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Each *modulator* is a special-purpose module that can be added to any Bitwig device or plug-in. The modules output is then assigned to control
various parameters of the device.
As in Bitwig Studio, the modulators are categorized below by the type
of function they perform. For more information on using modulators, see
section 16.2.1.
19.27.1. Audio-driven Category
Devices that convert audio into a modulator signal **19. DEVICE DESCRIPTIONS**
19.27.1.1. Audio Rate
An instantaneous \(read: non-averaged\) sidechain control, routable from
any audio signal within the current project. Gain control, an optional
low-pass filter with adjustable cutoff frequency, and a *Rectify* switch \(to convert the incoming signal to all positive values\) are all available.
19.27.1.2. Audio Sidechain
An averaged sidechain control, routable from any audio signal within
the current project. Analysis of the incoming signal uses adjustable gain,
switchable averaging modes, high-and low-pass filters, and *Attack* and *Release* times.
19.27.1.3. Envelope Follower
A sidechain control that uses the device's incoming audio signal.
Analysis of the incoming signal provides adjustable gain, switchable
averaging modes, and *Attack* and *Release* times.
19.27.1.4. HW CV In
A sidechain control for control voltage devices that are connected to
your audio interface's inputs. Parameters include *Gain*, *Smooth*\(ing\), and a toggle between alternating current \(*AC*\) and direct current \(*DC*\) modes.
19.27.2. Envelope Category
Periodic generators triggered by note ons or offs.
19.27.2.1. ADSR
A standard envelope generator with attack, decay, sustain, and release
segments. There is also a *Single Trigger* option, and an option to *Pre-delay* the envelope start in musical or real time.
**19. DEVICE DESCRIPTIONS**
19.27.2.2. AHD on Release
An attack–hold–decay envelope generator triggered by note off
messages, with *Single Trigger* option. The timed segments also have individual curve controls.
19.27.2.3. AHDSR
A standard envelope generator with attack, hold, decay, sustain, and
release segments. The timed segments also have individual curve
controls. There is also a *Single Trigger* option, and an option to *Pre-delay* the envelope start in musical or real time.
19.27.2.4. Note Sidechain
A standard envelope generator with attack, decay, sustain, and release
segments. The gate message driving the envelope generator is routable
from any note message source within the current project. There is also
an option to *Pre-delay* the envelope start, in musical or real time.
19.27.2.5. Ramp
A simple ramp generator with switchable direction, curve, and optional
looping.
19.27.2.6. Segments
A freely drawable, segmented envelope generator, with BWCURVE file
support, making use of the Curve Editor \(see section 16.2.1.1\)
› With all familiar envelope modulator controls
› Four *Play Mode* options are available:
*One-shot* \(⇀\) - Plays thru the entire shape \(while the voice is alive\) at note on
*Hold* \(䷿\) - Uses any one of the curve's points as the hold/sustain level, which is also the release start
*Looping* \(⥤\) - Uses any two of the curve's points, and loops forwards between them on sustain; the loop end point is also the release start **19. DEVICE DESCRIPTIONS**
*Ping Pong* \(⇌\) - Uses any two of the curve's points, and loops
forwards and backwards between them on sustain; the loop end point
is also the release start
The hold point or loop region & start/end points are shown in blue
You can either drag one of these points to another point, or right-click
on any point and choose the appropriate option — either *Set Hold Point* \(when in *Hold* mode\), or *Set Loop Start* / *Set Loop End* \(when in *Looping* or *Ping Pong* modes\)
› A set *Rate* \(from *0.2* to *50*\) with regard to the set *Timebase* \(either
*Minutes*, *Seconds*, *Milliseconds*, *Bars* or other beat-time units, *Pitch \(of*
*current note\)*, or *Hold*\)
Both the *Rate* and *Timebase* can be modulated for each note, for example by *Velocity* \(from the Expressions modulator\), or any other source
This *Rate*–*Timebase* pair defines the *primary interval* of the whole envelope, which defaults to a setting of *1 bar*, and with a shape that ends after one iteration
The Curve Editor is scrollable and shows a time ruler in the primary interval \(*1*, *2*… n\), with the set number of grid units displaying within each primary interval
Clicking and dragging in the ruler area allows for zooming and
scrolling, just as with the Arranger
Points can be added or dragged to extend the length of the envelope,
so taking the default settings and adding a point at the *4* line would extend the shape to be 4 bars long
› Option to *Enabling Smoothing*, with *Smoothing Time* set in
milliseconds/seconds
Both settings can be automated and modulated, for controlling the
sharpness vs. smoothness of each voice, for example by *Poly Pressure* \(from the Expressions modulator\), or any other source
On the Polymer module version of Segments, both parameters are available in a context menu when right-clicking on the module's
background
› A *Bipolar* toggle \(*±*\) maintains the curve's shape but rescales it, so that
the minimum value is *-1* and the middle value is now *0* \(zero\)
**19. DEVICE DESCRIPTIONS**
› A *Single Trigger* option to keep the envelope from retriggering when
overlapping notes are received
› An *Amount* parameter controlling output scaling of each voice
19.27.3. Interface Category
Providing panel elements for better/unique control, or access to
Transport-level interface items.
19.27.3.1. Button
A binary toggle control. Selecting the modulator and viewing the
Inspector Panel shows an optional smoothing parameter.
19.27.3.2. Buttons
Two independent binary toggle controls. Selecting the modulator and
viewing the Inspector Panel shows an optional smoothing parameter that applies to both buttons.
19.27.3.3. Globals
Provides modulator signals for three project-wide controls:
› *Fill* - A modulator signal reflecting the current *Fill* mode state \(see
section 2.3.2\)
› *A◆B* - A bipolar modulator signal reflecting the current Global
Crossfader value \(see section 7.1.9\)
› *Play* - A modulator signal reflecting whether the transport is currently
playing \(*1*\) or not \(*0*\)
The *Fill* and *A◆B* sources can be used as global control sources, routing hardware controllers or automation \(from *Master* > *Transport*\) to any and all tracks.
19.27.3.4. Macro
One continuous knob control.
**19. DEVICE DESCRIPTIONS**
19.27.3.5. Macro-4
Four independent, continuous knob controls.
19.27.3.6. Select-4
Four control sources derived from one continuous fader control. The
single fader is essentially a crossfader whose position determines which
one or two control sources will receive a modulation value.
19.27.3.7. Vector-4
Four control sources derived from one continuous XY control. The single
fader is essentially a crossfader whose X and Y positions determine the
modulation values received by each control source.
19.27.3.8. Vector-8
Eight control sources derived from one continuous XY control. The
single fader is essentially a crossfader whose X and Y positions
determine the modulation values received by each control source.
19.27.3.9. XY
Two control sources derived from one continuous XY control. The single
fader is essentially a joystick whose X and Y positions are used as the
control sources' values.
19.27.4. LFO Category
For regularly repeating patterns or noise.
19.27.4.1. Beat LFO
A tempo-synced \(including the option to follow global shuffle\) low-frequency oscillator, with shape, phase, and polarity controls.
**19. DEVICE DESCRIPTIONS**
19.27.4.2. Classic LFO
A tempo-synced low-frequency oscillator, typically used in Bitwig Studio
version 1 devices. Provides a *Note Trigger* option and a *Per-Voice* toggle \(when applicable\).
