Beta Testing of Bitwig Studio 6.0

NOTE: Do not use a beta version to work on important projects! Project files created or saved with the beta cannot be opened in previous versions of Bitwig Studio. So if you are opening working projects, save copies of them for beta testing (instead of saving over your original files).

If you think you have found a bug, please drop us a line at beta@bitwig.com. Please be sure to include:

• steps to reproduce the issue
• operating system
• any relevant hardware information
• if this is a new issue in v6.0

And if you get a crash report dialog from the program, please click Send Report. Adding a comment is most helpful, but this can still be useful to us regardless.

System Requirements

• Windows - Windows 10, or 11 (all in 64-bit), and DirectX 11 or higher
• Mac - macOS 12 ("Monterey") or above
• Linux - For installing the DEB file, Ubuntu 24.04 or later. For installing the Flatpak file, any modern distribution with Flatpak installed (more information here). And a Vulkan- or GL-compatible video driver is required.
• a CPU capable of AVX2

What's New in Bitwig Studio 6.0, Beta 1 [released 27 August 2025]

Jump to: Alias Clips Automation Clips Automation Editing Key Signature Support Editing Improvements Spray Can tool Step Input tool Audition tool Clip Launcher status displays General Improvements

Alias Clips

• Alias clips support sharing content across a single track.
• Note, audio, and automation clips each reference a pattern on that track.
• Clips that use the same Pattern are alias clips, marked with a little paper clip icon.
• When any clip using a Pattern is edited, the Pattern changes everywhere it is used.
• Beside the clip's name and color in the Inspector is a Pattern chooser, showing each Pattern available on that track as well as a visualization of each Pattern and the number of clips using each one.
• Switching a clip to a different Pattern simply switches out the content being played back.
• While the content, color, and clip name are shared, other parameters (such as each clip's start, length, looping, and more) remain independent.
• 'Unique' clips are the only ones using that particular pattern.
  • In the Pattern chooser, these unique clips show the fingerprint icon instead of a count.
• You can Paste [CTRL]-[V] ([CMD]-[V] on macOS) to create a unique clip, or Paste as Alias [CTRL]-[ALT]-[V] ([CMD]-[ALT]-[V] on macOS) to connect the clips' content.
• Similarly, [CTRL]-dragging ([ALT]-dragging on macOS) will Copy a clip, or [ALT]-drag ([CMD]-drag on macOS) to Copy as Alias.
  • Related, you can Duplicate [CTRL]-[D] ([CMD]-[D] on macOS) to create a unique clip, or Duplicate as Alias [CTRL]-[ALT]-[D] ([CMD]-[ALT]-[D] on macOS) as a way to create aliases.
• When capturing a Launcher performance into the Arranger, alias clips can be written to the Arranger with the Record to Arranger as Alias Clips option (in Play menu's Clip Launcher section).
  • The function can be pinned in the window (via the thumbtack icon).
• The Make Unique function duplicates the pattern for the selected clip, making it independent.
• The Merge Duplicate Patterns function removes matching patterns, turning any unique clips that were sharing identical content into alias clips.
• There is also a Merge Duplicate Patterns for Project function, for linking duplicate clips on any note track, audio track, and automation lane.
• The Merge Duplicate Patterns functions are great for:
  1. Opening previous projects and immediately taking advantage of alias clips.
  2. Working in your normal copy/duplicate way, and then linking duplicate material afterward.
  3. And so on.

