:29:14] Something like this.
[00:29:21] And then you put a random on this here and you switch it to hold or trigger to note.
[00:29:28] Then each time this one receives a new note, you generate a random value.
[00:29:34] And then we go up here and steps, let's say six steps up.
[00:29:38] [MUSIC]
[00:29:48] Right?
[00:29:59] Something like this.
[00:29:59] Or if you don't want to build this stuff here, you can, I think, also just
[00:30:03] use the humanizer, not the randomizer.
[00:30:08] The randomized module, and you can just use here a random pitch.
[00:30:11] [MUSIC]
[00:30:19] Or you want to generate, I don't know, a more pleasant melody.
[00:30:34] We switch it to a different scale, maybe minor.
[00:30:37] [MUSIC]
[00:30:47] Yeah, pitch goes up and down here, it's bipolar.
[00:30:51] Maybe disable this to only go up in pitch.
[00:30:54] [MUSIC]
[00:30:58] Yeah, maybe a conclusion reverb on that, and of course a delay.
[00:31:03] [MUSIC]
[00:31:08] Maybe transpose this up here by one octave.
[00:31:13] [MUSIC]
[00:31:22] Yeah, it's pretty random because this is random.
[00:31:25] But you can generate some different notes on top of a melody,
[00:31:32] or maybe in the background.
[00:31:34] So it's sometimes really nice to create random notes in a certain rhythm.
[00:31:38] [MUSIC]
[00:31:46] But it's all in scale, but we have to enable this here.
[00:31:53] I forgot to enable this, sorry.
[00:31:55] [MUSIC]
[00:32:01] So now it's in a scale, which is here, then C minor.
[00:32:05] Okay, so this is using the clope P signature thing here on the randomizer.
[00:32:11] Also here on the note transpose, we had this before.
[00:32:15] It switches basically with Simi to steps, which is cool.
[00:32:20] Then we have here also the multi-note.
[00:32:24] So here we have also this kind of switch.
[00:32:28] And it uses then, yeah, we can put this one octafire.
[00:32:35] [MUSIC]
[00:32:45] Ah, maybe an octaflower, minus 12 probably.
[00:33:13] [MUSIC]
[00:33:14] That's probably minus seven.
[00:33:16] [MUSIC]
[00:33:19] So yeah, I can use the multi-note now instead of using multi-note and
[00:33:23] the key transposer here, or the key filter.
[00:33:27] We don't need to do this.
[00:33:28] You can do this now in the multi-note and just enable this.
[00:33:30] And it follows the global scale.
[00:33:34] Yeah, it's a bit easier now.
[00:33:36] It's just one device instead of two.
[00:33:40] Also, the key filter, I showed you this before, we can select your local scale.
[00:33:44] You can basically do everything that you can do here with the global thing.
[00:33:47] But here you can change it locally just for one track.
[00:33:50] Or you just enable this use global key button here.
[00:33:54] And then it uses, yeah, whatever you change here in the global selector, right?
[00:34:02] Another cool note FX here is the note echo.
[00:34:08] Oh, it's only called echo, okay.
[00:34:13] So here we have also global key button.
[00:34:17] So with this, we can just paint one note.
[00:34:21] Maybe you don't see.
[00:34:24] And it generates another new notes basically like an echo.
[00:34:29] And they go down in velocity.
[00:34:33] Here we generate three notes.
[00:34:34] We can also say we want to go up in pitch just one scale step up because this is enabled.
[00:34:40] If this is disabled, this is basically semitones.
[00:35:01] More repetitions.
[00:35:17] Randomize.
[00:35:22] And then a quantizer after that.
[00:35:41] It's fun to play around with.
[00:35:43] Maybe you get something out of it, some nice melodies.
[00:35:46] I don't know.
[00:35:47] But it works.
[00:35:48] It's kind of nice sometimes to have this, yeah, that's the echo for you.
[00:35:55] Okay.
[00:35:56] Also very cool is now the ARP has also this button down here.
[00:36:03] So when we have dialed in your C minor, we can not only just play chords, just skip one
[00:36:12] note.
[00:36:13] Basically, you get the major triad by just skipping one highlighted notes.
[00:36:16] We have root, third and seventh.
[00:36:23] Choose your different pattern.
[00:36:31] But now when you have this use global scale button enabled, we can now transpose here
[00:36:37] things.
[00:36:55] And this is kind of stick to the scale.
[00:36:58] So all of additional notes that you transpose here land on the scale that you have selected
[00:37:05] here, which is C minor, when you switch this off, it doesn't sound right.
[00:37:17] We can also automate this here.