19.27.4.3. Curves
A freely drawable, segmented LFO, with BWCURVE file support, making
use of the Curve Editor \(see section 16.2.1.1\)
› With all familiar LFO modulator controls
› A set *Rate* \(from *0.2* to *50*\) with regard to the set *Timebase* \(either
*Hertz*, *Kilohertz*, *Bars* or other beat-time units, *Pitch \(of current note\)*,
or *Hold*\)
Both the *Rate* and *Timebase* can be modulated for each note, for example by *Velocity* \(from the Expressions modulator\), or any other source
This *Rate*–*Timebase* pair defines the speed of the oscillator, which defaults to a setting of *1 Hz*
› *Phase* parameter allows for full control of the envelope's position, small
variations, or anything in between
› Option to *Enabling Smoothing*, with *Smoothing Time* set in
milliseconds/seconds
Both settings can be automated and modulated, for controlling the
sharpness vs. smoothness of each voice, for example by *Poly Pressure* \(from the Expressions modulator\), or any other source
› A *Bipolar* toggle \(*±*\) maintains the curve's shape but rescales it, so that
the minimum value is *-1* and the middle value is now *0* \(zero\)
› Five *Trigger Mode* options, similar to other LFOs:
*Free* - All voices play freely and never reset
*Note* - Each voice resets to the current *Phase* when it receives a note
*Sync* - Follows the relative phase \(*Phase* \+ Global transport position\) while transport is playing
*Grv* \(Groove\) - Follows the groove-relative phase \(*Phase* \+ Global transport position, including groove\) while transport is playing **19. DEVICE DESCRIPTIONS**
*Rnd* \(Random\) - Each voice goes to a random position when it
receives a note
› An *Amount* parameter controlling output scaling of each voice
19.27.4.4. LFO
A fully functional low-frequency oscillator, with shape, phase, and
polarity controls. It can also be tempo synced, set to fade in, given
various reset modes, and be toggled to a polyphonic mode.
19.27.4.5. Random
A tempo-synced random low-frequency oscillator. Output can be
discrete or slewed, be unipolar or bipolar, be retriggered by *Note* or *Sync* messages, and be monophonic or polyphonic \(when applicable\).
19.27.4.6. Vibrato
A musical LFO whose amount can be normalled to *Modwheel* or
polyphonic *Pressure* \(which will use channel aftertouch if poly pressure isn't present\).
19.27.4.7. Wavetable LFO
A morphable LFO, with Bitwig WT file support
19.27.5. Modifier Category
Processor modulators.
19.27.5.1. Math
One control source derived from two continuous knob controls. The
output signal is a mathematical relation of the two signals, which is
derived either by *MUL*\(tiplying\), *ADD*\(ing\), or *SUB*\(tracting\) the two **19. DEVICE DESCRIPTIONS**
signals, or simply taking the *MIN*\(imum\) or *MAX*\(imum\) of the two
values.
19.27.5.2. Mix
One control source derived from two continuous fader controls. The
output signal is determined by the current crossfade position between
the two fader values.
19.27.5.3. Polynom
A transfer function for reshaping an incoming modulation signal with
a basic polynomial equation. The way to pass a signal into the module
for processing is by modulating the *x=* parameter with any other
modulator\(s\).
Each of the four additional parameters represent a term of the cubic
function used. *0* *1* *x * represents the offset applied to the function. *x *
represents the function's slope \(or rotation\). *2* *x * represents the parabolic curve applied to the function, and *3* *x * represents a cubic curve \(like an S-curve\). The graphical interface helpfully visualizes the transfer function being used, and the processor will clip the output signal to stay within
range.
19.27.5.4. Quantize
A processor for reducing the resolution of an incoming modulation
signal, often used to transform a fairly continuous signal into one that is
more discrete. The way to pass a signal into the module for processing is
by modulating the *Input* parameter with any other modulator\(s\).
The *Quantize* factor sets the resolution of the output signal. A low
setting restricts the output to be more like a pulse signal, and a high
setting preserves the more continuous elements of the original signal.
Additionally, four shape options \(*Linear*, *Log*, *Exp*, and *Sinh*\) adjust the spacing of the resolution grid used by the device.
19.27.5.5. Sample and Hold
A processor that sustains \(or holds\) an incoming signal's value at the
moment of each clock event. The way to pass a signal into the module **19. DEVICE DESCRIPTIONS**
for processing is by modulating the *Input* parameter with any other modulator\(s\). The *Smooth* parameter represents the transition time between successive samples.
The sampling clock can be set to various metronomic values \(such as
*4th* for quarter notes, *1/8.* for dotted eighth notes, *bar* for one measure at the project's current tempo, etc.\), to free time values \(either hertz
\[*Hz*\] or kilohertz \[*kHz*\]\), to the *Pitch* of the latest received note message, or to *Hold*, which keeps the output signal from changing. This base clock rate can then be scaled by the adjacent modulation knob, which
at center is *1.00* \(100% or no change\), at far left is *0.02* \(2%\), and at far right is *50.00* \(5,000% or 50x\).
At bottom, this device offers three modes of operation. *Free* allows the sampling clock to run independently, *Gate* restarts the clock whenever a new note message is received, and *Sync* restarts the clock whenever the transport is started.
19.27.6. Note-driven Category
Devices triggered by notes or MIDI.
19.27.6.1. Channel-16
Sixteen control sources, one for each MIDI channel received. With global
*Amount* and *Lag* controls, and an option to *Release with Note Offs* or not \(for per-voice uses\).
19.27.6.2. Expressions
A module to extract incoming *VEL*\(ocity\), *REL*\(ease velocity\), *TIMB*\(re\), and *PRES*\(sure\) messages. Right-clicking the modulator's title or
selecting the modulator itself and viewing the Inspector Panel shows parameters for enabling smoothing on all expressions and making the
timbre expression relative at the time of each new note. All expressions
are polyphonic when applicable.
19.27.6.3. Keytrack\+
Uses an embedded Curve Editor for drawing, saving, or loading
keytracking curves \(see section 16.2.1.1\)
**19. DEVICE DESCRIPTIONS**
19.27.6.4. MIDI
A module to extract either continuous controller \(*CC*\), *PRESSURE*, or pitch *BEND* messages arriving at the device's input.
19.27.6.5. Note Counter
A module whose modulation output is incremented with each new
note message received. The number of *Steps* counted and the value *Increment*-ed at each step can be set, as well as the *OUTPUT SCALING* method to be used for the modulation signal.
19.27.6.6. Pitch-12
Twelve control sources, one for each pitch class \(C, D, E, etc.\) received.
With global *Amount* and *Lag* controls.
19.27.6.7. Relative Keytracking
Note pitch modulator, with *Root* note and *Spread* options.
19.27.7. Sequence Category
Providing step-/segment-based modulations.
19.27.7.1. 4-Stage
A looping four-stage envelope generator, with definable times
\(optionally tempo-synced\) and levels \(optionally bipolar\).
19.27.7.2. ParSeq-8
A special parameter sequencer, with the same global parameters as
Steps \(see section 19.27.7.3\). Each step is its own modulation source so **19. DEVICE DESCRIPTIONS**
assigned parameters are modulated and then reset when advancing to
the next step.
Each step starts with its step number, which can also be clicked to
temporarily disable that step's modulations from taking effect. Next
is a button with a musical *fermata* icon, which holds any previous
modulations when this step begins \(instead of resetting them to
zero\). Finally each step has a bipolar fader for scaling the depth of all
modulations on that step.
19.27.7.3. Steps
A tempo-syncable, bipolar step sequencer. Parameters include step
count, direction \(forward, backward, and/or ping-pong mode that
switches direction on each loop\), polarity, and phase \(*ø*\) for manual control of the play position. Trigger modes determine when the step
sequencer advances:
› *Transport* - Links to the global transport for play–stop status, tempo,
and beat position
› *with Groove* - Links to the global transport for play–stop status, tempo,
and beat position with groove
› *Free running* - Plays at the set rate, independent of the transport and
incoming notes
› *Note / Restart* - Plays at the set rate, with new notes restarting the
pattern
› *Note / Random* - Plays at the set rate, with new notes randomizing the
position
› *Note / Advance* - Holds the playhead in place, advancing only on
incoming new note
Right-clicking on the pattern interface also provides options to copy and
paste the pattern, as well as to *Generate* a preset pattern to replace the current one, or to *Transform* the current pattern .