Automation Clips

• Record, edit, and create automation in meaningful, musical blocks.
• Use familiar clip workflows on automation, including content scaling/stretching (from functions or mouse interaction).
• Clips will follow the parent note/audio clip boundaries while editing, but you can freely edit the automation clips at any time to make them independent.
  • This follow behavior can be broken globally (by enabling Global Automation Lock [0] in the transport, beside the Restore Automation Control [R] button) or for individual lanes (by selecting an automation lane and enabling Automation Lock in its Inspector).
• Simply select an automation clip to then adjust, spread, or randomize its points together.
• Easily adjust note/audio clips and automation loops to use different lengths, etc. etc.
• In the Arranger, you are free to use track automation and/or automation clips.
  • To turn track automation beneath a note/audio clip into an automation clip of the same length: [ALT]-click the lane above or below the automation curve.
    • To make matching automation clips for all lanes, you can either[SHIFT]-[ALT]-click in any automation lane, or select the top-level note/audio clip, and then choose Wrap Related Automation as Clips [CTRL]-[G] ([CMD]-[G] on macOS). Or
  • To create an automation clip where there is no note/audio clip above: [ALT]-click in an Arranger lane above or below the automation curve. An automation clip will be created at the length of the current beat grid interval. Dragging to the left or right will elongate the clip by an additional grid length.
    • This also works with the Pencil tool.
    • [SHIFT]-[ALT]-click in any automation lane will create automation clips for all lanes.
  • To turn a time selection of track automation into an automation clip: use the Time > Wrap as Automation Clip function, which is mapped like "group" to [CTRL]-[G] ([CMD-[G] on macOS).
  • To turn an Arranger automation clip into track automation: use the Clip > Flatten as Track Automation function, which is mapped like "ungroup" to [SHIFT]-[CTRL]-[G] ([SHIFT]-[CMD-[G] on macOS).
• Preferences are available for how Arranger automation is recorded in different context, in the Dashboard under Settings > Recording > Arranger Parameter Recording.
  • When Note recording, create: Automation Clips (the default, creating matching clips) or Track Automation.
  • When Audio recording, create: Automation Clips (the default, creating matching clips) or Track Automation
  • When writing automation, create: Automation Clips or Track Automation (the default).
• Automation clips on the Clip Launcher will follow their parent note/audio clip. So:
  • Automation clips can always be triggered (and stopped) directly.
  • Triggering a note/audio Launcher clip (including via Next Action) will also launch its automation clips.
  • When Launcher automation clips are below a normal, empty note/audio slot, a play button is available in the empty slot for triggering all automation clips beneath.
  • For scene launches:
    • For empty note/audio slots that have a stop button (a normal clip slot), automation clips below will fire.
      • Note: An empty note/audio slot with a stop button will display a convenient trigger to Launch automation clips, letting you trigger all automation clips at once.
    • For empty note/audio slots that do not have a stop button, automation clips below will not fire on scene launch. These automation clips must be launched manually.
  • Temporary actions (like ALT-trigger of clips or scenes) will take each playing clip's position on takeover and accordingly return on release.
  • Track stop messages will apply to its automation lanes too.
• Automation clips can be saved to your library.
  • Automation clips can be found alongside BWCURVE files.
  • Both can be loaded as automation clips, either by dragging them in to a clip lane/slot from the Browser Panel.
  • Clicking plus in an empty automation clip slot loads the visual curve browser, offering automation clips and BWCURVE files for insertion.
  • Dragging an automation clip from the current project into a device's Modulator Panel loads the shape into a Segments (Envelope) modulator — or [ALT]-drag to load the shape into a Curves (LFO) modulator.
    • The same is true for dragging an automation clip from the current project into a Grid device's Grid editor, loading the shape into a Segments (Envelope) module — or [ALT]-drag to load the shape into a Curves (LFO) module.
  • Dragging an automation clip from the current project onto any curve-based device simply replaces the device's loaded content with the curve.
• You can also use alias clips to link automation patterns across an automation lane, both in the Arranger and in various Launcher slots.
• Automation clips can be used:
  1. As an arrangement unit, either for repeating directly or reusing in other sections (including as alias clips).
  2. As a performance gesture.
  3. As a selection group, so that one click selects a block of points that can be edited together.
  4. Etc. etc.

