What's New in Bitwig Studio 6.0 [released 11 March 2026]

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 Circular Modulations Touch Screen Improvements Project Backups on Update 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 editing a Pattern in any clip, the Pattern is updated in all clips where it is used.
• Beside the clip's name and color in the Inspector Panel is a Pattern chooser, showing each Pattern available on that track, along a visualization of its contents and the number of clips using it.
• Switching a clip to a different Pattern simply switches out the content being played back.
• The current pattern for the selected clip has a bright white frame around its square in the Pattern chooser.
• 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).
• Editing parent note/audio clip boundaries can affect automation clips as well, depending on:
  • The Global Automation Behavior [0], which toggles between Follow (green) to connect edits from the parent, and Lock (red) to keep the lanes independent.
    • This button resides in the transport, beside the Restore Automation Control [R].
    • Pressing [0] (zero) while dragging content will toggle the Global Automation Behavior and update previews immediately.
  • Each automation lane also has an optional setting for what to do When parent is edited, in case the lane should have its own fixed sense of lock or follow (see the following "Automation Editing" section for full details).
• Automation clips can also be directly edited at any time.
• 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 Create Automation Clip.
    • 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).
    • If the parent note/audio clip was looping, Create Automation Clip ([ALT]-click) in an area with no automation will create a clip that loops as the parent note/audio clip does. But if automation is present in the area, the curve will be preserved by creating a full-length Free Time automation clip.
  • 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 in 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.
• Automation clips also have a Free Time toggle, for cases where their internal timing differs from their parent note/audio clips:
  • When enabled, edits of a parent note/audio clip's loop parameters, etc., will not affect the automation clip.
    • The little running man icon is shown on the top right of the automation clip header (and within the loop control bar in the header of the Detail Editor Panel in Clip context).
  • When disabled (the default), inherited clip Inspector parameters are shown but appear dim, including:
    • Looping enable, Start time, and Length
    • Clip Offset (for Arranger clips)
    • Clip Start and Stop times (for Launcher clips)
  • This toggle will automatically be turned on in certain cases, such as:
    • Editing one of these parameters so they don't match the parent note/audio clip anymore.
    • Dragging either a note/audio clip or an automation clip to a place where it doesn't match its new partner.
    • Recording automation in a different looping pattern.
    • Selecting a looping Arranger clip with track automation beneath, and using the Wrap Related Automation as Clips function (which creates a full-length clip without changing the playing automation).
      • To create automation clips that mask the content with the parent's looping window, you can [ALT]-click any track automation lane to Create Automation Clip (or [SHIFT]-[ALT]-click to Create Automation Clips in All Lanes).
  • For pre-v6 projects, automation lanes within note/audio clips that had Free Run enabled will enable Free Time.
• 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 lane has a "flying" behavior, following the parameter you last touched automatically, 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 Pencil and Spray Can drawing, Time Selection gestures, segment adjustments (for track automation), 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.
• When automation lanes are unfolded, the last clicked parameter can be previewed for immediately creating automation via the Flying Automation Lane:
  • A button to Toggle Flying Automation Lane [SHIFT]-[ALT]-[A] is beside the Automation Mode [A] button (above the Arranger track headers).
  • When enabled, any track (with its automation lanes unfolded) offers a preview lane for the last parameter touched, so you can directly insert or draw automation.
  • For new projects, Toggle Flying Automation Lane is on by default.
  • This doesn't affect Automation Mode, where each track is overlayed with its own "flying" lane.
• 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, moving 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.
    • These functions are also available when working with expressions in both the Waveform Editor and the Drum/Hybrid Editor.
  • 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.
    • With automation points selected, you can Toggle Hold [H] to switch their states.
  • 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 point.
    • 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.
• Each automation lane now has four states for what to do When parent is edited:
  • Use editor setting - Trusts the Global Automation Behavior [0], shown in the transport area.
  • Always follow - Note/audio/global time edits are applied to this lane.
    • This option keeps lanes connected to track/global edits in all cases.
    • New MIDI automation lanes default to this value.
  • Never follow - Protect this lane from note/audio/global time edits.
  • Arranger lock - Protect this lane on the Arranger. (The Launcher trusts the Global Automation Behavior.)
  • Icons are displayed on any lane header that is set to Always follow (⏴⏵), Never follow (🔒), or Arranger lock (an icon combining a padlock with the Arranger icon).
• Selection previews have also been improved:
  • When automation lanes are shown, automation lanes selected via a note/audio/global time selection are highlighted as well.
  • When a note/audio clip is selected, the bottom right edge of the clip shows a badge with the number of automation lane (on the Arranger) or number of automation clips present (in the Launcher) that are also selected.
    • The number is shown brightly when Global Automation Behavior is set to Follow, and more dim when Global Automation Behavior is set to Lock.
  • These badges are always shown when clips are selected, including when automation lanes are folded away, and in the Mixer view.
• Automation recording is also simplified & improved:
  • To record automation while a note/audio clip is playing back, enable the Automation Write button.
    • During playback, you can simply click this button to capture incoming automation without affecting note/audio data.
    • There is now only one Automation Write button, which applies to both the Arranger and the Launcher.
    • Automation Write is pinned by default, and located in the Automation section of the Play menu.
    • Automation Write now supports recording Launcher automation clips at different lengths from the original note/audio clip.
  • General automation recording has been overhauled with several structural improvements.
    • Delay compensation for recording has been improved, no longer being affected by latency of other tracks and with improved timing precision.
    • Arranger automation recording within the active Arranger loop writes your entire performance into the clip, and then sets the clip start time appropriately when finished.
    • Punch-In and Punch-Out now limit Arranger recording for both note/audio clips, as well as for automation recording.
      • Interacting with either button no longer starts recording.
      • Additional visual feedback is offered on the Arranger Loop Selector.
  • Automation is automatically recorded when note/audio clips are being recorded.
    • This is controlled by two settings, under Dashboard > Settings > Recording > Recording.
    • Write automation when recording Arranger clips automatically enables the Automation Write button when the global record is active.
    • Write automation when recording Launcher clips will also capture automation on any slot where audio or note/CC recording is triggered.
    • Both settings are on by default.