19.27.8. Voice Stacking Category
Devices that work differently on each of the individual voices within
an active voice stack. Proper function of these modules requires Voice
Stacking to be active on the parent device \(see section 16.2.5\).
**19. DEVICE DESCRIPTIONS**
19.27.8.1. Stack Spread
Offers 12 spread modes, for varying all voices in a stack with one
modulation mapping to any parameter\(s\). All modes visualize the
relative effect on each voice in the Inspector Panel.
The first four modes offer simple *splits*, most of which are evenly
distributed:
› *0 to 1* spreads voices in a unipolar fashion, from 0% of the set
modulation level to 100%.
›*-1 to 1* spreads voices in a bipolar fashion, from -100% of the set
modulation level to 100% \(just as the built-in *Voice Stack Spread ±*
modulator works\).
› *Value* spreads voices from 0% in successive increments of 100% for
each additional voice, making it easier to set amounts in some cases
and to work with enumerated list parameters.
› *Manual* allows you to manually create the distribution of values
across voices with faders in the Inspector Panel \(which can even be
automated/modulated themselves\).
The middle four modes offer various defined *distributions*, all starting with maximum modulation on voice 1, and then reflecting to smaller and
smaller values:
› *Flipped* provides simple reciprocals \[1, 1/2, 1/3, ... 1/n\].
› n *Straight* gives harmonic relationships \[1, 1/2, 1/4, ... 1/2\], whether for
pitch or rhythms.
› *Primes* is the series of prime numbers, inverted \[1, 1/2, 1/3, 1/5, 1/7,
1/11...\].
› *Golden* provides the Fibonacci sequence \[1, 1/2, 1/3, 1/5, 1/8, 1/13...\].
**Note**
If you want to reorient any of these distributions, consider using the
modulation transfer functions \(see section 16.2.4.3\). For example, the
*Toward Zero* mode would flip any of the distribution modes, giving
the last voice a maximum modulation and the earlier voices getting
smaller and smaller.
The bottom four modes offer unique kinds of *randomization*, relating all the voices in any particular stack to each other. In this way, you'll either **19. DEVICE DESCRIPTIONS**
get centered values that tend to peak on few voices each time \(with the
first and third modes\), or you'll get more pronounced values that extend
to the minimum and maximum each time \(with the second and fourth
modes\):
› *Rand\+* creates a unipolar random value for each voice \(at note on\),
with all values adding up to *1*.
› *Rand\+ ↕* offers a scaled, stronger version of *Rand\+*, tending towards
more large values.
› *Rand±* creates a bipolar random value for each voice \(at note on\), with
all values adding up to *0* \(zero\).
› *Rand\+ ↕* offers a scaled, stronger version of *Rand±*, tending towards
more large values.
19.27.8.2. Voice Control
Offers individual control of each voice with an active voice stack, with
individual modulators for *Stack Voice 1* thru *Stack Voice 16* directly in the modulator square.
**19.28. Grid Modules** |
Each *Grid module* is a building block that can be loaded within any Grid device and interconnected with other modules.
As in Bitwig Studio, the modules are categorized below by the type
of function they perform and can be browsed that way. For more
information on using The Grid and working with Grid devices, see
## **chapter 17**. And for full information on the parameters of each module,
see the module's help view within Bitwig Studio \(see section 17.1.2.1.\).
19.28.1. I/O Category
Terminal modules for signals entering or exiting this Grid device
19.28.1.1. Gate In
Supplies note gate signals from the device **19. DEVICE DESCRIPTIONS**
19.28.1.2. Phase In
Supplies the device's default phase signal
19.28.1.3. Pitch In
Supplies note pitch signals from the device
19.28.1.4. Velocity In
Supplies note velocity signals from the device.
*Velocity Mode* determines whether velocities are coming only from note *Ons* or note *Offs*, or if both note *Ons & Offs* velocities are offered together. *Velocity Mode* is visualized on the device face, and can be adjusted from the device's context menu \(via right-click\) or the
Inspector Panel.
19.28.1.5. Audio In
Supplies audio signals from the device
19.28.1.6. Audio Out
Path to the device's audio output buss. Has an *Output Clipping Mode* option \(*Off*, *Hard*, or *Soft*\) and an *Output Clipping Level* setting \(*0 dB*, *\+6 dB*, *\+12 dB*, or *\+24 dB*\) for how to handles overages.
19.28.1.7. Gain In
Supplies note gain expressions
19.28.1.8. Pan In
Supplies note pan expressions **19. DEVICE DESCRIPTIONS**
19.28.1.9. Pressure In
Supplies note poly pressure signals from the device
19.28.1.10. Timbre In
Supplies timbre expressions from the device
19.28.1.11. CC In
Supplies select continuous control signals from any/all MIDI channels
19.28.1.12. CC Out
Outputs continuous control signals on any MIDI channel
19.28.1.13. Note In
Provides gate, expressions, and channel of every incoming note. Its eight
out ports match the Note Out configuration \(including the *Enable All Expressions* \[*…*\] toggle for unfolding and showing all ports\), for easy processor patching.
19.28.1.14. Note Out
Creates output notes, with all expressions available via eight in ports.
› *Gate In* port triggers a note to be created
› *Pitch In*, *Velocity In*, and *Channel In* can either be set with fixed values
on the module's face, or provided with signals
**Note**
The *Pitch In* port requires an input signal between note C-2 \(*-0.5*\) and G8 \(*\+0.558*\).
The *Velocity In* port requires an input signal at or above zero.
**19. DEVICE DESCRIPTIONS**
Only when these conditions are met will a high-logic signal at the
*Gate In* port create a new note on.
› When *Enable All Expressions* \(*…* toggle\) is on, *Timbre In*, *Pressure In*,
*Gain In*, and *Pan In* ports are available for signal control of all note
expressions
› When *Enable All Expressions* \(*…* toggle\) is off, connections to these
additional expression ports are remembered but inactive
› As with any module, multiple Note Out modules can be loaded, helpful
for sequencer or "groovebox" style patches, or whenever you want to
group notes onto different MIDI channels, *etc.* *etc.*
19.28.1.15. Audio Sidechain
Supplies audio signals from a selected project path
19.28.1.16. HW In
Supplies audio signals from a selected external path
19.28.1.17. HW Out
Path to a selected external audio output buss
19.28.1.18. CV In
Supplies control voltage \(CV\) signals from a selected external path
19.28.1.19. CV Out
Path to a selected external CV output buss
19.28.1.20. CV Pitch Out
Path to a selected external CV output pitch buss **19. DEVICE DESCRIPTIONS**
19.28.1.21. Key On
Supplies note gate signals from a specified note and channel
19.28.1.22. Keys Held
Number of keys currently held
19.28.1.23. Transport Playing
Supplies the application's playback status
19.28.1.24. Voice Stack Info
Supplies current voice stack index \(a polyphonic signal\) and the voice
stack size
19.28.1.25. Modulator Out
Makes incoming signals available as a modulator signal
19.28.2. Display Category
Visualization and note-taking modules
19.28.2.1. Label
Large text widget
19.28.2.2. Comment
Smaller text widget
**19. DEVICE DESCRIPTIONS**
19.28.2.3. Oscilloscope
Dual trace oscilloscope, with thru ports and controls for the *Y Maximum* level, whether to paint *Y Bipolar* or not \(for unipolar\), and whether the *Voice Shown* should be only the *Last voice* played or a sum of *All voices*.
