How to Time Stretch Audio in Bitwig Studio Basics E11

How to Time Stretch Audio in Bitwig Studio Basics E11

Hi everybody and welcome to Bitwig Studio
Basics episode 11. Today we are going to talk about audio time stretching and warping in Bitwig Studio. My name is Mattias and let’s take the tour. Ok, so working with time stretching and warping
with audio in Bitwig Studio. Often when you work with samples from the
internet or from the core library of Bitwig Studio, you can see the tempo of your loops,
And they are often perfectly matched up to work with the bar grid, as they might be in
perfect bars. But what about working with your own audio
recordings of guitars and drums etc? Maybe you have not recorded to the metronome
and you don’t know the real tempo, or maybe you have recorded with a floating tempo. Then it can be very powerful to use the audio
stretching, or the time-stretching of Bitwig Studio. So let’s record a little guitar take and then
we will break it down and see how we can match up that “a little bit floating” guitar recording
to the bpm grid of Bitwig Studio. [Soft guitar music played with Gibson Midtown
Custom – links to all my gear at] The first thing you want to do is select your
audio clip and go down to the information panel. Here we can select the stretching modes. And it’s currently set to the default mode
which is Stretch and I will use the Elastic Pro stretching mode which is the transient
preserving spectral stretching mode with formant control. So select that and double click your audio
clip to bring up the audio editor. Here we can see that we have some different
modes…different views. We can go to the Stretching View and the Onset
View. Let’s go to the Stretching view and make sure
that we move the audio clip to the beginning of our beat. Move it back so we have it line up in the
beginning. And here if we select Onsets we can see the
different onsets for the transient in this audio recording. But we will go to the stretching mode. And to make accurate edits you need to hold
down Shift to be able to move this cursor, the offset cursor here. We go to the first transient and we double
click to add an offset point. A stretching point. And we can drag that backwards like this to
make the first transient of our guitar at the exact first bar hit. Ok, so now we will go in and extract a part
of this guitar recording, because it would take too much time in this video to go in
and edit the whole audio recording. So we will just take the first part here. There we have the second time this guitar
pattern / riff is played. So we will select that last part and get rid
of that. Now we can see that this floating guitar recording
takes up a little bit more than the first four bars here. So to match this up with our tempo we need
to move this a little bit back. To do that we first add a stretching point
to the ending. So we have a stretching point in the beginning
and a stretching point at the end. Now we can move (stretch) this little guitar
recording to make it first match up to these first four bars. Let’s drag down the tempo. We
can set the playback to looping mode so we can also hear this loop. Now we can see that some of these transients
is not on the perfect downbeat on the bar /grid. So what we do, we hold shift again and enter
another stretching point here and drag this part a little bit back. Maybe move it a little bit more so we have
the transient at the exact hit of the bar. Let’s go back a little bit more here. So we can see here they are a bit early so
what we do. We go back here and see when they start to
get early. Ok, it’s around here. So let’s add another stretching point and
the audio so it matches up with the beats. With the grid lines. Here we have some early birds too. Move them a little bit forward. This one is a little bit early so we can move
that one too. This is a little bit late so move that back
a bit. There we have some drifting so let’s move
them backwards a little bit. Maybe move this one a little bit forward. So this is what you do. You go in here and look for all the transients
in your record and then you move them so they match up with the beat grid setting in your
timeline. I think this can be a decent edit. Maybe move that one back a little bit. And this last audio transient. So the good thing here is now when we have
this perfectly in time with our beat grid we can change this to any tempo. We can go down in tempo. [Slowly playing back
the time-stretched guitar.] [Playing a live piano melody on top because
I got inspired.] Or we can increase the tempo. And it will play tight against our beat grid. [The inspiration is growing… Time for another melodic piano solo!] Yeah so that’s how easy it is to map up your
floating audio recording to the tempo and beat grid of Bitwig Studio. Ok, so I hope that gives you some insight
into audio time-stretching in Bitwig Studio. If you have any questions please write them
in the comments section below. If you don’t have Bitwig Studio yet you can
check out an affiliate link in the description. There should also be a discount code which
gives you a discount on the full version of Bitwig Studio. Now you can check out my other videos. Thanks for watching today and see you in the
next episode. Bye!

13 Replies to “How to Time Stretch Audio in Bitwig Studio Basics E11”

  1. In this Bitwig Studio Basics E11 video we talk about How to Time Stretch Audio in Bitwig Studio. Time stretching is sometimes also referred to as Audio Warping.

    In Bitwig it's very easy to adjust and match your audio transients to the grid and tempo.

    Bitwig comes with multiple stretching modes perfect for everything from percussion, vocals and loops to guitars. They all have their own unique character and often yield very pleasing results. Even though you set the tempo to quite extreme settings.

    Please subscribe, hit the bell for notifications and write some nice feedback. If you have any questions feel free to ask them in the comments too.

    Thanks for watching,
    Mattias (aka Gelhein)

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  2. Wish Bitwig had a way to do stretching/scaling midi clips as well. Every other program does. Not a huge deal but would be nice if you could scale, stretch an entire midi clip.

  3. What song does that sound like? I think it's an early 2000s indie pop song, but I can't remember the name or the artist haha

  4. Again a great tutorial Mattias, Thanks! I hope you will make more of these.

    I only use Bitwig for the modulation and automation for now, because Maschine can only automate in steps and I'm having issues with timestretching and slicing in Maschine so I'll definitely going to try this out

  5. Mattias, do you have video about Hardware Synths controlled via Bitwig by CV ? Very interesting topic for synth-geeks I think..

  6. Good day. Recently I watched a rather inspiring video about creating layers. Here it is ( Take a look, please. Tell me, is it possible to do something similar in BitWig? I recently became a BitWig user and would like to repeat this trick in it

  7. Thank you so much for this little yet very informative advice video, Mattias! Was particularly useful and interesting to see, as I not too often edit audio material and keep forgetting how to do it properly in Bitwig, so this is another try for my memory to finally write this useful data somewhere near 😀

    Generally yes, quite straightforward, but very important procedure. I just always wondered, why both in Ableton Live and in Bitwig there's no (to the extent of my knowledge) kind of "analyze" function for a bunch of clips or tracks. It's there in NI Traktor, for example, and yes, it makes a little harder to use it for DJ or hybrid set, which is how I continue to try to use it sometimes 🙂 This is actually a long-time challenge for me to create some handy setup for live performance, with generally DJ set in the background and most interesting parts played live in the front. Nowadays laptop-oriented DJs just pre-collect the whole set, sort of script it in terms of track list etc., which is, in my opinion, not flexible enough, as you can't change the program on the go, but, on the other hand, improvising with different tracks seems to require some more powerful mechanism of analysis, which would allow you to just drop another track from the collection and be sure it would be in sync (being auto-analyzed). Workaround for this is just to check out the whole collection by hand, which is still a way to go. Sorry for going a little off-topic, but just remembered this in connection with time-stretching things 🙂

    Thanks again for this nice valuable video, Mattias! The source material is amazing again, like this positive themes so much, and that air piano… Nice! Have a wonderful and warm weekend! And of course, yes, more summer vibe and inspiration to you! 🙂

  8. Hi, thx for the tutorial ! Is there a way to transform all automatic onsets into markers you can stretch at once ? (like in Ableton : when you wrap an audio clip all the onsets are automatically activated, so moving one marker doesn't move all the other transients)

  9. It would be nice to convert the automatic onset markers to stretch markers and then simply press quantise like you would edit a MIDI clip.

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