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 or labels are tinted 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 a 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 points.
      • 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.
  • 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.
• Detail Editor Panel: The last ten editor states are now remembered and can be navigated:
  • Once multiple selections have been made in the open project, a back arrow is now shown in bottom left corner of the Detail Editor Panel.
  • Clicking this arrow will Navigate to Previous Editor Content.
  • Holding [ALT] flips the arrow to a forward arrow, allowing you to Navigate to Next Editor Content (if you had navigated backwards already).
    • Both actions can be assigned keyboard or controller shortcuts (from the Dashboard under Settings > Shortcuts).
  • Each time the clip selection is changed in the Arranger / Launcher, and toggles between the Clip and Track contexts are stored as individual events.
  • This works both in the Detail Editor Panel and its fullscreen Edit View.
    • This allows you to switch between recent content without leaving the editor.
    • It can be particularly useful for restoring a layered selection of clips/tracks after doing edits on the Arranger, etc.

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.
• Pitch / Transpose, 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.
  • When working with Pitch / Transpose [P] (or Formant), right-clicking on the vertical axis offers a pop-up menu with a couple of settings:
    • View Range sets the visible semitone range, for comfortable editing in different situations. Options include ±1 (one half-step up and down), ±7 (a perfect fifth up and down), ±12 (one octave up and down; the default), ±24 (two octaves up and down), etc.
    • Snap to semitones, when on (the default), will make vertical edits stick to each nearby semitone.
      • When Snap to semitones is on, holding [CTRL]-drag ([CMD]-drag on macOS) temporarily disables snapping.

