Your music.
Every detail.

How to use it

1. Open Recording studio on a laptop or desktop computer.
2. Sign in to your Marimba Studio profile with an active Ultimate subscription.
3. Wait for the access check and audio preparation, then choose or create a session.
4. Click a playback or instrument control to enable browser audio when needed.

Controls explained

Ultimate subscription

Unlocks the recording workspace through your signed-in profile.

Login / View Plans / Retry

The access screen provides sign-in, subscription information and another access-check attempt.

How it works

Basic, Premium and Free plans do not unlock this recording feature.

The Rumble Points economy is not integrated into this professional software.

Use a modern desktop browser with Web Audio support. MIDI requires Web MIDI support; microphone input requires browser permission and a secure connection, including localhost during local review.

The recording workspace currently displays a desktop-only notice on small/mobile layouts. This guide remains readable on mobile.

How to use it

1. Use Arrange to lay out the song and play the selected instrument.
2. Select a region, then choose Note Editor to change individual strikes or inspect an audio region.
3. Choose Mixer to balance the ensemble and reach each track’s effects.
4. Use Commands to find actions without searching through menus.

Controls explained

Arrange

Timeline plus the selected marimba, drum machine or audio controls.

Note Editor

Event timing, pitch, velocity and region properties; audio tracks show an audio inspector.

Mixer

Track levels, stereo positions, mute, solo and effects access.

Controls

Performance and playback options such as count-in, snap, looping, speed and master level.

Tools

Session management, templates, audio/MIDI setup, imports, export and other production dialogs.

How it works

The project bar contains your session title, audio-health indicator, Commands and Export mix.

The transport contains playback, recording, position, BPM, meter, Controls and Tools.

The track list and timeline show the arrangement. The lower panel changes with the selected view and track type.

The status strip shows context such as selected track, note count and useful shortcuts.

How to use it

1. Switch editors using the view tabs or their shortcuts.
2. Open Commands and search for “brighter” to switch the workspace palette.
3. Use Fullscreen for more working room.
4. Use Help for a compact reminder, or open this complete guide in a separate tab.

Controls explained

Commands

Open with ⌘/Ctrl K and search by action name.

Fullscreen

Uses your browser’s fullscreen support; Escape exits browser fullscreen.

Help

Quick workflow and shortcut reference inside the workspace.

How it works

The brighter workspace choice is remembered in this browser.

Track colours identify parts across the timeline and mixer. Note colours follow the familiar marimba bar colours.

Timeline and Note Editor zoom are separate controls, so a detailed note edit need not change your overall song view.

How to use it

1. Create a named session. In Commands, choose “Create an empty drums / bass / tenor / alto session” for a ready-made four-part layout.
2. Set BPM and time signature before recording. Enable the metronome and count-in if you want a clear entrance.
3. Select the Drum Machine. Load a starter groove or program steps, then use Add pattern region to place fixed drum events on the timeline. Turn Live pattern off when you want only the committed region to play.
4. Select Bass, return to the start and record a foundation. Stop and review it against the drums.
5. Select Tenor and record chords or a supporting pattern. Select Alto and record the melody.
6. Use the Note Editor to adjust a few strikes, velocities or chords. Select the notes you mean to change before applying a command.
7. Balance the tracks in Mixer, add suitable effects and listen to the complete arrangement.
8. Save the session, download a Project backup, then Export mix to create a listening copy.

How it works

Only the selected live input track receives the next virtual-instrument performance. Record ensemble parts in separate passes.

A session preserves editable material in this browser. A project backup is a portable editable file; WAV is the rendered sound.

The Morning Light audio on this page is an original four-part example containing drums, Bass, Tenor chords and Alto melody. The in-studio complete demo adds a fifth Alto counterline.

How to use it

1. Save your current session and download a backup if you want to preserve a separate copy.
2. Choose Demo song, or search Commands for Morning Light.
3. Inspect the five named tracks and section markers.
4. Open the Alto region in Note Editor, then compare the Tenor chord part and the Bass foundation.
5. Use Mixer to hear how level, stereo placement and effects work together.

How it works

The complete studio demo has 32 bars at 108 BPM, including Intro, Theme A, Theme B, Breakdown, Final theme and Outro markers.

