Each reverb device is a time-based processor that tends to elongate the incoming signal, producing distinct room effects or imbuing other tones and sounds.


Conceptually, real-time convolution is a continuous DSP method for imprinting one sound onto another, running every sample of the incoming signal 'thru' the loaded impulse (or impulse response) in its entirety. This merges the two sound, effectively multiplying their spectra together so that only frequencies existing in both signals make it to the output — and in relative proportion. This can work for a real, captured space, the tone of any equipment (like a particular amp or mix buss), generated impulses (some of which are in the factory library under Synthetic), OR with any audio (a long held piano note? a rhythmic pattern that continues getting louder?) serving as impulse.

As a device in Bitwig, Convolution is straightforward with quick adjustment controls for reverb, coloring, or anything else convolution can do. The required impulse can be 1-channel (mono) or 2-channel (stereo), and 4-channel ("true stereo") impulses are also supported. Dragging any audio file from one of Bitwig's browsers or the OS's file manager onto Convolution will load the first 45 seconds of it as an impulse. Or drop a Bitwig clip from your project or browser onto the device to bounce it directly to an audio impulse.


If a file conversion is necessary, the impulse will be saved in the current project folder's Impulses folder as a BWIMPULSE file.

Clicking the folder icon or impulse name in the top of the device loads the impulse browser, which visualizes all factory impulses and those from your library, making it easy to see the character of any file beside its length, category, and channel count. The Import… button in the bottom of the impulse browser allows the bulk import of audio as impulses, converting them and placing them in your Bitwig user library's Impulses folder.

The Start and End Time positions within the impulse can be adjusted visually (similar to Sampler), or with numeric controls in the Inspector. Toggling to the Volume Envelope mode switches the central graphic section of the panel to controlling start and end gain values, as well as a midpoint's timing and gain (again, all shown on numeric controls in the Inspector). A red dot is shown on the Volume Envelope toggle when any gain changes are occurring, similar to how the presence of automation marks parameters.

The Tune parameter resamples the impulse, changing its pitch and length by the set semitone amount. Brightness offers a tilt EQ, which favors the high end when turned to the right, or the low end on the left. Pre-delay time, Wet Gain amount, and dry/wet Mix parameters are also available, as well as a Wet FX chain for adding devices and plug-ins to process only the wet output portion.


An feedback-based algorithmic reverb effect with distinct controls for EARLY reflections and for the later dense reflections (TANK). The TANK is split into three assignable bands with relative delay times for the low and high bands. This device also has a graphical interface and uniquely offers a Tank FX chain for inserting any Bitwig device or plug-in into the feedback cycle of the effect, as well as a Wet FX chain for using devices to process only the processed signal.

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