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 events 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 (including Velocity, Chance, and 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 / Transpose [P] to Gain [G] or 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 working with audio events, including:
  • Fade/crossfade handles at the top left and right of each event.
  • Gain adjustment by dragging up and down at the top of each event.
  • Content slide by dragging left or right at the bottom of each event.
• The Comping Editor icon is bright and available for clips containing take lanes.
  • When no take lanes are present, the icon is dim but still available, in case you want to add take lanes to an existing clip.
• When using the Waveform Editor, the Expression Overlay mode [X] allows toggles viewing and editing of expression data on top of their associated audio events.
  • Clicking on the Expression Overlay button adds the selected expressions on top of the 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 working with Transpose [T] (or Formant), right-clicking on the vertical axis offers a pop-up menu with a couple of settings:
    • View Range sets the visible semitone range, for comfortable editing in different situations. Options include ±1 (one half-step up and down), ±7 (a perfect fifth up and down), ±12 (one octave up and down; the default), ±24 (two octaves up and down), etc.
    • Snap to semitones, when on (the default), will make vertical edits stick to each nearby semitone.
      • When Snap to semitones is on, holding [CTRL]-drag ([CMD]-drag on macOS) temporarily disables snapping.
• Audio- and fade-editing has been refined, both on the Arranger Timeline Panel (for clips) and in the Detail Editor Panel (for audio events as well):
  • Fade edit handles are now more consistently available across the fade area.
  • Editing the curvature of a fade now requires [ALT]-dragging on the fade area.
  • In the Waveform Editor (within the Detail Editor Panel), event boundaries are now shown with thin lines using the clip color.
    • A dotted line is shown on a boundary with no fade.
    • A solid line is shown on a boundary that is faded.
    • A gray line is shown in Track context for clip boundaries that crop event material.

Group Track superpowers

• Bitwig's powerful Group track workflows have gotten stronger in both function and appearance.
• A summary of the child track's contents is always visible as meta clips on the group lane (and as sub scenes on the group Launcher slot).
• Audio clips placed on the group lane/slot will override the group track's master output for the duration of those clips. So:
  • You can select meta clips (or make a time selection in the group lane) and then Bounce in Place to capture the group output without altering the children.
  • When meta clips are selected, most editing functions (Transpose, Quantize, Auto-Fade, etc.) are applied to the child tracks' clips.
  • Note clips are sent to the group tracks chain, but otherwise allow audio to play normally.
• On the Arranger Timeline:
  • Interactive meta clips are shown on the group track lane. They are placed into blocks where child clip's line up.
    • Their header color is a blend of the present child clips, relative to their lengths.
• In the Clip Launcher:
  • A special sub scene is always available, for triggering all slots within that group.
  • When the clip height is tall enough, a visualization of the present child clips is shown just below the sub scene, in the clip slot.
    • In the Arranger Timeline Panel view, the clip slot also has its own Stop clip and Return playback to Arranger Timeline buttons, which apply only to the group's child tracks.
• The project navigation menu has been improved:
  • Whenever a group track is preset in a project, this menu appears in the top-left of the Arranger Timeline Panel and any Mixer Panel.
  • This provides a way to navigate thru out the hierarchy of the project, focusing at any group level.
  • When within a group track, the child tracks are show at top with the group master shown on bottom.
  • The icon and name of the current level are always shown on screen now in the same menu space, shifting other icons to the right when necessary.
• (The older group-track toggle to either Show Master Track Content or Show Group Track Content has been removed, as now both are shown.)

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, with a "flying" behavior of following 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.
• When working with multiple clips, additional options may appear:
  • A filter toggle is available directly in the panel (below the Clip, Track context buttons).
  • Clicking the filter toggles the Edit only selected layers option and exposes the Layer List, letting you clearly switch the focused clip/track.
    • When lanes can be shared (like Piano Roll Editor or Drum/Hybrid Editor), the current target layer will appear in focus with the other layers dimmed.
    • When in discrete lane modes (like Waveform Editor or Automation Editor), only the selected layer will be shown.
  • Clicking the header area beside the filter icon opens a menu with additional options, depending on your material and editor
    • The Editor Timeline setting, determining the timebase and events shown:
      • Global Arranger/Launcher Time shows all clips against the project timeline, and only shows events within the clip bounds.
      • Clip Content Time (aligned to play start) lines up clips from their set start times, and shows all clip events.
      • Clip Content Time (ignoring play start) lines up clips from their internal 1.1 position, and shows all clip events.
    • The Layer Grouping setting, offering different ways to group the layers being shown:
      • by Note Lane shows the minimum number of lanes, with one note lane for each used pitch and audio grouped by track.
      • by Track shows one lane for each audio track, and one group of note lanes for each instrument track.
      • by Clip shows one lane (or group of note lanes) for each clip.
    • These options are also available within the Editor Settings menu in a Layered Editing submenu.
• 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 behavior.
  • 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.
• Auditioning works via the program's solo mechanism, so it also supports Solo as Cue, when enabled (available in the Studio Monitoring Panel, or by right-clicking on any solo button in the mixer).

