Bitwig Needs No Arpeggiator

Summary

In this episode of 'Tash Teaches,' Tash explores innovative ways to create rhythmic broken chord and arpeggio sequences using Bitwig Studio's unique MIDI features, without the need for an arpeggiator. Four distinct techniques are demonstrated, each yielding diverse sonic results, including utilizing the Note Repeats device in Euclidean mode, the Ricochet device for organic patterns, the piano roll's repeat rate for note separation, and the Recurrence operator for unpredictable arpeggios. Tash's tutorial is a treasure trove for producers seeking to expand their rhythmic and harmonic palette in music production.

Takeaways

• 🎵 Tash teaches how to create rhythmic broken chord sequences in Bitwig Studio without using an arpeggiator.
• 🔄 The first technique involves using the Note Repeats device in Euclidean mode to break up chords into rhythmic patterns.
• 🎶 Tash demonstrates creating a C sharp minor seven chord and using the Note Repeats to add rhythmic variation.
• 🔄 The Note Repeats can be grouped and converted to a Note FX Selector for distributing notes among different layers.
• 🎹 Adjusting velocity and accent on the Note Repeats devices can create a more dynamic and interesting sound.
• 🏓 The Ricochet device, introduced in Bitwig 4.1, is used to create repeatable patterns with a non-random, quantized approach.
• 🔄 By manipulating the speed, mass, and shape of the Ricochet device, one can create various rhythmic patterns.
• 🎹 The Piano Roll's Note Repeats operator allows for customizing the repeat rate of individual notes within a chord.
• 🔄 The Recurrence operator can be used to create arpeggiated patterns where notes play at different intervals, creating complex rhythms.
• 🎛 Bitwig's velocity and expression controls can be fine-tuned to adjust the sound's decay and dynamics.
• 🎼 Experimenting with different instruments and velocity settings can lead to unique and unexpected sonic results.
• 🔉 Adding effects like reverb and delay can enhance the vibe and texture of the broken chord sequences.

Q & A

What is the main focus of the 'Tash Teaches' video?

The main focus of the video is to demonstrate how to utilize Bittwix Studio's unique MIDI features to create rhythmic broken chord arpeggio sequences without using an arpeggiator device.

What is the first technique Tash introduces in the video?

The first technique Tash introduces is using the Note Repeats device in Euclidean mode to create rhythmic variations of a chord.

How does Tash suggest modifying the Note Repeats device to create a more interesting sound?

Tash suggests grouping the Note Repeats and converting the note effects layer to a Note Notifx Selector, allowing for different layers to play different Euclidean rhythms, thus creating a more complex and interesting sound.

What does Tash mean by 'polymetric' in the context of the video?

In the context of the video, 'polymetric' refers to the overlapping and interplay of different rhythmic patterns created by the Note Repeats device, resulting in a complex, layered sound.

How does Tash propose to adjust the velocity of the notes to affect the sound?

Tash proposes to adjust the velocity control on the Note Repeats devices to create a dynamic range where some notes are harder and others are softer, adding depth and variation to the sound.

What is the purpose of using the Ricochet device as shown in the video?

The Ricochet device is used to create repeatable, organic, and intuitive patterns that can be used to generate arpeggios with a unique, less random feel.

How does Tash utilize the Quantize device with the Ricochet device?

Tash uses the Quantize device to ensure that the notes created by the Ricochet device are aligned to the grid, making the pattern more repeatable and predictable.

What is the significance of adjusting the speed, mass, and shape of the room in the Ricochet device?

Adjusting these parameters affects the pattern and rhythm of the notes produced by the Ricochet device, allowing for a wide range of rhythmic variations.

How does Tash use the Piano Roll's Note Repeats operator to create arpeggios?

Tash uses the Note Repeats operator in the Piano Roll to manually set the repeat rate for each note in a chord, creating a custom arpeggio pattern that can be quantized for a more structured sound.

What is the final technique Tash demonstrates in the video, and how does it work?

The final technique Tash demonstrates is using the Recurrence operator to create arpeggios where each note in a chord plays at different intervals, resulting in a unique rhythmic pattern.

How does Tash suggest enhancing the sound created by the Recurrence technique?

Tash suggests enhancing the sound by adjusting the recurrence settings for each note, changing the octave, and using different instruments in a selector to add variety and depth to the arpeggio.