[00:37:21] Just nice to have.
[00:37:22] We can say we want to switch here in the middle to maybe something different.
[00:37:46] I have to make a point here for some reason.
[00:38:01] You switch it here to a different place as well be a buck that this year this is not
[00:38:24] working.
[00:38:25] But this is how you can change them.
[00:38:27] These are pretty easy now.
[00:38:31] And you don't need to fear that you get this homonic sounds because everything ends up
[00:38:37] in the scale that you have selected here to talk.
[00:38:40] In my opinion, this scale features very nice for this Arpeggiator.
[00:38:45] So this is also something that I really like about B2K and I adjust one new feature and
[00:38:52] you can combine everything in new kind of ways.
[00:38:56] So now the Arpeggiator basically also has an update automatically of this.
[00:39:01] And I probably use the Arpeggiator just because of this a lot more now.
[00:39:06] And to wrap this video up, we can also automate this and you can do this here with the automation
[00:39:12] lanes.
[00:39:13] You can change the root key.
[00:39:14] You can also change the scale here to can say we are here in C minor so we can right
[00:39:20] click actually here we should insert here key signature change.
[00:39:30] That's the name.
[00:39:31] So we have C minor here and then we probably maybe switch here to on the left side to major
[00:39:41] for some reason.
[00:39:52] So let's just duplicate this here.
[00:39:59] Let's use Lydian.
[00:40:04] So you can bring different fields into this.
[00:40:14] Yeah, this is how you're automated at the moment.
[00:40:17] It doesn't feel fluid to me here how you have to insert this with the right click and then
[00:40:25] you know, say insert key signature change, maybe they do something so you can double
[00:40:32] click or maybe can use the spray can does this work?
[00:40:35] Oh, yeah, this kind of works.
[00:40:37] So the spray can works and then you can click on this and move it to the right place and
[00:40:44] then you change it on the left side.
[00:40:48] Yeah.
[00:40:49] So this is not a quad tool.
[00:40:51] It's just a scale highlighter.
[00:40:53] It gives you a hint where you are inside of your current scale.
[00:40:59] Some people wanted to actually also transpose everything in here automatically, but I don't
[00:41:04] think this is the right tool for it.
[00:41:07] Maybe Bitwig can implement something where you have like a switch and you can say when
[00:41:12] I switch here to, I don't know, B, then everything is also transposed up by two semitones.
[00:41:19] So the root stays the root in here.
[00:41:23] I'm not sure if this makes sense because Bitwig doesn't know what you actually want
[00:41:28] to do.
[00:41:29] You can, you know, switch from C minor to the Lydian and still want to play then what's
[00:41:38] that the sixth of C minor inside of the Lydian, for instance, instead of transposing it up.
[00:41:47] So maybe again, add something like this where you can transpose everything automatically
[00:41:52] on every channel.
[00:41:55] I saw something like this, that people were complaining about this, not everyone, but
[00:42:00] a few people said this.
[00:42:03] But for me, the scale highlighter is a complete feature.
[00:42:07] It just shows you where you are inside of your current mode or scale.
[00:42:14] And that's enough for me, actually.
[00:42:16] But you know, people still want something different in a certain way.
[00:42:21] But yeah, that's how the scale highlighting feature works.
[00:42:25] Currently in Bitwig, they probably make some changes.
[00:42:28] I really hope they add your custom scales to it, because this kind of interface GUI thing
[00:42:36] here looks a lot like it, like it looks like you can click on it, but you can't.
[00:42:41] And yeah, that's it.
[00:42:44] I think I covered everything so far.
[00:42:47] There are probably more tips and tricks coming in the next weeks or months.
[00:42:53] When I discover something, I make videos about this, right?
[00:42:56] It's not everything in here, but you get a starting point and you get an idea how to
[00:43:03] work with that.
[00:43:04] Okay.
[00:43:05] Thanks for watching.
[00:43:06] Leave a like.
[00:43:07] I show you my face in the end.
[00:43:11] Thanks for watching.
[00:43:12] Thanks for subscribing.
[00:43:13] Let me know what you think.
[00:43:14] And also, if you have some tips and tricks, post it in the discord, post it in the comments.
[00:43:19] Maybe I collect everything and make a video about this so everyone has the same knowledge.
[00:43:24] I think it's a great feature also for beginners, also for advanced producers.
[00:43:30] You can actually see now where you are inside of your current mode.
[00:43:34] Really nice to have.
[00:43:35] Thanks for watching.
[00:43:36] See you in the next video.
[00:43:37] Bye.
[00:43:37] Bye.