Its five parts are drum groove, Bass foundation, Tenor chords, Alto melody and Alto counterline.

The listening example on this page is the four-part recorded version, approximately 1 minute 16 seconds. It was recorded through the studio engine in programmed performance passes.

Opening the demo creates a dedicated demo session. Save your own edits and backups under clear names.

How to use it

1. Open Tools → Sessions, or choose Create a new session from Commands.
2. Enter a useful session name and choose its first instrument.
3. Create the session, then use Add Track for the remaining parts.
4. Open an existing session from the session list. Use its Rename action, or click the project title to rename the current session.
5. Use Delete only when you want to remove that saved session; confirm the named session before continuing.

How it works

Session creation begins with Alto, Tenor, Bass or Drum Machine. Audio tracks can be added afterward.

The session list displays saved projects and their update information.

Deleting a session is confirmed and cannot be undone through arrangement history. Keep a portable backup before deleting valuable work.

Finish a recording before switching sessions. Microphone recording may need a moment to finalise.

How to use it

1. Use Save or ⌘/Ctrl S after meaningful edits and check the saved indicator.
2. Choose Project backup ↓ to download the portable project file.
3. Keep that file in a named project folder alongside any final mixes.
4. On another browser or computer, use Import project backup as a new session and select the backup file.

Controls explained

Save

Stores the current session in this browser.

Project backup

Downloads an editable project with its audio sources.

Import project backup

Creates a new session from a portable project file.

Arrangement and track report

Downloads a human-readable overview of session and track information.

How it works

Sessions use this browser’s local storage, and imported/recorded audio sources use browser database storage. A different browser profile or device does not automatically contain these sessions.

Automatic save is a convenience; a downloaded backup protects against browser storage clearing or device changes.

Portable backups include editable arrangement information and embedded imported/recorded audio. Import creates a new session rather than overwriting a named saved session.

A profile recording is a rendered listening file. It does not replace a project backup containing editable notes and regions.

How to use it

1. Open Tools → Templates.
2. Choose a layout that matches your arrangement.
3. Confirm replacement if the current arrangement already contains tracks.
4. Open Notes and record the form, chord progression, instrumentation or mix decisions.

How it works

Standard Ensemble creates Bass, Tenor and Alto. Solo Alto creates one Alto. Tenor Duo creates two Tenors.

Bass Groove creates Bass and Alto. Full Band creates two each of Bass, Tenor and Alto. Start Empty clears the layout.

Applying a template replaces the current arrangement after confirmation. Arrangement Undo can restore that change.

The blank four-part ensemble command includes Drum Machine, Bass, Tenor and Alto; it differs from the three-part Standard Ensemble template.

How to use it

1. Select the track you want to play.
2. Check Alto, Tenor or Bass in the instrument strip.
3. Use the keyboard labels above the bars, or click the bars to audition them.
4. Start Record when you want those strikes captured into the selected take.

How it works

Alto has 23 sampled bars: G1 through F3 in the studio’s bar labels, including F1# and F2# and its upper extension.

Tenor has 14 sampled bars: G1 through E2, including F1#.

Bass has nine bars: C, D, E, F, G, A, B, C2 and D2.

These are the studio’s instrument labels. MIDI note mappings are listed in the MIDI section.

Changing a track’s instrument changes its available bars. Keep a duplicate or backup before converting a detailed part; pitch tools retain unsupported notes instead of inventing unavailable bars.

How to use it

1. Use ordinary clicking or the displayed computer keys for single strikes.
2. Enable TRG style when you want supported paired-octave strikes.
3. Enable Hover to trigger bars as the pointer enters them.
4. Hold Shift for Rumble while playing, or use the Rumble control and its rate settings.
5. Compare Enhanced sound and the track’s effects while listening at a comfortable level.

How it works

TRG uses the instrument’s partner map; it is an octave-layer performance feature, and only available partners are used.

Hover is useful for glissandi. Pointer movement can generate many strikes, so turn it off for precise clicking.

Rumble repeats strikes at the selected rate. The track effects panel sets the interval between strokes from 50 to 500 milliseconds.

Caps Lock toggles TRG, held Ctrl temporarily enables Hover, and held Shift enables Rumble where the active instrument accepts these controls.