Automation Editing

• There are two new ways to access automation.
  • A new Automation Mode is available in the Arranger:
    • This mode keeps the current track layout of the Arranger Timeline Panel, and then transforms their clips to an "x-ray" style and overlays one automating onto each track.
    • Enable/disable it either by clicking the filled Automation Mode button (up by the Launcher and Arranger toggles), or by simply pressing [A].
    • The parameter you last touched will automatically be shown, or any other single lane you choose.
    • From the Mixer level of any track, each entry (such as Volume) ends with an asterisk icon [٭]. Selecting this icon points all available tracks to that same mixer parameter.
  • Any/all automations lanes can now be edited in the Detail Editor Panel:
    • Selecting an automation clip (or a point within it) on the Arranger loads it directly. Or when a parent note/audio clip is open, switching to the Automation Editor shows all coincident automation clips.
    • From the Track context mode, the Automation Editor will show all automation clips and Arranger automation lanes together.
      • When the Detail Editor Panel is in Track view, selecting any track automation point on the Arranger will focus the editor panel on that automation lane.
  • Both new modes can keep the Arranger as you had it, or just give you a new perspective on how different tracks relate to one another.
  • You can still unfold all automation lanes for any track in the Arranger.
    • When hovering any Arranger track header, the bottom of the track's color stripe will show various icons:
      • A plus sign [+] is shown when no automation is present. Clicking the plus offers the menu to add an automation lane.
      • A greater-than chevron [>] is shown when track automation is present but folded away. Clicking the chevron unfolds all automation lanes for this track.
      • A downward-facing chevron [V] is shown when track automation is present and visible. Clicking the chevron folds up all automation lanes.
    • When not hovering, tracks that have hidden automation show a blended circle, hinting that this is a clickable area.
    • For any track selected, [SHIFT]-[A] toggles between showing and hiding all automation for that track.
    • Lanes can get smaller now, fitting more on screen.
      • When lanes are too small for point selection and editing, only the curve is shown. Other, meaningful gestures — like segment adjustment, Pencil and Spray Can drawing, Time Selection gestures, and Slide Content (for automation clips) — are still available (see just below for details).
      • The Arranger's new Auto-zoom [SHIFT]-[Z] option (details below) is a good compliment when working with small lanes.
• Wherever you work with automation, editing workflows have been greatly improved:
  • Automation points can be freely dragged, even past other points.
  • Clicking just off the curve drags the nearest two-point segment.
  • [SHIFT]-[CMD]-dragging moves an entire automation curve up and down.
  • With the Time Selection tool, various editing functions are available with [ALT]-drag to move points up and down:
    • [ALT]-drag in the center will Offset Time Range moves only the time selection.
    • [ALT]-drag from the top to Scale from Maximum, preserving the minimum value.
    • [ALT]-drag from the bottom to Scale from Minimum, preserving the maximum value.
    • [ALT]-drag on the left edge to Shear Start of Time Range, bending the start of any time range.
    • [ALT]-drag on the right edge to Shear End of Time Range, bending the end of any time range.
  • The Pencil tool transforms shapes you draw into accurate, simple curves.
  • The Spray Can tool draws stepped automation at the current beat grid interval (read: techno).
    • [ALT]-drag with Spray Can to create a longer held automation point, good for creating alternating rhythms.
  • After any edits, high-fidelity thinning is applied.
• New features are also available for all automation points:
  • Each point can have Hold behavior, staying at the current value until the next point is reached.
  • Each point can have randomized Spread, setting a range where the point will land on each pass.
    • Spread can be set from the Inspector, or by [CTRL]-[ALT]-dragging ([CMD]-[ALT]-dragging on macOS) up and down on a selected.
    • For reproducible Spread results, automation clips have a Seed setting, as do automation lanes (for Arranger automation).
  • Each point's Curvature (the slope on the way to the next point) is now shown in the Inspector.
    • This allows text entry for precise values.
    • When multiple points are selected, this allows for group editing of the values, including use of the Histogram interface (with its Mean, Scale, and Chaos controls).
  • Polyphonic event expressions and automation both have these new features.