19.28.2.4. Spectrum
Spectrogram for up to four signals
19.28.2.5. VU Meter
Averaging meter
19.28.2.6. XY
Two-dimensional control pad
19.28.2.7. Value Readout
Stereo numeric readout for various domains
19.28.3. Phase Category
Modules that output wrapped phase signals
19.28.3.1. Phasor
Phase signal generator with typical oscillator controls
19.28.3.2. Ø Bend
Imposes a variable curve onto a phase signal **19. DEVICE DESCRIPTIONS**
19.28.3.3. Ø Pinch
Imposes an S-curve onto a phase signal
19.28.3.4. Ø Reset
Offsets the incoming phase signal to *0* each time a trigger is received
19.28.3.5. Ø Scaler
Scales an incoming phase signal to be proportionally faster or slower
19.28.3.6. Ø Reverse
Inverts a proper phase signal
19.28.3.7. Ø Wrap
Wraps any signal into the phase signal range
19.28.3.8. Pitch → Ø
Wraps pitch signal's octave as phase signal
19.28.3.9. Ø Counter
Translates successive trigger signals into discrete phase values
19.28.3.10. Ø Formant
Amplifies the incoming signal around *\+0.5*
19.28.3.11. Ø Lag
Lag processor that stays within the phase range **19. DEVICE DESCRIPTIONS**
19.28.3.12. Ø Mirror
Applies gain to the incoming phase signal and then reflects it
19.28.3.13. Ø Shift
Offsets the incoming phase signal by a set amount
19.28.3.14. Ø Sinemod
Modulates the incoming phase signal with a sine wave
19.28.3.15. Ø Skew
Sets the incoming level to remap to *\+0.5*
19.28.3.16. Ø Sync
Amplifies the incoming phase signal before wrapping it
19.28.3.17. Ø Split
Equally distributes phase signal across up to 8 out ports
19.28.4. Data Category
Lookup modules that are read with incoming phase signals
19.28.4.1. Gates
Event sequencer
19.28.4.2. Pitches
Mono pitch sequencer **19. DEVICE DESCRIPTIONS**
19.28.4.3. Slopes
A freely drawable, segmented sequencer, with BWCURVE file support,
making use of the Curve Editor \(see section 16.2.1.1\)
› With all familiar data sequencer module controls, and their common
phase-driven approach
› A stereo *Phase In* port for controlling playback, along with a *Use Device*
*Phase* pre-cord
› A *Bipolar* toggle \(*±*\) maintains the curve's shape but rescales it, so that
the minimum value is *-1* and the middle value is now *0* \(zero\)
› *Anti-aliasing* toggle enables smoothed playback of the curve
› *Mute when stopped* option will force *0* \(zero\) output when the global
transport isn't running
19.28.4.4. Steps
Step sequencer
19.28.4.5. Triggers
Generates N triggers evenly across each cycle
19.28.4.6. Probabilities
Probabilistic event sequencer
19.28.4.7. Ø Pulse
Pulse lookup module
19.28.4.8. Ø Saw
Saw lookup module
**19. DEVICE DESCRIPTIONS**
19.28.4.9. Ø Sine
Sine lookup module
19.28.4.10. Ø Triangle
Triangle lookup module
19.28.4.11. Ø Window
Cosine window module
19.28.4.12. Array
Recordable lookup table
19.28.5. Oscillator Category
Periodic signal generators based on waveforms or samples
19.28.5.1. Pulse
Geometric pulse oscillator
19.28.5.2. Sawtooth
Geometric sawtooth oscillator
19.28.5.3. Sine
Sine wave oscillator
19.28.5.4. Triangle
Geometric triangle oscillator **19. DEVICE DESCRIPTIONS**
19.28.5.5. Union
A DC-drifting, analog-inspired oscillator that blends pulse, saw, and
triangle waves. Each of these three waves has its own *Level* control, or each waveform visual can be clicked to turn that wave all the way
up \(*100 %*\) and to set the other two waves to zero. *Pulse Width* can be controlled directly by dragging the slider within the overview display.
19.28.5.6. Wavetable
Wavetable oscillator, with special unison modes & processing options
› Embedded graphic shows the full table contents with the current,
interpolated output on top
› Clicking on the display loads a visual wavetable browser, showing
previews of all files, side by side
› Factory content includes over 200 wavetables \(WT files\) across
various categories, including:
*Acoustic* - Based on real-world instruments & sounds
*Analog* - Using analog techniques and sources
*Digital* - Using digital techniques and sources
*Fractal* - Spectra that grow recursively
*Harmonics* - Basic wave morphs and harmonic series
*LFO and Sequences* - Control signals of various kinds, well suited
for the Wavetable LFO modulator \(see section 19.27.4.7\) and Grid
module \(see section 19.28.7.3\)
› Any WT file \(Surge format \[https://github.com/surge-synthesizer/
surge/blob/bffb770fe8a93db2587ac97ffda99121782a2e5b/doc/
wavetables.md\]\) can be read, as well as Serum-and WaveEdit—
compatible WAV files, *etc.*
› All in ports are fully stereo including *Table Index*, so the left and right
channels can read different parts of the same wavetable
Defaults to interpolating the loaded wavetable for smooth transitions,
but has an option to disable this \(so that only tables in the loaded file
are available\)
› Three unique unison modes:
**19. DEVICE DESCRIPTIONS**
*Fat*, for stacking detuned voices flatly
*Focused*, keeping in-tune voices more center and loud
*Complex*, producing polyrhythms between voices \(and providing smoother retriggering\)
› *Spread Unison Phases* option, which gives a different phase offset
for each unison voice, resulting in a smoother unison sound with less
beating
› *Harmonic Phases* option, with different modes for affecting the loaded
wavetable:
*Aligned* - All harmonics use the same phase \(for a "focused" sound\)
*Diffuse* - All phases are randomized \(for a "blurred" sound\)
*Original* - Original wavetable file's values are preserved
› *Remove Fundamental* option, to suppress the fundamental from each
table \(which can be a nice bass trick\)
› *Remove DC Offset* option, to offset the signal output so that it centers
around zero. This can transform wavetables made for modulation \(such
as the *LFO and Sequences* category\) into interesting audio sources.
› When loaded in Polymer, these various processing options are
available within a Pop-out Editor
› Context-specific anti-aliasing is applied on playback
19.28.5.7. Sub
Sub oscillator, with six *Waveform* options and an *Octave* offset
19.28.5.8. Bite
A *Techniques*-driven oscillator, offering exponential FM, hard sync, PWM, and ring mod from dual oscillator feedback
› Anti-aliasing and internal feedback allow for some very crisp, fresh,
and/or modular analog sounds
› Internal Oscillator A & B are identical, each providing seven
waveshapes with *Pulse Width* controls, as well as fixed *Saw* and *Sine*
options
**19. DEVICE DESCRIPTIONS**
Like the Union oscillator, the oscillators exhibit some smooth analog drift when *Pulse Width*, for example, is moved
› Oscillator B can pulse-width modulate \(*PWM*\) Oscillator A
› Oscillator A can do exponential frequency modulation \(*xFM*\) on
Oscillator B
› Oscillator A can also hard *SYNC* Oscillator B:
*SYNC* is a useful way to use exponential FM without breaking the pitch of Oscillator B
Oscillator B also has its own *Pitch Offset* control, for setting \(or
modulating\) more interesting hard sync waveshapes
› A trio of mix controls set the output level for oscillator *A*, oscillator *B*,
and a ring-modulated mix \(*RM*\) of the two
› The Grid module version has a special *Independent Mono Mode* toggle
in the Inspector Panel
This flattens the module to a mono output
This also allows individual oscillator targeting via the in ports, routing
left channel inputs only to Oscillator A and right channel inputs to
Oscillator B
19.28.5.9. Phase-1
Phase distortion oscillator
19.28.5.10. Scrawl
A freely drawable, segmented oscillator, with BWCURVE file support,
making use of the Curve Editor \(see section 16.2.1.1\)
› With anti-aliasing on the oscillator, to help make \(almost\) any shape
work
› With all familiar oscillator module controls
› All the standard module pitch controls:
*Key Tracking* pre-cord, automatically connecting note pitches to the pitch buss
**19. DEVICE DESCRIPTIONS**
*Numerator* and *Denominator* controls, for controlling pitch via ratio
A *Pitch Offset*, for adjustment in semitones
A *Detune* control, for adjustment in Hertz, along with the *Stereo Detune* toggle for an inverse detuning of the right channel
› A *Retrigger on Notes* pre-cord, for reseting the oscillator's phase at
note on
› The Polymer module version of Scrawl also has:
*Phase Modulation Amount* attenuator \(range *0 %* to *800 %*\) to allow modulation from the Sub
*↑SYNC↑* toggle to enable hard sync from the Sub
› The Grid module version of Scrawl also has standard oscillator module
options:
A stereo *Retrigger In* port
A stereo *Phase In* port, with attenuator \(range *0 %* to *800 %*\)
A stereo *Pitch In* port and input attenuator
19.28.5.11. Swarm
Unison oscillator
19.28.5.12. Sampler
Module version of the Sampler device \(see section 19.23.5\).