Enhanced alternates full and softer Rumble strokes; the softer alternating stroke is 40% strength. The effects panel provides separate reverb, delay, EQ, compression, pitch and stereo controls.

How to use it

1. Click Add Track and choose the instrument or audio track type.
2. Select its header to make it the active editing and input track.
3. Rename and recolour it in Track Settings within the effects panel.
4. Use Duplicate track with clips and effects when you want a copy for a second layer.
5. Use Move track up/down commands or the track reorder control to arrange musical roles together.

How it works

Available track types are Alto, Tenor, Bass, Drum Machine, Microphone / line input and Imported audio.

Duplicating a track copies its musical material and effects. The two tracks can then be edited separately.

Removing a track changes the arrangement. Use Undo promptly if you remove the wrong part.

Use M to mute a part, S to solo it and IN to choose the live instrument. Imported backing tracks use SEL for selection. Muting and selecting input are different controls.

How to use it

1. Start with all solos cleared so you hear the whole arrangement.
2. Lower competing tracks before raising the melody.
3. Pan parts gently left or right to create space.
4. Use FX to shape individual tracks and compare their processed and bypassed sound.
5. Check the master meter and listen through the loudest section before export.

Controls explained

Track level

Balances a part within the ensemble.

Pan

Positions a track in the stereo field.

M / S

Mute or solo the track during ordinary monitoring/playback.

FX

Opens detailed sound shaping for this track.

Master meter

Shows the combined output activity.

How it works

Track faders change the track level; master volume controls the overall listening output.

When any track is soloed, ordinary playback is limited to the soloed set. Mute remains a separate track state.

Commands provide exact track level changes, fixed pan positions, centre-all, ensemble stereo spread and a 3 dB reduction of every track for headroom.

WAV export has an explicit track checklist. Check that selection carefully rather than assuming it reproduces your current solo audition.

Leave enough headroom for layered chords and drum transients. A louder mix is not automatically a clearer mix.

How to use it

1. Select a track header, or click its IN button, before you begin.
2. Check the instrument name in the lower panel and play a short test phrase.
3. Set the playhead to the point where this part should begin.
4. Record one part, stop, then select another track to build the next layer.

Controls explained

Track IN

Selects that track as the live input and recording destination.

Track M

Mutes the track in monitoring and ordinary playback.

Track S

Makes soloed tracks the audible set when one or more solos are active.

How it works

Recording uses one selected live input track at a time. Selecting several IN buttons does not create a simultaneous multi-input recorder.

The arrangement on other tracks can play while you record the selected part. Mute, solo and track level affect what you hear.

A muted recording track can still receive note events, but its live sound is suppressed. Check M and S if a selected instrument appears silent.

Changing the selected recording track, switching its instrument or editing the arrangement is restricted while recording or preparing a recording. Finish the take before making those changes.

How to use it

1. Choose the intended track and starting playhead position.
2. Open Controls and decide whether 1-2-3-4 should provide a count-in.
3. Click the round Record button. Allow any sample-loading or microphone-permission preparation to finish.
4. Play after the count-in ends and the recording state becomes active.
5. Click Record again or Stop to finish. For microphone takes, wait for the finalizing message to complete.
6. Use Play to review the arrangement, then save the session.

Controls explained

Record

Starts a recording, ends an active recording, or cancels its count-in/preparation.

Stop

Ends the current transport activity; microphone audio may need a short finalization period.

Play

Auditions saved events and waveform regions from the playhead.

How it works

Virtual-instrument recording stores the note name, performed start time and velocity. It does not automatically quantize your rhythm to the editing grid.

Recording always uses normal 1× speed. If a different playback speed was selected, recording resets it to 1×.

During the count-in or preparation stage, Record cancels the pending start. Notes played before the armed downbeat are not added to the take.

Recordings and accompaniment use a shared audio clock, while actual audible delay still depends on the browser, output device and input device.

If required samples or stored audio sources cannot load, the studio stops preparation and shows a message rather than intentionally starting an incomplete recording.

How to use it

1. Record or import the backing parts first.
2. Select the track for the next part and place the playhead.
3. Choose New Take in FX if you want a separate editable region for the new pass.
4. Record the next performance while listening to the existing tracks.
5. Review overlapping regions and mute or remove any material you do not want in the final mix.