Outlines

00:00

🎵 Exploring Bitwig Studio's MIDI Features for Broken Chord Sequences

In this segment, Tash introduces viewers to unique MIDI features in Bitwig Studio that enable the creation of rhythmic broken chord arpeggios without an arpeggiator. Tash demonstrates the first technique using the Note Repeats device, highlighting its Euclidean mode and showing how to layer different note effects for a polymetric, rhythmic sound. The focus is on creating interesting sonic results by manipulating note distribution, velocity, and accentuation to produce a more engaging and varied chord progression.

05:04

🔄 Using Ricochet Device for Repeatable Arpeggio Patterns

Tash presents the Ricochet device, introduced in Bitwig Studio 4.1, and explains how to use it to create repeatable arpeggio patterns. By fixing the ricochet's bouncing arrow to a single point and adjusting parameters such as room size, ball speed, and mass, Tash shows how to generate organic and intuitive rhythmic patterns. The segment also covers quantizing the ricochet output to the grid for more structured arpeggios and suggests experimenting with velocity to add expressiveness to the patterns.

10:05

🎹 Operator-based Note Repeats in Piano Roll for Chord Variations

This part of the tutorial delves into using the note repeat operator within the piano roll to create varied chord sequences. Tash illustrates how to set different repeat rates for each note in a chord, resulting in an unquantized, rhythmically rich sound. The use of a quantize device is then introduced to align the repeated notes with a 16th note grid, providing a more predictable yet still dynamic arpeggio effect. Adjustments to the repeat curve and velocity are also discussed to refine the sound further.

15:05

🔁 Recurrence Operator for Customizable Arpeggio Rhythms

Tash explores the Recurrence operator to create arpeggios where notes play at specific intervals rather than consecutively. By adjusting the recurrence settings for each note in a chord, a unique rhythmic pattern is formed, with some notes striking more frequently than others. The segment covers how to record the MIDI output and suggests experimenting with note lengths, velocities, and the use of different instruments to add depth and variety to the arpeggio.

20:07

🎛️ Final Techniques and Tips for Bitwig Studio Users

In the concluding part of the video, Tash wraps up by summarizing the techniques covered and encouraging viewers to explore further. Tips for adjusting the intensity of arpeggios, changing octaves for variation, and using velocity spread for dynamic range are highlighted. Tash also invites viewers to subscribe for more production insights and offers personal training for those interested in deepening their Bitwig Studio skills. The call to action includes checking out other videos for more Bitwig tips and tricks and engaging with the community for ongoing learning.

Keywords

💡MIDI

MIDI, or Musical Instrument Digital Interface, is a protocol that allows electronic musical instruments, computers, and other devices to communicate with each other. In the video, MIDI is central to the creation of various musical sequences and effects, such as the rhythmic broken chord arpeggio type sequences discussed by Tash.

💡Arpeggiator

An arpeggiator is a device or software that automatically sequences the notes of a chord in a specified pattern, often used to create arpeggiated melodies. In the context of the video, Tash mentions not using an arpeggiator device but achieving similar effects with other methods.

💡Note Repeats

Note Repeats is a MIDI effect that repeats the playback of a note or a chord at a specified interval, creating a rhythmic pattern. Tash uses the Note Repeats device in Bittwix Studio to create rhythmic variations of chords, as demonstrated in the script.

💡Euclidean Rhythm

Euclidean rhythm is a method of distributing a set number of beats across a number of steps, often used in electronic music to create interesting rhythmic patterns. Tash refers to the Euclidean mode of the Note Repeats device, which is a favorite of hers for creating unique rhythmic sequences.

💡Polymetric

Polymetric refers to the use of multiple time signatures simultaneously, creating a complex, layered rhythm. Tash mentions polymetric in the context of the patterns created by the Note Repeats device, where different rhythmic patterns overlap.

💡Ricochet

In the video, Ricochet is a device in Bittwix Studio that creates a bouncing effect to generate rhythmic patterns. Tash uses the Ricochet device to create repeatable, arpeggiated patterns by adjusting its parameters such as the size of the room and the mass of the ball.

💡Velocity

Velocity in music production refers to the force with which a note is played, often affecting its volume or articulation. Tash discusses adjusting velocity in the Note Repeats and Ricochet devices to control the accentuation of certain notes within the sequences.

💡Quantize

Quantization is the process of aligning notes in a sequence to a specified grid or rhythmic value, making them fall on exact beats or subdivisions. Tash uses a quantize device to make the notes created by the Ricochet device more repeatable and rhythmically consistent.