Key Signature Support

• The key can be defined for your project, set by the twin Root Note and Scale parameters.
• 23 Scale choices are available, including:
  • Classic modes:
    • Major (Ionian)
    • Minor (Aeolian)
    • Dorian
    • Phrygian
    • Mixolydian
    • Locrian
  • Compositional scales, in major–minor pairs:
    • Harmonic Major
    • Harmonic Minor
    • Overtone Scale
    • Jazz Minor (the descending scale for melodic minor)
    • Blues Major [6 notes]
    • Blues Minor [6 notes]
    • Double Harmonic Major
    • Double Harmonic Minor
  • Alternate patterns:
    • Whole Tone [6 notes]
    • Half-diminished [7 notes]
    • Diminished WH [8 notes] (whole-, then half-steps alternating)
    • Diminished HW [8 notes] (half-, then whole-steps alternating)
    • Major Pentatonic [5 notes]
    • Minor Pentatonic [5 notes]
    • Major Triad [3 notes]
    • Minor Triad [3 notes]
• The Piano Roll Editor can Snap to Key, by clicking the sharp–flat icon or pressing [K]. When active:
  • The Pencil and Spray Can tools will only preview and create in-key notes.
  • The arrow up and down keys will nudge by scale degrees (instead of half steps).
  • The note background can either Adapt to Key (using colored lanes for in-key notes and dark lanes for 'out' notes), or to show the traditional Piano Pattern of white/black keys.
• When notes or clips are selected, the Transpose > Quantize to Key function will push all notes into the current key.
• Six note FX devices have an option to Use Global Key (by clicking the same sharp–flat button in their device header), allowing the current global key to affect note transposition:
  • The Arpeggiator device's per-step Transposition parameters will switch from semitones to scale degrees when Use Global Key is enabled.
  • The Echo device's Feedback Transpose parameter will switch from semitones to scale degrees when Use Global Key is enabled.
  • The Multi-note device's Pitch Offset parameters will switch from semitones to scale degrees when Use Global Key is enabled. (The Learn Chord function is also disabled in this mode.)
  • The Note Transpose device's Semitone Shift parameter is swapped out for a Step Shift parameter when Use Global Key is enabled.
  • If the Randomize device's Pitch Randomize function is enabled in the Quanitized mode (to land on exact semitone steps), enabling the Use Global Key will randomize by the set number of scale degrees.
  • The new Key Filter+ device includes the 23 global scales. The device has Local Key and Local Mode/Scale parameters, or it will follow the project when Use Global Key is enabled.
    • Pitch Offset defines how many scale steps to move notes.
    • The Foreign Note Handling parameter sets how to handle out-of-key notes:
      • Filter removes foreign notes, only passing "in" notes.
      • Keep preserves foreign notes as played (only applying Pitch Offset to "in" notes).
      • Constrain corrects foreign notes to current scale, based on the Constrain Mode Inspector setting:
        • Quantize Up corrects foreign notes up to the next "in" note.
          • Smart Quantize makes a musical, scale-specific choice for which foreign notes should go up and which should go down.
          • Quantize Down corrects foreign notes down to the next "in" note.
      • Solo only outputs the foreign notes (with no Pitch Offset applied).
    • The original Key Filter device is now in legacy status. It will still load and work when requested, and you can right-click in the device header to Upgrade to Key Filter+.
  • When Use Global Key is enabled with Arpeggiator, Echo, Multi-note, Note Transpose, or Randomize, a pitch shift of 0 (zero) scale degrees passing thru whatever note came in (including out-of-key pitches). When pitch shift is enabled, notes are corrected with the same Smart Constrain logic as Key Filter+.
  • When Use Global Key is enabled, relevant parameters are tinted in blue (and unused parameters appear disabled).
• Four new Grid modules, three of which use the current global key signature:
  • by Scale (Pitch) corrects incoming signals to land on pitches within the current key, with a definable Constrain Mode Inspector setting.
  • Scale Steps (Pitch) shifts incoming signals by a set number of scale degrees, with a definable Constrain Mode Inspector setting.
  • Root Key (I/O) provides the root note of the current global key signature, formatting it as pitch within a set MIDI Octave and with optional octave wrapping.
    • New Pitch Class (Pitch) Grid module: Manually controlled constant module, offering the 12 pitches and using the same MIDI Octave and optional octave wrapping options as Root Key.
• Both Root Note and Scale parameters have transport lanes, which can be automated from the Arranger or by Launcher clips.
• Both Root Note and Scale parameters can be added to project remote controls, or controlled by modulators from the master track.