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.

Circular Modulations

• Most parameters clip when modulated to their maximum (or minimum) values. This is still true.
• A few parameters are more circular, like phase and pitch class. These parameters are no longer clipped, but rather wrap to the other side of the parameter range (from maximum around to minimum, or from minimum value around to maximum).
• In the Interactive Help, each parameter with this behavior shows its range with a wrapping modulation annotation.
• Wrapped pitch-class parameters (notes lists from C to B) include:
  • The Root Key transport parameter (when modulated from the project level)
  • Key Filter+ (Note FX) device's Local Key parameter
  • Key Filter (Note FX) device's Key parameter
  • Harmonize (Note FX) device's Key of Incoming Notes parameter
  • Transpose Map (Note FX) device's Transform Root parameter
  • Pitch Class (Pitch) module's Pitch Class and Wrapping Key parameters
  • Root Key (I/O) module's Wrapping Key parameter
• Wrapped phase and phase-like parameters on devices include:
  • Chorus (Modulation) device's LFO Right Phase Offset parameter
  • Freq Shifter+ (Audio FX) device's Phase and Phase Offset (R) parameters
  • Freq Split (Spectral) device's Split Nudge and Split Spin parameters
  • Ladder (Filter) device's LFO Phase parameter
  • Note Repeats (Note FX) device's Rotate parameter
  • Phase-4 (Synth) device's R Phase, B Phase, Y Phase, and M Phase parameters
  • Ricochet (Note FX) device's Room Rotation and Ball Launch Angle parameters
  • v0 Zap Kick (Kick) device's Phase Modulation Target parameter
• Wrapped phase and phase-like parameters on modulators include:
  • Classic LFO (LFO) modulator's Phase parameter
  • Curves (LFO) modulator's Phase parameter
  • LFO (LFO) modulator's Phase parameter
  • ParSeq-8 (Sequence) modulator's Phase Modulation parameter
  • Steps (Sequence) modulator's Phase Modulation parameter
  • Wavetable LFO (LFO) modulator's Phase parameter
• Wrapped phase and phase-like parameters on modules include:
  • Curves (LFO) module's Phase and Phase Offset (R) parameters
  • Freq Shifter+ (Delay/Audio FX) module's Phase and Phase Offset (R) parameters
  • LFO (LFO) module's Phase and Phase Offset (R) parameters
  • Ø Shift (Phase) module's Shift parameter
  • S/H LFO (Random) module's Phase and Phase Offset (R) parameters
  • Wavetable LFO (LFO) module's Phase and Phase Offset (R) parameters

Touch Screen Improvements

• Touch interactions in the Arranger Timeline Panel and the Detail Editor Panel now consider which tool is selected:
  • Pointer tool will generally do touch-specific interactions via the Radial Gesture Menu.
  • The other, specialized tools now offer the same functionality as when using the mouse.
• A two-finger tap-then-drag gesture offers a new radial menu for switching the active tool.
• Numerous other improvements to timing, target sizes, thresholds, etc.

Project Backups on Update

• 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.