💡Piano Roll

A piano roll is a graphical representation of musical notes in a sequencer, where each note is represented by a block on a grid. Tash mentions using the piano roll operator to manually create rhythmic sequences by adjusting the repeat rate of notes.

💡Recurrence

Recurrence in the context of the video refers to the operator in Bittwix Studio that allows notes to repeat at specified intervals. Tash uses the Recurrence operator to create arpeggiated patterns where each note of a chord plays at different recurrence rates, resulting in a unique rhythmic effect.

💡Bitwig Studio

Bitwig Studio is a digital audio workstation (DAW) that offers a range of tools for music production, including MIDI effects like Note Repeats and Ricochet. Tash uses Bitwig Studio's unique MIDI features to demonstrate the techniques for creating rhythmic sequences without an arpeggiator.

Highlights

Introduction to using Bittwix Studio's unique MIDI features to create rhythmic broken chord arpeggio sequences without an arpeggiator device.

Utilization of the Note Repeats device in Euclidean mode for rhythmic variations.

Creating a C#m7 chord with an open sound and breaking it up into a rhythmic pattern using Note Repeats.

Grouping Note Repeats and converting to a Note FX Selector for distributing notes among layers.

Adjusting the mode to 'round robin' or 'random' for an even note distribution among layers.

Adding layers with different note groupings like 9/16 to create more complex patterns.

Experimenting with accent and velocity control on the Note Repeats devices for dynamic sound variations.

Rotating the velocity accent to create different intervals of hard notes for a more interesting rhythm.

Using velocity expression control to adjust the sound's decay based on note length and velocity.

Introducing the Ricochet device for creating repeatable, non-random arpeggios.

Fixing the Ricochet's arrow to one place for pattern consistency and then quantizing the notes.

Adjusting room size, ball speed, and mass to alter the rhythmic pattern created by Ricochet.

Recording MIDI output from Bitwig to create monophonic playthroughs of chord harmonies.

Using the Piano Roll's Note Repeats operator to create custom arpeggios within the sequencer.

Quantizing the manually created arpeggios in the Piano Roll for a more structured sound.

Manipulating the repeat curve to influence the velocity and timing of notes in the arpeggios.

Using the Recurrence operator to create arpeggios with notes playing at different intervals.

Adjusting recurrence settings for each note to create complex and varied arpeggiated patterns.

Experimenting with different instruments and velocities to add character to the arpeggiated patterns.

Conclusion and invitation for further exploration of Bitwig's features and user suggestions for future content.

Transcripts

hello and welcome back to another

episode of tash teaches

i'm tash and in today's video we're

going to be looking at utilizing a few

of bittwix studio's rather unique midi

features to create rhythmic broken chord

arpeggio type sequences without ever

having to reach for the use of an

arpeggiator device

all four of these techniques yield some

pretty awesome and varying sonic results

so stick around to the end of this video

and you'll leave with some rather cool

new toys to play with so without further

ado let's jump right in and i'm going to

show you exactly what i'm talking about

the first technique i want to show you

today utilizes the note repeats device

now a lot of you who are familiar with

my channel may be aware how much i love

the euclidean mode of the note repeats

already but uh in all of the videos i've

made about this device i've never shown

this particular use

so what i'm going to do is actually

before i do that i'm going to load up

just a sine wave instrument so let's

make a quick chord

and i think i'm going to go for maybe a

c sharp minor seven with i really love

doing this lately which is just the

seven again on top

um so let's stretch that out let's have

a quick listen to what we've got

[Laughter]

so it's a lovely open sounding chord it

would be cool to be able to arpeggiate

this in a certain way and create a

slightly bit more of a rhythmic

variation to break up that chord so

let's turn on the note repeats and let's

listen to straight away what we get

now this is pretty cool i've talked

about this in previous videos that it's

a great way to take that chord and to

split it up into something a little more

rhythmic but where it starts to get

interesting is if we take this note

repeats and we group this and we're

going to convert that note effects layer

to a note notifx selector what that now

means is if we were to take another

layer of this and change this to be say

7 in 16 i'm also uh going to just name

this we'll do 5 this one is a seven if i

were to play this as is

we're not going to get anything

different however if i change the mode

here to round robin or anything up until

random other really we're going to be

then distributing these notes evenly

amongst the available uh

the available note effects

layers in this selector so some of the

notes are going to be playing a 5 and 16

euclidean rhythm whereas some are going

to be playing 7 over 16. so

automatically if we listen to this

it sounds a lot more interesting we

still don't necessarily have a great

sound yet but we're definitely getting

there because we're starting to take

some of those notes and play them in a

broken fashion

so we can add another layer and if on

this one we'll do say uh 9 and 16.