Editing Improvements

• The Detail Editor Panel now offers note, audio, and automation editing, both of single clips, whole Arranger tracks, or any layered combination based on your current selection. (The dedicated Automation Editor Panel has been removed.)
  • The fullscreen Edit View ([SHIFT]-[TAB]) offers the same Detail Editor Panel functionality, putting clip- or track-based editing into the center of your screen.
  • In either panel, you can press [F] to toggle to the following available editor and cycle thru them all.
• Both the Detail Editor Panel and the Arranger Timeline Panel have been generally improved, both visually and for streamlined workflows.
  • All available editing tools appear on the right top edge of each panel.
    • Right-clicking within the full palette area shows a menu with all tool icons, names, and their assigned shortcuts:
      • Pointer tool [1], for object selection and general editing.
      • Time Selection tool [2], for time selection and navigation.
      • Pencil tool [3], for inserting events and drawing automation.
      • Spray Can tool [4], for inserting multiple events (more info).
      • Knife tool [5], for cutting events once or at intervals.
      • Eraser tool [6], for erasing events or time regions.
      • Audition tool [7], for previewing events in isolation (more info).
      • Step Input tool [8], for entering individual notes and chords via MIDI in the Detail Editor Panel (more info).
    • A short press of any shortcut switches to that tool.
    • Holding the shortcut will temporarily switch to that tool, returning to the previous tool when the key is released.
    • When the panel is resized to be shorter, only the active tool is shown, which can be clicked to switch tools via menu.
  • The bottom-right corner has a "control panel" icon. When clicked, an Editor Settings menu appears.
    • This includes the Timeline Snapping options and Beat Grid settings.
    • Interactive Appearance settings relevant to the current panel are also available:
      • Dark Grid Linespaints black beat grid lines when enabled (the default), or white lines when disabled.
      • Grid Intensity adjusts the opacity of the beat grid lines, with 0 hiding the lines altogether.
        • Note that beat grid lines appear sharp when an editor's Time Snapping is enabled, and slightly blurry when Time Snapping is disabled.
      • Timeline Background Level adjusts the brightness of empty timeline areas.
    • At the top are editing specifics, such as the current tool for this panel, and editing-specific preferences when in the Arranger (such as whether the Pointer tool supports Time Selection, when mousing below the clip header), for note editing (such as the Color Notes by: option [like Pitch Class or Velocity] and the Insert Channel for new notes), and so on.
    • Several toggle controls that have icons on the editor itself are also listed here, for textual clarity and to display assigned shortcut keys.
• The Arranger Timeline Panel now has an Auto-zoom [SHIFT]-[Z] option (also available by clicking the braced ↕︎ icon in the lower left).
  • When enabled, the selected track or automation lane will change to the zoom size.
  • To change the zoom size, simply resize the currently auto-zoomed track/lane.
  • Selection is easiest done by clicking a track or lane header.
• The Detail Editor Panel always shows a top-level switch for the editing context:
  • Clip editing shows the full clip contents with the clip's timeline. Headers are available for adjusting the Start position, Stop position (when not looping), and a loop control bar (double-click to toggle Looping, drag or edge-drag to adjust the looping region). And when working with a single clip, any events outside of the current clip bounds are also shown.
    • When working with multiple clips, the Lane Grouping setting determines whether events outside of the clip bounds are shown.
  • Track editing shows the current Arranger contents with the project's timeline. Each clip shows an interactive header, allowing you to select (click), move (drag), change the length (edge drag), or stretch ([ALT]-edge drag) any clip.
    • When working with the Clip Launcher, the Track context is not available.

Drum/Hybrid Editor revamp

• The Drum/Hybrid Editor (previously the Drum Editor) has received significant improvements.
• The lanes now automatically resize to fit everything on the screen, when possible. (Small lanes can also be zoomed in, when desired.)
• It is now possible to see notes and audio side-by-side in this editor, with a combination of lanes for individual notes and audio.
  • When working in Track context, selecting a note or audio clip on a hybrid track will default to the Drum/Hybrid Editor.
• For multi-selection cases, there are several view options for Lane Grouping (available in the Editor Settings menu):
  • by Note Lane - Shows the minimum number of lanes, with one note lane for each used pitch and audio grouped by track. Displays relative track time.
  • by Track - Shows one lane for each audio track, and one group of note lanes for each instrument track. Displays relative track time.
  • by Clip - Shows one lane (or group of note lanes) for each clip. Displays the full content of each clip, with the clips' timeline.
• Pitch, velocity, and other expressions can be viewed on top of events with the Expression Overlay [X] mode (explained below).
  • Using the Expression Overlay mode with notes in the Drum/Hybrid editor supports drawing with the Pencil and Spray Can tools as well.

Note Editing updates & improvements

• The left top edge allows switching between the Piano Roll Editor (showing all notes) and the Drum/Hybrid Editor (showing only used notes, or if a Drum Machine device or similar plug-in is present, all notes with active chains).
• Whenever using the Piano Roll Editor, an option to Show Audio in Background is available, using any track containing audio as a background reference for note editing.
  • Clicking on the Show Audio in Background button toggles the function on and off.
  • Long-clicking or right-clicking on the Show Audio in Background button offers a menu for selecting which audio-containing track to display in the background.
  • By default, the first audio-containing track in your project will be selected.
• On hover, the Pencil and Spray Can tools previews the note that will be created if you click.
• The Spray Can tool creates a row of notes at the current beat grid interval (read: hi-hats), using vertical mouse position for the velocity of all notes.
  • Holding [ALT] with the Spray Can tool works the same, except dragging the mouse vertically moves the current step to a different note (read: step sequencing).
• The Knife tool can be dragged over various notes. When the mouse is released, all event will be cut in the same place.
• The Eraser tool can be dragged freely to delete any note passed over.
• The Note Expression Lane [V] below can show any single expression (which now includes Release Velocity).
• A new Expression Overlay mode allows viewing and editing any continuous expression on top of note events.
  • Clicking on the Expression Overlay button (or pressing [X]) toggles between viewing the current expression or editing it (visualizing notes in an "x-ray" style with expression curves on top).
  • Long-clicking or right-clicking on the Expression Overlay button offers a menu for switching from Pitch [P] to other expressions.
  • In the Drum/Hybrid Editor, non-continuous expressions (Velocity, Release Velocity, and Chance) can also be edited as overlays.
• The Edit by MIDI Channel icon is bright and available for clips containing multiple channels (or the icon is dim and available for adding channel diversity to an existing clip).
  • By default, notes are colored by Channel in this mode.