Controls explained

Layer

Confirms that recording layers new material without deleting existing clips.

New Take

Creates and selects a fresh empty note take on the current instrument track.

How it works

The Layer button stays enabled; it does not switch to a destructive overwrite mode.

Recording into an existing active take can append new events to that take. Use New Take before recording if you want to manage the pass separately.

Takes are arrangement regions that may sound together. Selecting a different take changes the editing/recording target; it does not automatically silence the other takes.

Where recording would begin before the active take’s region start, the studio can create a new take instead of moving the older region.

How to use it

1. Play individual keys for single strikes or several keys together for chords.
2. Enable TRG Style when you want the mapped octave partner to sound with a strike.
3. Enable Hover to trigger bars as the pointer enters them, or hold Control to use temporary hover behavior.
4. Enable Rumble, or hold Shift while playing, for repeated strikes.
5. Use Enhanced and the Rumble Settings speed control to shape the repeated strokes.

Controls explained

TRG Style

Adds the available mapped octave partner; Caps Lock also toggles the mode.

Hover

Triggers keys on pointer entry instead of a mouse press.

Rumble

Toggles repeated-strike mode on the selected marimba.

Enhanced

Alternates the dynamics of repeated strikes.

FX → Rumble Settings → Speed

Sets the stroke interval from 50 to 500 ms.

How it works

TRG records both the main strike and its available octave partner. The partner is played at 85% of the main strike’s velocity.

Rumble produces a sequence of individual events, so the repeated strokes remain editable after recording. Releasing the key stops further repeats; it does not cut off a marimba sample already ringing.

Enhanced alternates full and softer repeated strokes; the softer alternating stroke is 40% strength.

The FX Rumble Speed range is 50–500 milliseconds between strokes: approximately 20–2 strikes per second. The default 125 milliseconds is about 8 strikes per second.

Rumble and its controls belong to marimba tracks. Audio tracks and drum tracks do not show the marimba Rumble Settings section.

How to use it

1. Click the timeline ruler to set the playhead before playback.
2. Click Play, or press Space outside a text field or focused control.
3. Click Stop once to stop an active performance at its current position.
4. Click Stop again while already stopped to return to the beginning, or use the rewind/start button.
5. Double-click Stop for an immediate stop-and-return-to-start action.

Controls explained

Play / Space

Toggles playback when a text field, button or dialog is not handling the key.

Stop

Stops active playback; another stopped-state click returns to the start.

Rewind / [

Returns the playhead to the beginning.

Time displays

Show musical position and elapsed seconds.

How it works

The bars:beats:ticks display and the minutes:seconds clock describe the same playhead position in two different forms.

Play/stop is a toggle. A second Play press stops rather than starting a second transport.

The start command also returns horizontal timeline scrolling to the beginning.

Playback may briefly prepare samples and persisted audio before it begins. A further Play command can cancel playback preparation.

Keyboard instrument notes take priority over single-letter shortcuts when the selected instrument uses the same key. Use transport buttons when a letter such as R or C is mapped to an instrument bar.

How to use it

1. Drag the BPM number upward for a faster tempo or downward for a slower tempo.
2. Alternatively, press TAP repeatedly at the desired quarter-note pulse.
3. Click the time-signature display to open its dialog.
4. Choose Beats per bar and Beat value, then click Apply.
5. Listen to the click and confirm that the accented downbeat falls where you expect.

Controls explained

BPM

Drag vertically to choose 40–240 BPM.

TAP

Estimates BPM from repeated taps.

Beats per bar

2, 3, 4, 6 or 12.

Beat value

Quarter, eighth or sixteenth note: 4, 8 or 16.

Apply

Saves the chosen meter and refreshes timing displays.

How it works

Dragging and tap tempo use a visible working range of 40–240 BPM. TAP averages the recent tap intervals and starts a fresh estimate after a pause longer than two seconds.

Beats per bar offers 2, 3, 4, 6 or 12. Beat value offers 4, 8 or 16. A 6/8 setting therefore counts six eighth-note beats per bar.

BPM and meter changes update the musical ruler, grid, click and generated drum timing.

Existing recorded note positions and imported waveforms are stored in seconds. Changing BPM does not automatically stretch those performances to a new tempo.

