Bitwig Studio User Guide
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Delay

Each delay device is a time-based processor that operates on its incoming audio signals. Each device blends one or more delayed copies of its sound with the undelayed original.

Delay+

Delay+ is an all-purpose delay with a fluid structure and some choice character options, making it good for most any delay situation.

The icons along the left side of the device define the available Pattern options:

  • Mono (one centered circle) - Flattens the incoming signal for processing, and offers a Pan control for direction within the effect

  • Stereo (two overlapping circles) - With a Width control and optional Cross Feedback (for left → right channel feedback, and vice versa)

  • Ping L (two separate circles, larger one on the left) - Ping-pong, starting on the left side, and with Width control

  • Ping R (two separate circles, larger one on the right) - Ping-pong, starting on the right side, and with Width control

Standard delay options are available for delay time (either in seconds, or beats plus offset for triplet, dotted, or things in between), Feedback amount, low- and high-pass filters for controlling feedback, and a dry/wet Mix control.

For delay time changes/modulations, a Time Update Rate parameter is available, as well as two Time Update Model choices:

  • Repitch - Maintains audio output during delay time changes, making pitch effects audible

  • Fade - Hides pitch artifacts during delay time changes

And similar to the idea of oscillator detuning, a Detune parameter is available in milliseconds, along with a Stereo Detune toggle to invert the right channel's detuning amount for instant stereo motion.

The Feedback parameter controls the level that output signal is scaled before it is sent back into the delay line. This setting goes from no feedback (0.00 %) up thru attenuated values, to full unity gain (100 %), even up to amplification (maxing out at 122 %) to increase signal on each feedback iteration. Around the feedback stage are several controls and effects:

  • Level Control keeps signal in the feedback loop from exploding, offer both a Level Control Threshold for when level control starts, and three Level Control Modes:

    • Soft Clip - A saturation model

    • Hard Clip - A clipping model

    • Comp. - A compressor model

  • Width affects Feedback factors in the Width parameter (when available) before the feedback chain.

  • A Blur effect is available within the initial delay process. As the feedback section returns its output to the delay input, each feedback cycle goes back thru the Blur function. Various Blur Character options are available:

    • No Blur - Bypass option

    • Soft - Short diffusion network

    • Wide - Short diffusion network, with broader modulation and spread

    • Still - Long diffusion network

    • Space - Long diffusion network, with broader modulation and spread

    • Reverse - Time-offset diffusion system

  • The Forever mode (shown as a snowflake toggle, similar to other 'freeze' modes across Bitwig) maintains the current feedback buffer, keeping it at unity gain and not passing in any new signal.

  • The FB FX chain allows the addition of any other Bitwig devices or plug-ins into the feedback stage, making them part of the churn.

    [Note]Note

    The nested FB FX chain uniquely provides delay compensation (when inserting devices that require it) by offsetting the delay time.

Finally, the Ducking knob helps incoming sounds to be heard. It does this by using an envelope follower to reduce the Feedback amount and the internal wet gain level by the relative Ducking amount.

Delay-1

A tempo-syncable delay with uniform delay time, offset, and feedback settings for the left and right channels.

Delay-2

A tempo-syncable delay with discrete delay time, offset, and feedback settings for the left and right channels. This device also has warble (Detune and Rate) and Crossfeed(back) settings.

Delay-4

A delay unit comprising four independent taps. Each tap has its own input level control, a general FX chain, a FB FX chain for its own feedback section, separate feedback controls for how much signal is fed back locally and to each of the other taps, tempo-syncable delay time, simple high-pass and low-pass filters, and output level and panning controls. After the taps are summed, there is then a master FX chain, a global Feedback level, and a Mix control.

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