pdxindy wrote:Yeah, those devices are there... but in Live they are only monophonic (not so useful). In Bitwig the modulators can be monophonic or polyphonic (per voice)! That is a huge difference!!
Maybe because I do simple music I never needed polyphonic modulators, but indeed it's great to have such an option.
pdxindy wrote:That is what I mean about being part of a more developed system at the DAW level. In Bitwig, adding 1, 2, or 10 Envelope modulators, they function the same as if they are part of the synth itself. Not some external plugin like in Live. Now with 2.3, the voice stacking is also part of the DAW system, and so every instrument can benefit from it.
Oh, I agree! I never disputed that. Just that your example suggested you can't modulate Operator's parameters with an LFO or Envelope, which is not correct.
Having dedicated modulators system is such a straightforward, immediate, fun and inviting solution! Sure I can replicate most (all?) stuff it does in Live, but it's much more tedious somehow. Like you said - M4L still, even in Live 10, feels external even if for the fact that you can't save the whole thing as an Operator or Analog patch. Also the fact that the M4L modulators stack up in your devices chain and take space is annoying, whereas in Bitwig you can hide them completely and even unfolded they take much less space. I actually think doing modulators - instead of opening the modular back-end outright - was a genius move on Bitwig's behalf as a lot of people (myself included, probably) would be immediately overwhelmed by the complexity, whereas with modulators they're easing us in into this more complex paradigm. Paradoxically, we probably have like 70-80% of what the full-modular environment will allow for in terms of real-world applications, at 20-30% the complexity. That's just bloody brilliant <3