How to use it

1. Open the Controls menu.
2. Enable Click if you want metronome beats during playback or recording.
3. Enable 1-2-3-4 if you want a count-in before Record.
4. Choose Count → 1 bar or 2 bars.
5. Press Record and enter after the displayed count finishes.

Controls explained

Click

Turns the continuing metronome on or off.

1-2-3-4

Turns the recording count-in on or off.

Count

Selects a one-bar or two-bar preparation count.

How it works

The count-in follows the chosen time signature rather than always assuming four quarter notes.

The first beat of a bar uses a higher click pitch than the remaining beats, making the downbeat easier to hear.

Count-in and Click are independent choices: you can use a count-in without a continuing metronome.

The two-bar display identifies the remaining bar and beat.

The virtual metronome is a monitoring aid and is not added as a separate musical part to a WAV export. A microphone can still capture sound leaking from speakers.

How to use it

1. Open Controls → Region.
2. Enter Start (seconds) and End (seconds), then click Set Loop. The end must be later than the start.
3. Enable Loop to rehearse the section. You can also right-click the timeline to set a loop start or end at the pointer.
4. For loop recording, select the live track and press Record. Recording begins at the loop start.
5. Stop and review the layered notes or captured audio regions after the passes.

Controls explained

Loop

Enables or disables repeating transport playback.

Region

Opens numeric loop boundaries.

Start / End (seconds)

Define the repeat window.

Set Loop

Saves the window and enables Loop.

Timeline context menu

Provides Set Loop Start and Set Loop End.

How it works

The Loop button toggles transport repetition; the Region button edits its boundaries.

Virtual-instrument notes recorded on later passes fold back into the same loop’s time positions, allowing layered rhythms and harmonies. Earlier notes are retained.

Audio-input loop passes are finalized as recorded waveform material and the next capture pass is opened as the loop continues.

A clip’s Loop / Unloop command is a different feature: it repeats material within that clip’s finite region. Transport Loop repeats playback navigation.

Looping the transport does not make exported files repeat indefinitely, and it is not a loop-range-only export command.

How to use it

1. Choose Controls → Speed for 0.5×, 0.75×, 1×, 1.25×, 1.5× or 2× playback.
2. Play the passage and return to 1× when you want its normal sound.
3. Choose Grid → 1/4, 1/8, 1/16 or 1/32.
4. Enable Snap for grid-aligned region movement and note placement; disable it when you need free placement.
5. Use Quantize Take or the Note Editor’s quantize commands if you intentionally want existing note timing moved onto a grid.

Controls explained

Speed

0.5×, 0.75×, 1×, 1.25×, 1.5× or 2×.

Grid

1/4, 1/8, 1/16 or 1/32 subdivisions.

Snap

Enables grid-aligned editing placement.

How it works

Playback speed changes sample playback rate. It changes pitch as well as duration; it is not a pitch-preserving time-stretch processor.

Recording resets playback to 1× for a stable recording timebase.

The musical grid subdivisions are based on quarter-note BPM. For example, at 120 BPM a sixteenth-note grid is 0.125 seconds.

Snap controls editing operations; it does not quantize incoming live performances.

Quantize Take explicitly uses the chosen grid even if the Snap toggle is off.

How to use it

1. Choose Arrange, then click the time ruler above the tracks to place the playhead.
2. Use + or − to change timeline detail, or FIT to see the arrangement in the available width.
3. Scroll vertically to reach lower tracks. Hold Shift while scrolling to move along the song. Drag the lower horizontal scrollbar for a longer move.

Controls explained

Ruler

Sets the song position in seconds; beat/bar lines follow the current tempo and meter.

+ / −

Increase or decrease timeline magnification.

FIT

Show the arrangement across the workspace.

[

Return to the beginning outside text/control fields.

How it works

The ruler and track names stay aligned while you scroll through the layers.

Ctrl or Cmd plus the mouse wheel also changes timeline zoom.

Clicking the ruler during playback restarts playback from the chosen position. Commands also move the playhead by one beat, one bar, or to the arrangement end.

How to use it

1. Click the coloured region you want to change. Its track becomes the active input channel.
2. Drag the middle of the region left or right, keeping clear of its upper corner handles.
3. Release at the desired song position. Enable Snap for grid-aligned moves, or turn it off for free placement.