and while this does sound cool it's

still not that interesting and that's

because it's just a bit blah it's just a

bit sort of like uh

all over the place and what can be quite

fun is playing with the accent or the

velocity control here on these uh note

repeats devices so if we start to bring

this down

you'll see that we're going to be

getting some hard notes and all of the

rest are going to be slightly softer so

i'm going to bring this down on all of

these especially the ones which have

slightly more notes and you can see here

that some of these harder notes are all

happening on the same time so it'd be

cool to maybe rotate this so that we're

getting these uh hard notes happening at

uh slightly different intervals so i'm

gonna do one that happens on there let's

see what this sounds like so we've got a

good a good variety here let's listen

again

it's already sounding a lot more

interesting i might bring down some of

the hard notes on this five one as well

and of course this is polymetric because

uh

these patterns are going to be sort of

jumping around through each other and uh

because we've got five notes in the

chord but only three options here

they're going to be jumping around and

some of the notes are going to be

playing on one on one time and on the

other time they're going to be playing

on the other so if we start to use the

velocity expression control here to make

some small adjustments to the sound we

could say when these notes are longer

that they're going to be slightly longer

decay as well when these notes are

harder velocity they're going to be

slightly longer decay in both of these

envelopes let's see what that sounds

like

it could be quite cool as well to play

with this skew so i might take an

envelope here and i'm going to use this

envelope

to open this skew value i'm going to put

it all the way to the top and now i'm

going to bring this amount value back

down and we're going to use velocity to

control the amount of that envelope

we might as well add a delay just to get

a little bit a little bit of vibe going

on here

of course if we were to change this

chord uh we've got a c minor here let's

go for a major chord now

so major and then we'll do

[Music]

really nice and of course

any things that we do here that are

affecting those midi notes if we were to

take another empty midi channel here and

just record out the output of that

polymer instrument we can then get

let's start this at the beginning again

we can get the midi out of there

now if we're going to be splitting hairs

here an arpeggio is

sort of notes not played at the same

time and they're all broken so we're

going to be getting a slightly more of a

monophonic

play through of the harmony of a chord

so if we wanted to create at least in

the sound a slight bit more kind of

monophony there we could just bring the

voices down so let's let's compare the

difference of playing this because we

can see here that there are a number of

times when we've got three three notes

playing at once if we bring the actual

voices down of that synth we're not

going to be changing the output here if

we were to record it but we can change

at least the sound

can sound quite cool can also be quite

cool to do say just two voices

so this is just a really wonderful way

of breaking up those chords we could add

one more again let's do say 11 over 16

and we'll do

let's try this

anyways so that's the first way of

creating a sort of rhythmic arpeggiated

kind of sound the next technique i want

to show you utilizes the ricochet device

ricochet was added i think in the 4.1

beta and uh while visually it looked

very entertaining and quite novel i

didn't really find much use for it until

i started doing what i'm about to show

you by default when you load it up this

little arrow is just making itself dizzy

in this pentagram

there's this pentagon sorry and

what i want to do straight away is i

want to stop that from spinning and just

fix it to one particular place

now this is going to be very handy for

creating repeatable

patterns because when i was saying in

this video i wanted to show you how to

make some arpeggios really what i want

is something that's a little less random

per se and it's actually following some

sort of um some sort of pattern that is

repeatable so if i were to just play

this as is i've got a an a major seven

with the third on top

it's interesting you know by all means

we can use this to add things on top of

other stuff that unquantized nature of

it is great and even more unquantized we

have this wiggling around and changing

all the time

the first step that we need to take is

to get all of these notes being created

by the ricochet and we're going to want

to quantize them to the grid so all we

have to do is add the new quantized

device that by default will be set to

eighth notes but for this i want to put

it to 16th notes this is now going to

take those notes and it's going to delay

them until they are on the next grid so

without it and then with it let's play

it a b and you'll see that it instantly

makes this into something that is a bit

more repeatable

[Music]