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 notes and audio, if present.
    • Automation Editor shows automation curves.
  • For the Arranger Timeline Panel, visible Arranger clips are previewed. When present, Arranger cue markers are painted on top and are interactive:
    • [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.
• Clip Launcher refinements:
  • The relative phase of each playing clip is now preserved. (It was working in some cases in previous releases, but with some bugs.)
  • For example, if you trigger one Launcher clip and then starting another two bars later:
    • Stopping and starting the transport will resume playback of the clips just as they were originally aligned.
    • If the Arranger play position is moved, clip playback is also moved relatively with the original alignment.
    • Operators and seeded Spread settings are taken into account, so the current loop iteration will be calculated.
    • When the Arranger loop is enabled, automatic loop jumps do not update Launcher clip positions.
  • A new action to Retrigger playing Launcher clips is now available:
    • From transport stop, this action retriggers all clips that were playing, thereby re-aligning them from their start.
    • If the transport is playing, this action queues the retrigger using the largest Main Launch Quantize setting of the playing clips.
    • Holding [ALT] transforms the Launcher's Return playback to Arranger Timeline buttons into clickable Retrigger playing Launcher clips buttons.
      • Both project- and track-level actions are available in this case.
    • You can also assign a keyboard or MIDI shortcut to this action.
• 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.
• The Tempo lane now has editing settings for the range you want to work in:
  • When the Tempo automation lane is shown (available in the upper transport section) or when the Detail Editor Panel is focused on Tempo, editable axis values are shown to the right of the lane headers.
  • At bottom, the Minimum Visible Tempo can be set between 20 and 110 beats per minute (BPM).
  • At top, the Maximum Visible Tempo can be set between 110 and 666 beats per minute (BPM).
  • These boundaries are only display parameters. So a new automation point can be dragged to any value, and the Minimum and Maximum settings will be updated so that all project tempos are always shown.
• 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.
• When using the Knife and Eraser tools in an editor's top ruler area, both tools zoom & pan. Or you can:
  • [ALT]-click with the Knife tool to apply a cut to all tracks/visible events.
  • [ALT]-drag with the Eraser tool to delete the selected area of all tracks/visible events.
• Improved overdub recording behaviors, including for automation cases:
  • When Arranger Overdub is enabled (on by default), recording onto the Arranger will add additional notes to passing clips, and new comping takes to existing audio clips.
    • With track automation and automation clips, points will added based on the Automation Write Mode (Latch, Touch, or Write).
  • When Launcher Overdub is enabled, playing Launcher note clips will add additional notes.
    • Any playing Launcher note/audio clips will also:
      • Record automation to empty slots with a matching clip start time and length.
      • Add automation to existing clips, based on the Automation Write Mode (Latch, Touch, or Write).
      • When looping automation clips reach their end, they begin replaying their data on the next loop.
      • All Launcher clips that are overdubbing data show a white plus icon (+) where the play or record button normally is.
• Right-clicking the top of the application window offers interactive controls for adjusting the Midtone and Black Level used thru out 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 (in the Dashboard under Settings > User Interface > View).
• Mixer channels can now be resized even smaller.
• 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.
  • In the Dashboard under Settings > User Interface > View is a setting for how the Arranger Volume Control is represented:
    • When set to Numeric (the default), the volume level is shown as a decibel value beneath the record/solo/mute block — or below the panning fader when the track is tall enough to show both. And the volume meter offers an integrated, vertical fader.
    • When set to Slider, the volume level is shown as a horizontal slider beneath the record/solo/mute block — with slightly different tinting than panning. And the volume meter is only a meter.
    • When a track is even taller, track input and output choosers will be shown beneath the other controls.
  • As lanes can get smaller than before, headers can flatten to a single line showing essential controls.
  • 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].
• Preferences for when to Move the Play Start Marker (in the Dashboard under Settings > Behavior) are now improved and more fine:
  • There are separate checkboxes for whether the Play Start Marker should be updated when working on the Arranger, and when working in the Detail Editor Panel.
  • When edits Via the Arranger are enabled, you can specify whether:
    • Clips or Time (the default) selections move the playhead, or
    • Clips, Time, or Automation Points selections move the playhead.
  • When edits Via the Detail Editor Panel are enabled, you can specify whether:
    • Time (the default) selections move the playhead, or
    • Events or Time selections move the playhead.
  • Note: the Detail Editor Panel settings only apply when working with Arranger content.
• There is now a preference to Automatically open new clips in Detail Editor Panel (on by default), under Dashboard > Settings > Behavior > Defaults.
• There is now a window option to Center transport display (on by default), under Dashboard > Settings > User Interface > Transport.
  • Disabling this setting can leave more space for pinned editing actions.
  • You can also right-click within the transport display area to toggle both this setting and the Show loop region option.
• 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.
• Audio playback now uses short anti-click fades on transport stop.
• Automation playback smoothing has been improved. It is now time-symmetrical, affects a smaller time range, and offers improved anti-click performance.
• The current beat grid interval (used for snapping and other functions) is shown in the scrollbar, and displayed with brackets — like [1 / 4] — when Adaptive Grid is automatically adjusted as you zoom in and out.