Controls explained

Region body

Select or move that region.

Snap

Constrain timeline placement to the selected grid.

Commands → Regions

Exact placement and region-management actions.

How it works

Move selected region to start, Move selected region to playhead, and Move region back/forward one bar are also available in Commands.

Region positions cannot move before the beginning of the song. Overlapping unmuted regions play together.

Selecting a different take or region changes the editing target; it does not automatically silence other regions.

How to use it

1. Select the region and point at its upper left or upper right corner until the resize cursor appears.
2. Drag the left corner to change where the part begins, or the right corner to change how long it occupies the timeline.
3. Listen across the edit. Use Undo if a trim removes something you need.

Controls explained

Upper left handle

Trim the region start.

Upper right handle

Trim or extend the region end.

Alt / Cmd + right-edge drag

Enable loop extension for that region.

How it works

Trimming the beginning of a marimba or drum region removes earlier events from that region and shifts the remaining events to their new local start. Undo restores the prior region.

Audio trims work with the region’s source window. The original stored audio remains available to the audio inspector.

Extending a note region beyond its source content enables repeating. Holding Alt or Cmd while grabbing the right edge enables loop extension explicitly.

A live drum pattern must first be added as a region before its left edge can be trimmed.

How to use it

1. Select a region. Click the ruler at an internal split point and choose Split, or press Ctrl/Cmd+B.
2. Choose Duplicate or Ctrl/Cmd+D to append a copy after the selected region.
3. Move, mute or edit the new section independently.

Controls explained

Split / Ctrl/Cmd+B

Divide the selected region at the playhead.

Duplicate / Ctrl/Cmd+D

Append a copied region.

Right-click region

Access the same actions near the editing position.

How it works

The split point must be inside the region, clear of both ends. After a split the right-hand region becomes selected.

For note regions, events before the point stay in the left part and later events move into the right part with adjusted local timing.

Splitting a looped note region turns the repeated events into the resulting individual parts. Audio splits retain their source alignment and playback direction.

Duplicate region places its copy after the original. Duplicate Take in the FX panel creates another layer and can overlap the source.

How to use it

1. Select a timeline region and choose Copy or Cut using Commands, the right-click menu, or Ctrl/Cmd+C/X.
2. Select the destination track and place the playhead where the new region should begin.
3. Choose Paste or press Ctrl/Cmd+V outside the Note Editor canvas.

Controls explained

Ctrl/Cmd+C

Copy the selected region.

Ctrl/Cmd+X

Cut the selected region.

Ctrl/Cmd+V

Paste the region at the playhead.

Delete / Backspace

Delete the selected region outside the editor and text/control fields.

How it works

Copy keeps the original. Cut removes it while retaining a copy for pasting. Paste creates a new region; the position follows Snap when it is enabled.

Audio regions paste onto audio tracks. Drum regions paste onto drum tracks. Marimba regions paste onto marimba tracks only when every named bar exists on the destination instrument.

The region clipboard and selected-note clipboard are separate. Keyboard copy/cut/paste inside the Note Editor canvas operates on selected notes instead.

Delete removes the selected timeline region; it does not delete the complete track.

How to use it

1. For a repeating part, select a region and run Toggle region loop, then extend its right edge to the desired length.
2. For rehearsal, select a region and run Set transport loop to selected region.
3. Alternatively open Controls → loop settings, enter the loop start/end in seconds and choose Set Loop. Toggle Loop to enable or disable the playback range.

Controls explained

Toggle region loop

Enable repetition of a selected region’s source content.

Controls → Loop

Enable song-range looping.

Loop region settings

Enter song loop start/end seconds.

Set transport loop to selected region

Use a selected part as the rehearsal range.

How it works

A region loop repeats only that part while the song continues. The transport loop sends the playhead back from its end point to its start point.

Set transport loop to selected region sets the exact range, enables looping and places the playhead at the region’s start.

Right-click timeline actions can set either transport loop boundary. Other tracks keep their own regions and mute/solo states.

How to use it

1. Select a track and open FX to find its takes list.
2. Choose a take to make it the editing target. Use New Take for a fresh layer, or select a region in Arrange.
3. Mute a region for a local audition, or use the track M/S controls to mute or solo the whole channel.