Audio Editing updates & improvements

• The Waveform Editor allows focusing on audio events and fades (as gestures to gain and timing at the top and bottom of each audio event).
• The Comping Editor icon is bright and available for clips containing take lanes (or the icon is dim and available for adding take lanes to an existing clip).
• An Expression Overlay mode [X] allows viewing and editing any expression data on top of audio events.
  • Clicking on the Expression Overlay button toggles between viewing the current expression or editing it (visualizing notes in an "x-ray" style with expression curves on top).
  • Long-clicking or right-clicking on the Expression Overlay button offers a menu for switching from Stretch markers to a different expression.
• When multiple audio clips are selected, view options for Lane Grouping are available in the Editor Settings menu):
  • by Track - Shows one lane for each audio track, and one group of note lanes for each instrument track. Displays relative track time.
  • by Clip - Shows one lane (or group of note lanes) for each clip. Displays the full content of each clip, with the clips' timeline.

Bringing It All Together

• For all editing cases:
  • Selecting any clip will show that clip's contents (whether note, audio, or automation) in the Detail Editor Panel.
  • Selecting any track will show its primary content in the Detail Editor Panel.
  • For note and audio clips, the lower Automation Lane [A] area can show any single automation lane, which will automatically follow the last clicked parameter.
• When multiple clips/tracks are selected, all selected clips will be loaded in the Detail Editor Panel:
  • By default, notes are colored by Clip in this mode.
  • The header of the window shows the available clip headers.
  • All clip headers are slightly dimmed, except for the target clip (where new notes will be inserted):
    • Clicking a dim clip header makes it the target clip.
    • Selecting/editing notes also switches the target clip.
  • For the target clip/layer, background areas of the editor are painted with the clip's color to show its current bounds.
  • When both note and audio clips are selected, the Drum/Hybrid Editor is loaded to show both types together.
• Selecting a Launcher scene when the Detail Editor Panel is open displays all contents of that scene together.
• Selecting an Arranger cue marker when the Detail Editor Panel is open (and in Track context mode) displays all contents of the Arranger together, focusing on the selected cue marker.

Spray Can tool

• The Pencil tool makes single events, and the Spray Can paints multiple events.
• In the Arranger Timeline Panel, clicking the Spray Can tool creates a looping clip.
  • Clicking and dragging extends the new clip with additional loop iterations.
• When working with notes in the Detail Editor Panel, clicking and dragging the Spray Can tool creates a series of notes at the current beat grid interval (read: hi-hats).
  • Dragging up or down adjusts the velocity of new all notes.
  • Holding [ALT] while dragging the Spray Can tool works the same, except dragging up and down can move each step to a different note (read: step sequencing).
  • In the Piano Roll Editor with Snap to Key enabled (either by clicking the sharp–flat icon or pressing [K]), only in-key notes will preview and be created.
  • Clicking on an existing note erases that note (just as the Pencil tool does).
  • When working with clips or notes, hovering with the Spray Can (and Pencil) tool previews the first object it will create.
• When editing automation, the Spray Can tool draws stepped automation at the current beat grid interval (read: techno).
  • [ALT]-dragging with Spray Can creates a single, flat automation segment for the full length of your drag, for an easy way to create alternating rhythms or longer holds.
  • Each point created uses the Hold parameter.
  • This also works for drawing expressions, when using the lane-based Drum/Hybrid Editor with Expression Overlay mode (or theWaveform Editor )
• When working with notes, the Spray Can tool can be used to draw velocity ramps, etc., for successive notes
  • This is available with notes in the lower Note Expression Lane [V] for any non-continuous expression (Velocity, Release Velocity, and Chance).
  • Once you click with the Spray Can tool (showing a pointed crosshair cursor in this area), dragging the mouse will show a line and preview all note expressions to land on this line.
  • When you are happy with the previewed result, you can either click and release to commit the events. Or you can click and drag up or down, to bend the shape.