Improvements

• When multiple objects (clips, events, points, etc.) are selected, non-uniform values are indicated more consistently in the Inspector Panel with background "hazard" striping.
• Dragging the start or end of Arranger clips now snaps to various content snap points (such as onsets), when snapping is enabled [39023]
• Automation points can now snap to their Relative beat position, clip boundaries, and other points [39838]
• For the Detail Editor Panel and Arranger Timeline Panel, certain key commands are applied to the editor you are hovering over (even if it isn't selected). This includes:
  • Commands to switch tools already focused on the hovered editor:
    • Pointer tool [1]
    • Time Selection tool [2]
    • Pencil tool [3]
    • Spray Can tool [4]
    • Knife tool [5]
    • Eraser tool [6]
    • Audition tool [7]
    • Step Input tool [8]
  • Other editor commands that work this way now include:
    • Timeline Snapping [S]
    • View follows playhead [⇧]-[F]
    • Adaptive Beat Grid [/]
    • Larger Beat Grid [,] (comma)
    • Larger Beat Grid Subdivision [ALT]-[,] (comma)
    • Smaller Beat Grid [.] (period)
    • Smaller Beat Grid Subdivision [ALT]-[.] (period)
    • Snap to Key [K]
• Detail Editor Panel: Now shows an individual playback position line for editor layers, when appropriate
• 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.).
• Mixer Panel: Meters of unfolded child chains (such as Drum Machine) and layers (like Instrument Layer or FX Selector) no longer cut off too quickly when the device is not visible [39836]
• A few additional default shortcuts:
  • Toggle Arranger Loop function is now [SHIFT]-[L]
  • Jump to Previous Cue Marker function is now [SHIFT]-[ALT]-[,] (comma)
  • Jump to Next Cue Marker function is now [SHIFT]-[ALT]-[.] (period)
  • Many others are listed thru out this document when their functions are mentioned.
• Echo (Note FX) device got some general improvements and new features:
  • Now has a Transposition Feedback Behavior setting, for selecting how Pitch transposition is handled when it reaches the Min/Max edges:
    • Cycle (the default and original behavior) jumps back to the original note when it would pass either edge.
    • Reflect folds back toward the original note when it would pass either edge.
  • Now has an Inspector Panel options to Kill on Transport Stop (off by default), to automatically end all notes and echoes whenever the global transport is stopped.
  • Got a lite GUI refresh, including a longer history scope with better low-velocity sensitivity.
• Note Grid (The Grid): Now works with the Voice Stack Solo option in the Inspector Panel:
  • When an individual voice within a stack is soloed, current notes from other voices (created via Note Out modules) will be ended, and any CC messages (via CC Out modules) will be suspended.
  • Disabling solo for one or all voices within a stack will also restore any currently active notes.
• Polysynth (Synth) device: Expanded Device View now has a Filter Frequency / Filter Resonance XY control (F)
• Drum Machine (Container) device: When hovering over a drum cell, the note (for example, B2) that triggers that drum chain is shown in the window footer.
• Device chain names have been made more consistent:
  • Instruments with a Note chain have been renamed Note FX, where space allows
  • Audio FX with Pre, Post chains have been renamed Pre FX, Post FX
• Channel Filter, Channel Map, Echo, Latch, Micro-pitch, Note Delay, Note Length, Note Receiver, and Velocity Curve (Note FX): Each have device remotes now (for use with connected hardware controllers, etc.)
• Bend, Note Filter, Quantize, and Strum (Note FX): Each have improved device remotes for new/missing parameters, etc.
• Toggle In and Toggle Out (Mix) Grid modules: Active ports are now visualized based on the modulated value
• The tools of the Curve Editor now supports temporary switching via number keys, just as the program's editing tools do: [39893]
  • 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.
  • The Curve Editor is used by various "curve" devices that use interchangeable BWCURVE files, including:
    • Segments (Envelope), a modulator & Polymer/Grid module
    • Curves (LFO), a modulator & Grid module
    • Scrawl (Oscillator), a Polymer/Grid module
    • Slopes (Data), a Grid module
    • Transfer (Shaper), a Grid module
    • Keytrack+ (Note-driven), a modulator
• 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.
• Plug-ins: It is now possible to enter automation values when using plug-ins [39379]:
  • For CLAP and VST3, actual parameter values are used.
  • For VST 2, values of 0 to 100 % are used in the Bitwig interface.
• Linux + ALSA audio: ALSA backend has been overhauled, improved [40981]
• Linux + PipeWire audio:
  • Improved latency reporting [40981]
  • We now forward active project metadata to the PipeWire node's media info
  • We now set additional metadata on audio ports [40960]
• Controller script added for Novation Launch Control 3
• Controller script added for Softube Console 1 Channel / Fader Mk III (with support for 'Direct DAW Control')
• Controller script added for Neuzeit Instruments's Drop
• Controller script added for Akai MPK Mini IV
• Controller script added for A&H Xone:K3
• Controller script for NI Komplete Kontrol Mk3: Plug-in Bypass added
• macOS: Added camera permission to the audio engine, in case plug-ins want to, um, use the camera