Controls explained

Take list

Choose the active take or audio region.

New Take

Create a new instrument layer.

Clear

Clear active-take events after confirmation.

Region mute

Silence only the selected region.

M / S

Mute or solo the entire track.

How it works

New Take, Clear, Duplicate Take, Quantize Take, Humanize Take and Tighten Velocity operate on the active take in the FX panel.

On audio tracks, this list shows audio regions and the buttons change to import/region actions where appropriate.

Clear asks for confirmation before removing the current instrument take’s notes. Delete Region removes the selected audio region.

Recording layers new material while preserving existing clips; selecting a take is not an exclusive alternate-take playback switch.

How to use it

1. Place the playhead at a section boundary and run Add marker at playhead.
2. Enter a short meaningful label such as Intro, Verse or Chorus.
3. Use Go to previous marker or Go to next marker in Commands to navigate the song.

Controls explained

Add marker at playhead

Save a labelled song position.

Previous / next marker

Seek to the neighbouring marker.

Right-click → Add marker

Name the clicked timeline position.

How it works

The right-click timeline menu also offers Add marker at the clicked position.

Markers are saved with the session and included in portable project backups. Adding a marker supports Undo.

Previous/next seeks by time; a marker does not split or loop a region.

How to use it

1. Select the marimba or drum region in Arrange.
2. Choose Note Editor, press Ctrl/Cmd+2, or double-click an instrument region.
3. Check the track name and Take number above the grid before editing.

Controls explained

Note Editor / Ctrl/Cmd+2

Open detailed event editing.

Create an empty region at playhead

Create a fresh instrument part.

Track / Take heading

Confirm the current target.

How it works

An empty instrument part can be created with Create an empty region at playhead; it begins as a four-bar region.

Audio tracks show the waveform inspector instead of editable note rows.

Use Note editor zoom in/out in Commands for a closer or wider view. The grid can scroll horizontally and vertically.

How to use it

1. Click a note to select it. Shift-click other notes to add or remove them from the selection.
2. Click an empty cell to clear the selection, or use All, Clear note selection, or Invert note selection.
3. Check the selected count before applying timing, pitch or dynamics tools.

Controls explained

Click / Shift-click

Select a note or build a group.

All / Ctrl/Cmd+A in editor

Select every note in the current take.

Clear / Invert note selection

Reset or reverse the current selection.

How it works

Most note-processing commands work on selected notes; if none are selected, they process every note in the active take.

Delete, Copy and Cut require an explicit note selection. They do not silently use the whole take.

After a processing command, its resulting notes are selected for continued editing.

How to use it

1. Double-click an empty cell on the desired instrument row and time position.
2. Select the note or group and drag horizontally to move timing, or vertically to another playable row.
3. Hold Alt while dragging for free timing; otherwise dragging follows Snap when enabled.

Controls explained

Double-click empty cell

Add an 80%-velocity event.

Drag note/group

Move selected events in time and pitch.

Alt-drag

Bypass timing Snap.

Arrow keys

Nudge time or physical-bar pitch.

How it works

New events start at 80% velocity. The region extends as needed to include newly drawn or moved notes.

Pitch rows follow the actual instrument’s playable bars; vertical movement does not introduce unavailable chromatic notes.

The width of a note glyph represents its event on the grid. There is no gate-length handle: marimba samples ring with their natural decay.

Left/right arrow keys move selected notes by one current grid step; Alt-left/right moves by one millisecond. Up/down moves one physical bar.

How to use it

1. Use Start and Length to set the region’s absolute position and span in seconds.
2. Select notes, choose the desired Note bar, enter Time or Velocity, then commit the field.
3. Play the passage and use Undo if the change is too large.

Controls explained

Start

Region start on the song timeline, in seconds.

Length

Region’s timeline span, in seconds.

Note

Named playable bar for selected events.

Time

Local event position within the region, in seconds.

Velocity

Selected event strength from0–100%.

How it works

Start is measured from the beginning of the song; Time is the note’s offset inside its region. A region at12s with a note Time of0.5s plays that event at12.5s.

Changing Note sets all selected notes to that named physical bar. Changing Velocity applies the entered value to all selected notes.