19.28.6. Random Category
Aperiodic and randomized signal generators
19.28.6.1. Noise
White/pink noise generator
**19. DEVICE DESCRIPTIONS**
19.28.6.2. S/H LFO
Free/beat-synced random oscillator
19.28.6.3. Chance
Weighted random logic signal generator
19.28.6.4. Dice
Uniform random value generator
19.28.7. LFO Category
Periodic low frequency oscillators
19.28.7.1. LFO
Free/beat-synced geometric oscillator
19.28.7.2. Curves
A freely drawable, segmented LFO, with BWCURVE file support, making
use of the Curve Editor \(see section 16.2.1.1\)
› With all familiar LFO modulator/module controls
› A set *Rate* \(from *0.2* to *50*\) with regard to the set *Timebase* \(either
*Hertz*, *Kilohertz*, *Bars* or other beat-time units, or *Hold*\)
Both the *Rate* and *Timebase* can be modulated for each note, for example by *Velocity* \(from the Expressions modulator\), or any other source
This *Rate*–*Timebase* pair defines the speed of the oscillator, which defaults to a setting of *1 Hz*
› *Phase* parameter allows for full control of the envelope's position, small
variations, or anything in between **19. DEVICE DESCRIPTIONS**
› Option to *Enabling Smoothing*, with *Smoothing Time* set in
milliseconds/seconds
Both settings can be automated and modulated, for controlling the
sharpness vs. smoothness of each voice, for example by *Poly Pressure* \(from the Expressions modulator\), or any other source
› A *Bipolar* toggle \(*±*\) maintains the curve's shape but rescales it, so that
the minimum value is *-1* and the middle value is now *0* \(zero\)
› A stereo *Retrigger In* port, as well as a pre-cord to *Retrigger on Notes*
› A stereo *Phase In* port and input attenuator
› A stereo *Rate In* port and input attenuator
› A *Phase Offset \(R\)* control, for adjusting the right channel's phase in
relation to the general *Phase* value
19.28.7.3. Wavetable LFO
A morphable LFO, with Bitwig WT file support
19.28.7.4. Clock
Phase-signal generator set in Hertz
19.28.7.5. Transport
Synced phase-signal generator
19.28.8. Envelope Category
Modules that produce or extract an envelope, often with a normalled
amplifier
19.28.8.1. ADSR
Four-stage gated envelope generator with amplifier. Three *Model*
options are available, shown by a clickable letter icon in the top left of
the module \(*A*, *R*, or *D*\):
**19. DEVICE DESCRIPTIONS**
› *Analog* - Emulating Moog-style fixed curves and nonlinearities
› *Relative* - With adjustable rate-differential curves
› *Digital* - Clean math with adjustable curves, for precise time segments
ADSR has the common *Gate In* port \(for controlling the envelope\), the *Envelope Out* port \(for the created envelope signal\), and the *Signal In* and *Out* ports \(for attenuating any incoming signal via the envelope\).
Additionally, ADSR also has a special *Bias Out* port. This port outputs an offset version of the envelope signal that centers around zero in the
sustain segment. So if the *Sustain* level is set to *35.0 %*, the *Bias Out* signal will go from *-0.35* to *\+0.65* in the attack segment, then coming down to *0* \(zero\) in the decay segment. After holding at zero for the sustain segment, the release will go from zero back down to *-0.35*. This could be used for a pitch effect that stabilizes in the sustain segment, or anything else you want to try.
19.28.8.2. AD
Two-stage triggered envelope generator with amplifier, looping mode,
and three *Model* options \(see section 19.28.8.1\)
19.28.8.3. AR
Three-stage gated envelope generator with amplifier and three *Model*
options \(see section 19.28.8.1\)
19.28.8.4. Pluck
Plucked string-style envelope generator with amplifier
19.28.8.5. Segments
A freely drawable, segmented envelope generator, with BWCURVE file
support, making use of the Curve Editor \(see section 16.2.1.1\)
› A freely drawable, segmented envelope generator
› With all familiar envelope module controls
› Four *Play Mode* options are available:
**19. DEVICE DESCRIPTIONS**
*One-shot* \(⇀\) - Plays thru the entire shape \(while the voice is alive\) at note on
*Hold* \(䷿\) - Uses any one of the curve's points as the hold/sustain level, which is also the release start
*Looping* \(⥤\) - Uses any two of the curve's points, and loops forwards between them on sustain; the loop end point is also the release start
*Ping Pong* \(⇌\) - Uses any two of the curve's points, and loops
forwards and backwards between them on sustain; the loop end point
is also the release start
The hold point or loop region & start/end points are shown in the
inverse color of the interface
You can either drag one of these points to another point, or right-click
on any point and choose the appropriate option — either *Set Hold Point* \(when in *Hold* mode\), or *Set Loop Start* / *Set Loop End* \(when in *Looping* or *Ping Pong* modes\)
› A set *Rate* \(from *0.2* to *50*\) with regard to the set *Timebase* \(either
*Minutes*, *Seconds*, *Milliseconds*, *Bars* or other beat-time units, or *Hold*\)
Both the *Rate* and *Timebase* can be modulated for each note, for example by *Velocity* \(from the Expressions modulator\), or any other source
This *Rate* –*Timebase* pair defines the *primary interval* of the whole envelope, which defaults to a setting of *1 bar*, and with a shape that ends after one iteration
The Curve Editor is scrollable and shows a time ruler in the primary interval \(*1*, *2*… n\), with the set number of grid units displaying within each primary interval
Clicking and dragging in the ruler area allows for zooming and
scrolling, just as with the Arranger
Points can be added or dragged to extend the length of the envelope,
so taking the default settings and adding a point at the *4* line would extend the shape to be 4 bars long
› Option to *Enabling Smoothing*, with *Smoothing Time* set in
milliseconds/seconds
Both settings can be automated and modulated, for controlling the
sharpness vs. smoothness of each voice, for example by *Poly Pressure* \(from the Expressions modulator\), or any other source **19. DEVICE DESCRIPTIONS**
On the Polymer module version of Segments, both parameters are available in a context menu when right-clicking on the module's
background
› A *Bipolar* toggle \(*±*\) maintains the curve's shape but rescales it, so that
the minimum value is *-1* and the middle value is now *0* \(zero\)
› A stereo *Gate In* port, as well as a pre-cord to *Gate on Notes*
› A stereo in and out port for an internal amplifier, under the control of
the envelope signal
› An *Affect voice lifetime* toggle to allow the module to keep voices
active
19.28.8.6. Follower-RF
Envelope extractor with segment times
19.28.8.7. Slope ↗