Step Input tool

• When the Detail Editor Panel is showing a note clip, the Step Input tool is available for entering notes at the current beat grid interval with MIDI.
• When using the Step Input tool, a glowing white line (not unlike a laser sword) appears, showing the current insertion point. Click at the desired location to place this laser sword.
• The right arrow key [→] moved the insertion point to the next step.
• When a key is played, the note will be previewed on screen.
  • To commit the note at the current length: release the key.
  • To make the note longer: press [→] as many times as you like.
    • The first press commits the previewed note and moves the insertion point to the next step; all subsequent presses of [→] lengthen the note.
  • To insert a rest: press [→] while no MIDI keys are being held.
• These rules work for polyphonic note entry as well. For example:
  • As long as at least one key is being held, the insertion point remains on the current step. Additional notes can be previewed by playing them.
  • Releasing a key in its preview state (while other notes are being held) cancels that one note.
  • If a key is being held when [→] is pressed, that key is now "committed" and will create a note whenever the key is released.
  • Pressing [←] shortens any notes that were being held and moves previewing notes to that point.
    • You can also hold notes and then use [←] to delete as a "musical backspace", shortening or deleting the held notes within that time.
• When all playing notes are released together, they all end at the same time. This works for simple chords of fixed length, or when committed notes of various lengths are released together.

Audition tool

• Allows previewing any clip or track content by clicking on it.
• When the transport is stopped:
  • Clicking into the Arranger previews that track from the click location.
  • Clicking into the Detail Editor Panel previews visible tracks/clips from the click location.
  • Clicking a Launcher clip/scene previews that content from the beginning.
  • On release, the transport is stopped and restored to its state before auditioning.
• When the transport is playing:
  • Clicking into the Arranger previews that track from the current playback position.
  • Clicking into the Detail Editor Panel previews visible tracks/clips from the current playback position.
  • Clicking a Launcher clip/scene previews that content from the calculated playback position.
  • On release, playback continues in its previous state.

Clip Launcher status displays

• Clip Launcher running status is now nicely visualized on each track.
• The last row of the Clip Launcher visualizes the running status of that track.
• In the vertical Mixer View, this appears at bottom. Within the Arrange View, this last row is shown on the right.
• When the transport is stopped but the Launcher is in control, a circle is painted here in the active clip's color.
• When the transport is running, the circle is painted over clockwise, indicating the playback position within the current clip.
• If it's a looping clip, a play count will show in the center of the clip, starting on the second play (2).
  • From the 100ᵗʰ clip loop and beyond, the play count attains infinity status (∞).
• When the playing clip has a Next Action enabled, the playback indicator is ringed by a blue arc, showing the timer for the action. When the arc is completed, the Next Action fires.
• When hovered over, this status display is swapped out for the Return playback to Arranger Timeline button for this track.
• When any track's Launcher is active but only the Arranger Timeline Panel is on-screen, the Clip Launcher running status is shown on the left edge of the track content area — and still offers the Return playback to Arranger Timeline function when clicked.