and that's just fantastic and really

where the fun begins is that we don't

need to change anything else other than

the speed of the ball the mass of the

ball and the shape of the room so if i

were to start to increase the amount of

sides in the room we're not going to get

uh

we're not gonna get a change that we

could say oh well you know if we put it

to seven

seven sides in the room then we know

what it's gonna sound like it's really

very organic and intuitive here if i

start to increase the size of the room

[Music]

you can see that it just changes the

pattern completely

sometimes you'll find a really great

spot in there and obviously you can

rotate it you can also change where the

balls are firing to

and what's really fun is changing the

speed here

so

past a certain point it's just going to

be playing on every single 16th note but

if we increase this subtly we'll start

to get to a point where this second half

of the bar the balls aren't slowing down

as much

[Music]

and of course we can record out the midi

of this so let's take polymer

we'll record that out that's recording

the wrong one

there we go

and again like in the previous example

this isn't really an arpeggio so much of

more of a sort of rhythmic

thing that we can use but we can create

a little bit more of that arpeggiated

feeling by again reducing the voices so

let's bring this down to mono first

[Music]

changing the the mass of the ball

will also affect the the playing of it

if we bring this all the way down to

zero they're just gonna keep moving as

if gravity doesn't exist

let's bring up the voices let's maybe do

two or three

[Music]

really quite cool and of course we can

play with the the velocity here as well

because some of those harder ones are

going to be hitting uh they're going to

be hitting

with a higher velocity

[Music]

so we can increase the actual velocity

affecting the volume but we can also

increase the amount that it's affecting

things

[Music]

let's increase the voices again

i quite like it when you have the voices

all overlapping

[Music]

[Music]

let's change the speed down a bit

[Music]

this could sound quite cool with a bit

of reverb on it

[Music]

[Music]

if we increase the length of the clip

itself we're going to have a longer

pattern before it repeats but bear in

mind that if you make it a longer

pattern you're going to need to bring

the dampening down to make the balls

lighter and to make them move faster if

you want to keep the pattern going

because otherwise

[Music]

sounds really cool if you wanted to make

it so that the balls uh hitting softer

don't affect the velocity you could then

set a velocity curve here to have them

all at max if you'd like to become a bit

wig wizard then consider subscribing to

the channel for unique approaches to

production as well as nifty little

mindset hacks that will help get you out

of your own way i'm also a bitwig

certified trainer if any of you would

like to take one-to-one lessons with me

either in person if you're in los

angeles or via zoom if you're anywhere

else the link to my website is in the

description down below anyways back to

the video

the next technique i'd like to show you

utilizes another form of note repeats

but not the midi effect more the

operator that exists within the piano

roll

so let's just put in a quick chord here

i'm going to do some sort of d

d minor

9. let's just stretch that out and we

might as well do the seven for good

measure and i'll put the d and octave

down

so now we've got this uh deliciously fat

voiced chord

so what we're going to do is we're going

to look in here and we've got to make

sure that all of the notes are the

length of the actual clip and we're

going to go in and we're going to take

each of these notes and we're going to

we're going to basically

use this uh they call it repeat rate but

it's really just being able to ratchet

it so we're gonna ratchet in

say on this bottom one three so that's

going to separate this into

if we were to make these notes shorter

so that we can hear them

[Music]

we're going to do the next one at

four then we can do the next one at five

then we can do this one at

six and then we'll do this one at seven

so if we listen to this uh as is we're

going to get a similar result with the

ricochet where things aren't going to be

quantized and it's going to sound a

little bit

[Music]

now it could be useful for a certain

type of music but i i wouldn't

necessarily go with that as a as a sound

in my track but i do like

roughly what's going on there so quite

the same as with the ricochet all we

need to do is just take a quantize

device set that to 16th notes and we're

now going to be pushing all of these

notes to the nearest 16th note we're

going to end up with this

[Music]

and i think you'll agree that's a very

interesting result

if we were to decrease the length of

this and make it half as long we can

increase say this to to feel faster

[Music]

but we're still going to be getting that

situation where some of the notes are

going to be overlapping um what's

interesting here as well is depending on

how we play with the repeat curve we can

influence the sound there as well so

let's take this top note let's listen to

that in the context of it

[Music]

if i start to change the curve here

[Music]

i can make it so there's more notes at

the beginning than there so

let's look at this a note and we'll

shift that this way

and small variations here will influence

it

[Music]

and if we change this halfway through so

let's say that's uh

five

[Music]