Slope shaper for rising signals
19.28.8.8. Slope ↘
Slope shaper for falling signals
19.28.8.9. Follower
Symmetric envelope extractor
19.28.9. Filter Category
Frequency-dependent amplifiers
19.28.9.1. Low-pass LD
Resonant low-pass ladder filter **19. DEVICE DESCRIPTIONS**
19.28.9.2. Low-pass MG
A Moog-inspired low-pass filter, with mix buss saturation via the *Drive* control
19.28.9.3. Sallen-Key
Resonant Sallen-Key filter, with 16 different models of either low-pass,
high-pass, or band-pass configurations, with various slopes
19.28.9.4. SVF
Highly resonant multimode filter
19.28.9.5. XP
Friend of Ladder device and inspired by Mr Oberheim, with 15 filter configurations
19.28.9.6. Comb
Comb filter with *Feedback* control and *Dampening Frequency* \(which is relative to the module's *Cutoff Frequency*\)
19.28.9.7. Vowels
An *Inspired* filter that produces vowel sounds
› Can be used several ways, including:
Setting \(or hard modulating/automating\) a single vowel
Setting and morphing anywhere between two and five vowels
Any combination, all with different configurations and vowel models
› Standard filter controls include:
*Drive* to affect the incoming signal level **19. DEVICE DESCRIPTIONS**
A *Q Limit* Inspector Panel \(or *Resonance Limit* via right-click context menu\) control, for adjusting when the filter model saturates
› Five *Vowel Position* choosers are available, located around a central,
bipolar *Vowel Blend* knob:
*Vowel Blend* at *-100 %* uses only the nearby *Vowel Position 1*
*Vowel Blend* at *0 %* uses only the nearby *Vowel Position 3*
*Vowel Blend* at *\+100 %* uses only the nearby *Vowel Position 5*
*Vowel Blend* corresponds to *Vowel Position 2* at *-50 %* and *Vowel Position 4* at *\+50 %*; if set to vowel sounds, only those values will be heard; if set to *None* \(the default\), the surrounding vowels will be blended perfectly there Each position offers 27 different vowel sounds to choose from:
*i* - As in “see” or “eat”
*y* - With a rounded w-, like “we”
*ɪ* - As in “sit” or “hit”
*ʏ* - A medium oo, like “ooze”
*ɨ* - An exaggerated oo, like “eww” \(gross\)
*ʉ* - A slow oo, like "ooh\!" \(surprise\)
*ɯ* - As in “hook” or “book”
*u* - As in “pool” or “cool”
*e* - As in “say” or “rain”
*ø* - With a closed -l, like “ool”
*ɘ* - Partly closed, as in “eh”
*ɵ* - As in “foot” or “would”
*ɣ* - Partly closed, as in “uh”
*o* - First sound in “coat” or “bold”
*ə* - As in “run” or “ton”
*ɛ* - As in “get” or “rent”
**19. DEVICE DESCRIPTIONS**
*œ* - With a round -l, like “ole”
*ɜ* - Partly closed, as in “ah”
*ɞ* - Partly closed, as in “aw”
*ʌ* - As in “fun” or “come”
*ɔ* - As in “more” or “floor”
*æ* - As in “cat” or “hat”
*ɐ* - With a subtle -r, like “are”
*a* - First sound in “hi” or “fight”
*Œ* - With an open -l, like “all”
*ɑ* - As in “far” or “star”
*ɒ* - As in “want” or “job”
Each *Vowel Position* can be set in two ways:
Clicking on any position opens a pop-up menu of all available vowels
sounds and description texts
Clicking and dragging on any position starts moving thru the vowels
sounds, for a quick workflow with audible results \(if audio is passing\)
In The Grid, a stereo in port \(*Vowel In*\) is available for adding to the *Vowel Blend* value
› *Profile* selects which set of vowel data to use, with choices including:
*Women 1* - an older data set, with average values from several women
*Women 2* - a modern data set, with average values from several
women
*Female* - values from one individual female
*Men 1* - an older data set, with average values from several men
*Men 2* - a modern data set, with average values from several men
*Male* - values from one individual male
*Kids* - average values from several children **19. DEVICE DESCRIPTIONS**
› The *Topology* chooser \(on the right edge of the module\) sets the
structure of the filter, from three choices:
*Cascade* - Serial low-pass filters; a bit better for traditional text-to-speech sounds
*LP/BP* - Low-pass and band-pass filters, processed in parallel; a
synth-ier, Autobahn-friendly vibe
*LP/BP/HP* - Low-pass, band-pass, and high-pass filters in parallel; adds a slight bit more highs
› Several parameters influence the tuning of the internal filters in use:
*Cutoff Pitch Offset* moves the internal filters by semitones
The *Cutoff In* port and its associated *Cutoff Modulation Amount*
attenuator allows stereo manipulation of the *Cutoff Pitch Offset*
Note: While this is like moving the cutoff of a normal filter up and
down, the result is different and you might want to start by disabling
pitch modulation
The *Cutoff Frequency Offset* \(in the Inspector Panel or via right-click context menu\) allows linear frequency manipulation, which can be
interesting for formants
*Resonance* adjusts the relative sharpness of the internal filters
19.28.9.8. Fizz
A modern *Character* filter for spreading harmonic nodes around
› Has a bit of a moving formant sensibility
› Takes place inside a stereo, resonant low-pass filter, with standard
options:
*Drive* to affect the incoming signal level
*Main Cutoff Frequency* control
Stereo input for cutoff modulation, with *Cutoff Modulation Amount* set in semitones
*Key Tracking Amount*, for using incoming note pitches to affect the cutoff buss
› For this algorithm, additional controls include:
**19. DEVICE DESCRIPTIONS**
*Feedback Gain*, which feeds or chokes the nested filter
*Feedback Cutoff Frequency*, for tuning the nested filter
A bipolar *Color* control, which shifts the placement and variation of formant peaks
An *Alternate Color* toggle, for a reorienting and different tuning of the circuit
19.28.9.9. Rasp
A modern *Character* filter that can scream or whisper
› Creates resonant peaks on top of the standard filter
› Takes place inside a stereo, resonant filter, with standard options:
*Drive* to affect the incoming signal level
A *Filter Type* setting, to switch between an outer *Low-pass* filter or a *Band-pass* model
*Cutoff/Center Frequency* control
Stereo input for cutoff modulation, with *Cutoff Modulation Amount* set in semitones
*Key Tracking Amount*, for using incoming note pitches to affect the cutoff buss
A *Feedback Limit* Inspector Panel \(and right-click context menu\) control, for adjusting when the filter model saturates
› For this algorithm, additional controls include:
*Resonance*, which enunciates or chokes the nested filter
A *Brightness Mode* setting, with various options for how resonance peaks move:
*Shift* - Gently moves past the main cutoff, usually emphasizing a central peak
*Double* - A tuned mixture of the *Shift* and *Gravity* modes
*Gravity* - Pulls and pushes toward the main cutoff with a bit of