General Improvements

• Time scrollbars now display a visual overview of the timeline's content:
  • For the Detail Editor Panel, the primary editor determines what is previewed (Waveform Editor or Comping Editor shows audio, Piano Roll Editor shows notes, Drum/Hybrid Editor shows both if present, and Automation Editor shows automation).
  • For the Arranger Timeline Panel, Arranger cue markers are shown when present. Otherwise, visible Arranger clips will be previewed.
    • [ALT]-clicking a cue marker in the Arranger's time scrollbar will zoom the Arranger Timeline Panel to fit the marker's content.
    • [ALT]-double-clicking a cue marker in the Arranger's time scrollbar will trigger playback from that start time.
• Transport automation lanes are at the top of the Arranger now, by the transport section. (These tracks were previously part of the master track.)
  • The transport automation lanes will stay visible on the Arranger, unless you fold the area.
  • Transport parameters include key signature elements (Root Key & Scale), Time Signature, Tempo, Crossfade position, global Fill status, and various global shuffle elements (Groove on/off, Shuffle amount, Shuffle rate, Accent amount, Accent phase, and Accent rate).
  • Each element can be controlled with Arranger automation, or with automation clips (either in the Arranger or on Launcher).
  • Each element can be assigned to a project remotes page.
  • Each element can be modulated with project-level modulators loaded on the master track.
• Generated names for clips are now more helpful, suggesting where each clip is located:
  • As alias clips share a clip name, clips referencing the same pattern can now appear at various locations.
  • If a clip is used in the Launcher, the generated name uses the first scene number where it is found (e.g., S4 for scene four, or S4 + if the clip also appears in future Launcher scenes).
  • If a clip is used in the Arranger, the generated name uses the first bar number where it is found (e.g., 17 for a clip starting in bar 17, or 17 + if the clip also appears in future Arranger locations).
  • So an example of a clip appearing in both the Launcher and various Arranger positions could read as: S4 17 +.
  • When space is available in the Arranger, clips with generated names will show the track name as well.
  • User provided names will always take priority.
• In the Arranger Timeline Panel, hovering with the Pencil and Spray Can tools previews the clip that will be created if you click:
  • Clicking with Pencil tool creates a clip, and dragging will extend its length.
  • Clicking with Spray Can tool creates a looping clip, and dragging will extend its length.
• Right-clicking the top of the application window offers interactive controls for adjusting the Midtone and Black Level used throughout the interface.
• Clip headers are now smaller so that content can always be shown (even with tiny slot/lane heights).
  • The text and headers can be adjusted with the Arranger Clip Header Size and Launcher Clip Header Size settings (from the Dashboard under Settings > User Interface > View).
• Arranger clips are now given a light gradient for each loop iteration, letting you see the patterns of your music.
  • Looping clips tint the start of each loop slightly lighter (and the end slightly darker).
  • Dragging the end of the first loop adjusts the Length of the looping region.
  • Non-looping clips are shown in their solid color.
• Arranger track headers have been redesigned and improved.
  • Volume meters are shown vertically, along with an integrated slider.
  • As lanes can get smaller than before, headers can flatten to a single line showing essential controls.
  • When space is available, also shown are:
    • Volume as a numeric readout/control.
    • A panning control.
    • Track input and output choosers.
  • Track names can now use multiple lines when needed (as can long paths in automation lanes).
  • Clear VU Meter Peaks & Clipping [ALT]-[C] can be used to clear the status of all meters. (They are also cleared each time the transport starts.)
  • Default key commands are also provided for Toggle Track Solo / Cue [SHIFT]-[S] and Toggle Track Mute [SHIFT]-[M].
• Mixer channels can now be resized even smaller.
• The Browser Panel now offers visual previews of selected Curve and Wavetable files.
• When a group track is unfolded, child track backgrounds in the Arranger are tinted with the group color.
• Improved audio painting, showing intensity better when zoomed out and stroke consistency better when zoomed in.
• The current beat grid interval (used for snapping and other functions) is shown in the scrollbar, and displayed with brackets — like [1 / 4] — when Adapative Grid is automatically adjusted as you zoom in and out.
• When you open a project made in a previous version, the original project file is automatically backed up.
  • Within the current project's auto-backup folder, a folder called versions will be created.
  • The backup will use the original project filename, plus the version it was saved with and the last modified date, such as: Dear Listener [4.4.8 2023-03-19 223323].bwproject
  • While the top-level backup folder only keeps the ten most recently saved copies, backups in the versions folder will not be automatically erased.
• Drag and drop logic across the program has been overhauled to automatically support more cases (such as dragging multiple devices or presets from the Browser Panel into the Device Panel, etc.).
• Device help notes have been added for many convert / upgrade options, available by right-clicking these device's headers:
  • Mid–Side Split (Container) offers a Convert to Stereo Split option.
  • Stereo Split (Container) offers a Convert to Mid–Side Split option.
  • FX Layer (Container) offers Convert to FX Selector and Convert to Instrument Layer options.
  • FX Selector (Container) offers a Convert to FX Layer option.
  • Instrument Layer (Container) offers Convert to Instrument Selector and Convert to FX Layer options.
  • Instrument Selector (Container) offers a Convert to Instrument Layer option.
  • Note FX Layer (Container) offers a Convert to Note FX Selector option.
  • Note FX Selector (Container) offers a Convert to Note FX Layer option.
  • Compressor (Dynamics) offers an Upgrade to Compressor+ option.
  • EQ-2 (EQ) offers Upgrade to EQ-5 and Upgrade to EQ+ options.
  • EQ-5 (EQ) offers an Upgrade to EQ+ option.
  • Filter+ (Filter) offers Convert to Sweep and Convert to FX Grid options.
  • Sweep (Filter) offers a Convert to FX Grid option.
  • Key Filter (Note FX) offers an Upgrade to Key Filter+ option.
  • Polymer (Synth) offers a Convert to Poly Grid option.
  • Poly Grid (The Grid) offers Convert to Note Grid and Convert to FX Grid options.
  • Note Grid (The Grid) offers Convert to Poly Grid and Convert to FX Grid options.
  • FX Grid (The Grid) offers Convert to Poly Grid and Convert to FX Grid options.