i think you'll agree that's a pretty

interesting result

let's record the midi out and have a

look what we're getting here

[Music]

you'll see that the notes are pretty

long and that's because when you do it

with this note repeats they're going to

take the entire length of it what you

could do though is take

say a note length device and if we want

to make them all the same length and all

uber short i'm going to bring this down

really low and then let's record this

out and you'll see how small they are

let's see how vibey we can get taking a

macro to the max

[Music]

and of course the velocity in here is

also affectable so we could say ramp the

velocity upwards we can look there to

see that this one has now ramped the

velocity upwards maybe this one we can

ramp the velocity downwards

and then this one we can ramp the

velocity up a bit as well so if we make

things in here that affect that velocity

so let's make some of the velocities

control that knob we've just created

[Music]

[Music]

let's bring the velocities down on that

one

and you can see that the velocities are

then being reflected down here so it's a

great way of breaking up a chord and

creating some rather unusual repeatable

but unexpected results the final

technique i want to show you utilizes

something that i sort of demonstrated in

a previous video on some of the things

that i liked about bit wig 4.1

and it's utilizing another one of the

operators but this time it's going to be

the recurrence so let's make a quick

chord here let's go for an f-sharp major

7

and i'm going to

do this down an octave like that okay so

we've got our f sharp major seven here

and i'm gonna load up a quick electric

keys let's make sure these

velocities are nice and low

daddy likes his velocities low

okay very nice so we've got our

chord there but we're going to do

something rather uh rather unusual here

and we're going to shorten the length of

this

to be if we want a 16th note arpeggio

we're going to shorten it to a 16th note

so if we're to press play now

it already sounds quite cool actually i

don't know why that is but what we're

going to

sort of create here

is that

each of these notes is not necessarily

going to play on every single one of the

repeats so what i mean by that is let's

take this bottom one and let's say that

we only want that to happen every three

i'm going to drag up the recurrence here

so that you'll now see that this only

triggers every three loops

you can see it turning off in the space

in between so this seventh here why

don't we set that to be say happening

every seven

then we're going to select this uh third

in fact let's set that to be three we'll

set this to be five could be quite

interesting to have them play at their

respective values so this is a one so

i'm going to select that to happen every

four so let's see what now happens

seeing as all of these notes aren't

always going to be playing at the same

time

[Music]

i think you'll

agree that that's a pretty uh pretty

interesting arpeggio that we're getting

there let's record the midi out

[Music]

now if we wanted to increase the

intensity of this some of these that

we've set to be say seven i might do

that happening every two so we're gonna

we're still still got a seven bar

pattern or a seven repeat pattern but

we're increasing the amounts of those

seven notes in it so let's check that

out now

[Music]

what can be quite interesting with this

as well is to take the whole thing and

shift it up an octave so that you've got

other variations of it and then this one

i'm gonna say change to five

and then let's just make a few odd

little changes here and see what happens

if we do say this one happening every

eight now let's do this one happening

every six um

but with that so let's just check this

out

again like with the previous version all

of these notes are pretty long we can

make them shorter by actually shortening

the note

[Music]

that can sound really really cool

especially if we were to put a bit of

reverb on there

you can also put in a few that don't

always happen so this one could be just

a 50 or say 40 percent happening so this

one won't even be following a pattern

per se it would just be sort of doing

uh

the occasional uh cameo appearance

this can create some very interesting

patterns especially if we were to let's

say take

let's put this keys in a selector

and we'll do a different key instrument

as well so we'll do one that's a bit

more uh reed based

let's select this to round robin mode

probably do another one let's find like

a kind of wonky one let's go for an

experimental

[Laughter]

[Music]

[Laughter]

super cool and of course we can go in

here and we can use a bit of velocity

spread

to change the the chance that there will

be different velocities as well

why not add in sort of a synth voice as

well

[Music]

i mean that's just fantastic and of

course we've decided what chord it is so

because we have that fixed harmonic

sound but it's still arpeggiating

rhythmically we save a lot of space in

the mix to then fill with say bass or to

be able to put some other sounds

well folks that's sadly all we have time

for today but i do hope that this video

was useful if you'd like to keep

learning more about bit wig then why not

check out this video on my top 10

favorite tips and tricks for the new

version

i'm always open to suggestions on

directions for exploration so feel free

to comment down below what you'd like to

see more of in the future as always

happy monday and happy creating