magnetism
**19. DEVICE DESCRIPTIONS**
The bipolar *Brightness* control applies the set *Brightness Mode*,
bending the new resonant nodes thru various harmonic — and
inharmonic — positions
19.28.9.10. Ripple
A modern *Character* filter with hyper-resonance
› Three elemental modes provide different levels of fun/wreckage that
often anchors to harmonics of the incoming signal
› Takes place inside a stereo, resonant filter, with standard options:
*Drive* to affect the incoming signal level
*Main Cutoff Frequency* control
Stereo input for cutoff modulation, with *Cutoff Modulation Amount* set in semitones
*Key Tracking Amount*, for using incoming note pitches to affect the cutoff buss
› For this algorithm, additional controls include:
Bipolar *Feedback Gain*, which feeds or chokes the nested filter
*Feedback Cutoff Frequency*, for tuning the nested filter
A *Nature* setting, with various models for the filter:
*Earth* - Gently moves past the main cutoff, usually emphasizing a central peak
*Wind* - Focused feedback, ready to blow
*Fire* - Broad feedback, with some motion
Two additional toggles, *Tweak Feedback* and *Tweak Feedforward*, modify those points in the filter circuit, either dampening or
expanding resonance
A *Low Quality* toggle \(in the Inspector Panel or via right-click context menu\), for adjusting the filter's tuning and reducing the CPU load **19. DEVICE DESCRIPTIONS**
19.28.9.11. All-pass
All-pass filter with adjustable slope
19.28.9.12. High-pass
High-pass filter with adjustable slope
19.28.9.13. Low-pass
Low-pass filter with adjustable slope
19.28.10. Shaper Category
Various linear and nonlinear waveshapers
19.28.10.1. Chebyshev
Nonlinear shaper that can target harmonics
19.28.10.2. Distortion
Gentle distortion, with optional *Anti-aliasing* mode
19.28.10.3. Hard Clip
Simple clipper, with optional *Anti-aliasing* mode
19.28.10.4. Quantizer
Reduces signal resolution, with optional *Anti-aliasing* mode
19.28.10.5. Wavefolder
Reflects each cycle back on itself, with optional *Anti-aliasing* mode **19. DEVICE DESCRIPTIONS**
19.28.10.6. Diode
A *Parametric* shaper modeling the classic circuit in a modern way
› *Bias* parameter for offsetting the signal to be asymmetric
› *Drive* parameter for pushing the signal to bend
› *Low-pass Cutoff Frequency* control for rounding it off and restoring
some order
› One *Drive* parameter for going thru the module's unique path, with
optional high-order *Anti-aliasing* \(*AA*\)
19.28.10.7. Rectifier
Scales the positive and negative signal excursions separately, with
optional *Anti-aliasing* mode
19.28.10.8. Saturator
Waveshaper with loud/quiet settings \+ bipolar skews. Module version of
the Saturator device \(see section 19.6.5\).
19.28.10.9. Transfer
A freely drawable, segmented waveshaper, with BWCURVE file support,
making use of the Curve Editor \(see section 16.2.1.1\)
› A freely drawable, segmented waveshaper
› With familiar shaper module controls and form
› *Anti-aliasing* \(*AA*\) toggle enables smoothed response of the shaper
› Modulatable *Drive* control that goes in both directions \(±24 dB\), for
pushing the incoming signal to interesting parts of the curve
› A *Bipolar* toggle \(*±*\) maintains the curve's shape but rescales it, so that
the minimum value is *-1* and the middle value is now *0* \(zero\)
› The unipolar mode \(when *Bipolar* is off\) has two options:
*Clip* - To truncate signals below zero at the value set there **19. DEVICE DESCRIPTIONS**
*Reflect* - To mirror signal below zero negatively, good for processing a bipolar signal symmetrically
19.28.10.10. Push
A *Character* soft clipper with a detailed curve, using one *Drive* parameter for going thru the module's unique path, with optional high-order *Anti-aliasing* \(*AA*\)
19.28.10.11. Heat
A *Character* S-shaped clipper that starts soft but can drive hard, using one *Drive* parameter for going thru the module's unique path, with
optional high-order *Anti-aliasing* \(*AA*\)
19.28.10.12. Soar
A *Character* soft wave folder that makes the quietest parts loud, using one *Drive* parameter for going thru the module's unique path, with
optional high-order *Anti-aliasing* \(*AA*\)
19.28.10.13. Howl
A *Character* wave folder that puts different parts of the signal into loud focus, using one *Drive* parameter for going thru the module's unique path, with optional high-order *Anti-aliasing* \(*AA*\)
19.28.10.14. Shred
A *Character* nonlinear wave folder for subtle cancellation or big-time artifacts, using one *Drive* parameter for going thru the module's unique path, with optional high-order *Anti-aliasing* \(*AA*\)
19.28.10.15. Curve
Remaps defined input and output levels **19. DEVICE DESCRIPTIONS**
19.28.11. Delay/FX Category
Delay functions and other timebased audio FX
19.28.11.1. Delay
Simple delay
19.28.11.2. Long Delay
Delay set in time or beat units; also allows feedback connections
19.28.11.3. Mod Delay
Modulator delay with internal feedback loop
19.28.11.4. Chorus\+
Chorus, with four different *Character* modes. Module version of the
Chorus\+ device \(see section 19.14.1\).
19.28.11.5. Flanger\+
Flanger, with four different *Character* modes. Module version of the
Flanger\+ device \(see section 19.14.3\).
19.28.11.6. Phaser\+
Phaser, with four different *Character* modes. Module version of the
Phaser\+ device \(see section 19.14.5\).
19.28.11.7. All-pass Delay
All-pass filter configured as a delay **19. DEVICE DESCRIPTIONS**
19.28.11.8. Recorder
Signal capture device
19.28.12. Mix Category
Signal routing and mixing modules
19.28.12.1. Blend
Crossfades between two incoming signals
19.28.12.2. Mixer
Stereo mixer for up to six channels
19.28.12.3. Pan
Panning control
19.28.12.4. Stereo Width
Signal width control
19.28.12.5. Toggle In
Switch between two incoming signals, with a button directly on the
module
19.28.12.6. Toggle Out
Switch between two outgoing paths, with a button directly on the
module
**19. DEVICE DESCRIPTIONS**
19.28.12.7. Toggle
Signal gate, with an on/off button directly on the module
19.28.12.8. Crossover-2
Two-band Linkwitz–Riley frequency split, for subsequent routing/audio
processing of your choice
**Note**
This module swaps well *Filter* modules, maintaining the *Crossover-2*
frequency by using it for the primary frequency control of just about
any filter, and vice versa.
19.28.12.9. Crossover-3
Three-band Linkwitz–Riley frequency split, for subsequent routing/audio
processing of your choice
**Note**
When replacing Crossover-2 with Crossover-3, the *Crossover-2*
frequency will be used for the *Low Crossover Frequency* parameter of
Crossover-3.