Fixes

• Onset sorting has been improved, allowing better filtering when working with the onset Threshold
• Split is now in Arrange context menus for clip and time selections[40029]
• Touch automation mode never creates data beyond the "touch off" event [39087]
• Right-clicking on various objects makes sure the target is selected and the correct context menu is offered [40794]
• Solo no longer includes tracks routed from the output of an actually soloed track [39662]
• FX Selector (Container) device: No longer causes volume inconsistencies when in Round-robin [40616]
• FX Grid (The Grid) device: Voice stack solo (in the Inspector Panel) now works for True Mono cases as well
• Phase-4 (Synth) device: Expanded Device View's Filter Frequency / Filter Resonance XY control (F) no longer goes off screen
• Sampler (Synth) device: Envelope Mode parameter no longer truncates, at some scalings
• Ring-Mod (Audio FX) device: Now dims the Oscillator Frequency setting when an external signal is being used
• ParSeq-8 and Steps (Sequence) modulators: Now shows the correct active step, even when in Hold mode, etc. [39907]
• Average (Level) Grid module: No longer resets directly to 0 at note on when polyphonic [40002]
• Pitch, Pitch Scaler (Pitch) and Value Readout (Display) Grid modules: Always display correct octaves now [40367]
• Inspector Panel: For Launcher clips, all Main / ALT trigger settings on Use Project Setting now repaint their icon immediately when the project setting changes
• The notification option for a detected audio device to Don't Show Again should work now [40878]
• When doing a Bounce directly from clip drag, canceling the bounce (with [ESC]) now deletes the created audio file [41052], [41053]
• MIDI files that contain invalid MIDI messages can now be loaded (with the invalid messages ignored) [40597]
• VST3 plug-ins: Better handling of the restart component [39935]
• Windows ARM: Update notifications now point to the ARM download [38114]
• Controller integration for Derivative Touch Designer: Application performance no longer slows when using certain multi-monitor setups [38234]
• Controller script for Arturia KeyLab Essential Mk3: Minor fixes for quantization focus, track bank selection, and browser selection
• Softube Console 1: Fixed an issue where layers get confused when moving the plug-in [40154, 40156]
• Application no longer freezes when selecting audio input or output for devices… that have at least 1,024 ports [39351]