19.28.12.10. Select In
Binary selector between two incoming signals
19.28.12.11. Select Out
Binary selector between two outputs
19.28.12.12. Merge
Router with up to eight in ports, passing one or two adjacent incoming
signals out at a time
**19. DEVICE DESCRIPTIONS**
19.28.12.13. Split
Router with up to eight out ports, sending the incoming signal to one or
two adjacent out ports at a time
19.28.12.14. LR Gain
Independent gain controls for a signal's left and right channels
19.28.12.15. Stereo Merge
Constructs a signal from left/right and mid/side components
19.28.12.16. Stereo Split
Separates a signal into its left/right and mid/side components
19.28.12.17. Voice Stack Mix
Modulatable processor with standard mix controls \(volume, panning,
solo, enable\) for each voice in the stack, at any point within a patch
19.28.12.18. Voice Stack Tog
Modulatable processor to toggle the signal for each voice in the stack, at
any point within a patch
19.28.13. Level Category
Amplitude-based functions, values, and converters
19.28.13.1. Level
Constant set in decibels
**19. DEVICE DESCRIPTIONS**
19.28.13.2. Value
Constant set as percentage
19.28.13.3. Amplify
Signal amplifier set in percentage \(up to *800 %*\)
19.28.13.4. Attenuate
Signal attenuator
19.28.13.5. Bias
Signal offset
19.28.13.6. Gain - dB
Decibel gain control
19.28.13.7. Gain - Vol
## Volume gain control
19.28.13.8. Velo Mult
Velocity-controlled scaler
19.28.13.9. Average
Signal averager
19.28.13.10. Lag
Lag processor **19. DEVICE DESCRIPTIONS**
19.28.13.11. Bend
Imposes a variable curve onto a signal
19.28.13.12. Clip
Signal clipper
19.28.13.13. Level Scaler
Scales incoming unipolar signal to a defined decibel range
19.28.13.14. Pinch
Imposes an S-curve onto an audio signal, with *Stereo-ize* option
19.28.13.15. Value Scaler
Scales incoming unipolar signal to a defined value range
19.28.13.16. AM/RM
Crossfades between dry carrier, classic amplitude modulation, and ring
modulation
19.28.13.17. Hold
Level sustainer
19.28.13.18. Sample / Hold
Level sampler
19.28.13.19. Shift Register
Serial level sampler, with up to eight out ports **19. DEVICE DESCRIPTIONS**
19.28.13.20. Bi→Uni
Converts a bipolar signal to unipolar
19.28.13.21. Uni→Bi
Converts a unipolar signal to bipolar
19.28.13.22. Poly→Mono
Flattens any signal, making it the same for all voices. With five modes:
› *Last* - Newest voice's signal
› *Sum* - All voices are added together
› *Average* - All voices are averaged
› *Min* - Lowest signal level is used
› *Max* - Highest signal level is used
19.28.14. Pitch Category
Modules that produce pitch values
19.28.14.1. Pitch
Constant set as pitch
19.28.14.2. Octaver
Octave pitch shifter
19.28.14.3. Ratio
Ratio-based pitch shifter
**19. DEVICE DESCRIPTIONS**
19.28.14.4. Transpose
Semitone pitch shifter
19.28.14.5. Pitch Quantize
Quantizes incoming signal to designated or currently held pitch classes
19.28.14.6. by Semitone
Quantizes incoming signal to exact semitones
19.28.14.7. Pitch Buss
Pitch summing buss with attenuators for up to six inputs
› Attenuators are set in a range of ±36 semitones
› Inputs two to six also have a *Thru \(No Attenuation\)* option \(a clickable
*=* icon\) that adds that incoming signal without attenuation, good in the
case of actual pitch signals, *etc.*
19.28.14.8. Pitch Scaler
Scales incoming unipolar signal to a defined pitch range
19.28.14.9. Zero Crossings
Rough pitch estimator
19.28.14.10. Freq → Pitch
Hertz \(or kilohertz\) to pitch converter, with optional stereo detune
19.28.14.11. Pitch → Freq
Pitch to Hertz \(or kilohertz\) converter, with optional stereo detune **19. DEVICE DESCRIPTIONS**
19.28.15. Math Category
Basic arithmetic operators
19.28.15.1. Constant
Constant for large, precise numbers
19.28.15.2. Invert
Gives a button to reverse polarity -1\) of the incoming signal, with \(×
*Stereo-ness* option
19.28.15.3. Reciprocal
Gives a button to flip \(1/x\) the incoming signal, with *Stereo-ness* option
19.28.15.4. Add
Add two signals
19.28.15.5. Divide
Divide one signal from another
19.28.15.6. Multiply
Multiply two signals
19.28.15.7. Subtract
Subtract one signal from another
19.28.15.8. Abs
Separates a signal into its magnitude and sign components **19. DEVICE DESCRIPTIONS**
19.28.15.9. Ceil
Rounds all decimal values up to the next integer
19.28.15.10. Floor
Rounds all decimal values down to the previous integer
19.28.15.11. MinMax
Provides the current higher and lower values of two signals
19.28.15.12. Quantize
Uses a set step size for the signal
19.28.15.13. Round
Rounds all decimal values below '0.5' increments down and those at or
above '0.5' up
19.28.15.14. Product
Multiplies all inputs together
19.28.15.15. Sum
Adds all inputs together
19.28.15.16. Exp
Provides either *x* *x* *x* *2* , *e* , or *10* of the incoming signal \(x\), depending on the *Base* parameter **19. DEVICE DESCRIPTIONS**
19.28.15.17. Exponents
Provides a power of the incoming signal, with an integer *Exponent*
parameter between *-9* and *\+9*
19.28.15.18. Lin → dB
Converts linear amplitudes to decibel values
19.28.15.19. Log
Provides either *log**2**x*, *log**e**x*, or *log**10**x* of the incoming signal \(x\), depending on the *Base* parameter
19.28.15.20. Power
Raises one signal to the power of another
19.28.15.21. Roots
Provides a root of the incoming signal, with an integer *Degree* parameter between *1* and *9*
19.28.15.22. dB → Lin
Converts decibel values to linear amplitudes
19.28.16. Logic Category
Comparators and other modules that output logic signals
19.28.16.1. Button
Toggle for sending a logic signal **19. DEVICE DESCRIPTIONS**
19.28.16.2. Trigger
Momentary toggle for sending a logic signal
19.28.16.3. Clock Divide
Divides a clock signal to trigger every N pulses
19.28.16.4. Clock Quantize
Holds a trigger signal until the next clock pulse
19.28.16.5. Gate Length
Produces a logic pulse of set duration on trigger
19.28.16.6. Gate Repeat
Produces repeated logic pulses of set duration while input is high
19.28.16.7. Logic Delay
Delays the high-or low-logic states
19.28.16.8. Latch
Allows trigger signals to alternate or set an output state
19.28.16.9. N-Latch
Allows trigger signals to alternate between multiple output states
19.28.16.10. =
Comparator assessing if two signals are roughly equal **19. DEVICE DESCRIPTIONS**
19.28.16.11. ≥
Comparator assessing if one signal is either greater than or equal to
another
19.28.16.12. >
Comparator assessing if one signal is greater than another
19.28.16.13. ≤
Comparator assessing if one signal is either less than or equal to another
19.28.16.14. <
Comparator assessing if one signal is less than another
19.28.16.15. ≠
Comparator assessing if two signals are unequal
19.28.16.16. NOT
Logic inverter
19.28.16.17. AND
Logic gate seeking all inputs to be true
19.28.16.18. OR
Logic gate seeking any input to be true
19.28.16.19. XOR
Logic gate seeking only one input to be true **19. DEVICE DESCRIPTIONS**
19.28.16.20. NAND
Logic gate seeking any inputs to be false
19.28.16.21. NOR
Logic gate seeking all inputs to be false
19.28.16.22. XNOR
Logic gate seeking all inputs to be matching
**19.29. Legacy Devices** |
These Bitwig devices were previously included at the top level of the
program. They are still part of Bitwig Studio for compatibility purposes.
19.29.1. Audio MOD
\(A Bitwig Studio version 1 *modulator* device; now a *container* device, when shown\) A modulator that applies a filter and envelope follower to
an incoming audio signal, which is then used as the control signal.
19.29.2. LFO MOD
\(A Bitwig Studio version 1 *modulator* device; now a *container* device, when shown\) A modulator that provides two low-frequency, tempo-syncable oscillators as independent modulation sources.
19.29.3. Note MOD
\(A Bitwig Studio version 1 *modulator* device; now a *container* device, when shown\) A modulator that takes incoming or designated note
signals and creates summed, monophonic versions of their expressions
along with a configurable envelope signal.
**19. DEVICE DESCRIPTIONS**
19.29.4. Step MOD
\(A Bitwig Studio version 1 *modulator* device; now a *container* device, when shown\) A step sequencer whose output is used as a modulation
source. |
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