For several selected notes, Time uses the first selected event as an anchor and shifts the group by the same amount, preserving their relative spacing.

Velocity is0–100%;0 makes an event silent. Region Start supports0–14400s and Length0.25–14400s. Note fields are unavailable without an explicit selection.

How to use it

1. Select a note or group.
2. Grab a velocity stem in the lane beneath the grid.
3. Drag upward for stronger hits or downward for softer hits, then release.

Controls explained

Velocity stem

Drag selected event strength.

Velocity field

Set an exact common percentage.

How it works

Dragging changes selected velocities while retaining their differences until the0–100% limits are reached.

The note glyph also becomes more solid at higher velocity.

Use the Velocity numeric field when several notes should all receive the same exact level.

How to use it

1. Focus the Note Editor canvas, select notes and press Ctrl/Cmd+C or Ctrl/Cmd+X.
2. Select a compatible target region and place the song playhead at the desired insertion point.
3. Press Ctrl/Cmd+V in the editor, or run Paste notes at playhead from Commands.

Controls explained

Ctrl/Cmd+C / X in editor

Copy or cut explicitly selected notes.

Ctrl/Cmd+V in editor

Insert note phrase at the playhead.

Delete / Backspace in editor

Remove explicitly selected notes.

How it works

The earliest copied event becomes the start of the pasted phrase. Relative spacing and velocities are retained.

The insertion point is the playhead converted to local region time; if it is before the region, insertion starts at local zero.

Drum notes and marimba notes cannot cross between those track types. All copied note names must exist on the destination instrument.

This internal note clipboard is separate from the region clipboard and the operating system’s text clipboard. Pasted notes become selected and may extend the destination region.

How to use it

1. Select the intended notes and open Commands with Ctrl/Cmd+K.
2. Search Quantize for straight or triplet grids, or search Swing, Nudge or Humanize.
3. Run the tool, listen to the result, then Undo or apply another tool as needed.

Controls explained

Quantize button

Apply1/16 quantization to the selected notes or active take.

Quantize halfway

Retain part of the original feel.

Nudge

Move the phrase by a precise millisecond amount.

Humanize

Introduce bounded timing variation.

How it works

Straight grids offer1/4,1/8,1/16 and1/32 notes. Halfway quantize moves events50% toward the selected grid instead of all the way.

Triplet quantize offers1/8 and1/16 triplets. Sixteenth swing offers56%,63% and70%.

Nudge offers1,5,10 or25ms earlier/later. Humanize timing offers bounded5,10 or20ms offsets.

Explicit processing commands run regardless of the Snap toggle; Snap controls interactive placement. Quantization aligns to the song grid even when a region starts between grid lines.

How to use it

1. Select a phrase and search Reverse note order or Scale note timing.
2. Choose half duration for a faster phrase, or double duration for a more spacious phrase.
3. Check the region boundaries and listen alongside the other tracks.

Controls explained

Reverse note order in time

Mirror the phrase’s event positions.

Scale note timing

Halve or double event spacing.

How it works

Timing reversal mirrors events between the phrase’s earliest and latest event positions; it does not reverse the audio samples.

Half/double timing scales offsets around the phrase’s first event. These commands change event spacing rather than playback speed or global tempo.

The region can extend to contain later events. Its old span is not automatically shortened after a faster timing scale.

How to use it

1. Select a melody or chord and search Transpose, harmony or Strum in Commands.
2. Choose a semitone transposition, physical-bar step, added interval or strum spacing.
3. Audition the result and check any notes near the instrument’s range limits.

Controls explained

Transpose

Move supported pitches by a chosen semitone interval.

Move one instrument bar

Step through available bars.

Add harmony

Keep the melody and add an upper interval.

Strum chords

Spread chord attacks in time.

How it works

Transpose offers±1,±2,±5,±7 and±12 semitones. A note stays in place when the target pitch has no matching playable bar.

Move notes up/down one instrument bar follows the physical row layout rather than chromatic semitones.

Harmony adds a minor third, major third, fifth or octave above when available, at75% of the source event’s velocity.

Strum spreads simultaneous chord events from low to high with12,24 or40ms between notes. It is an event-timing change, not a new instrument.

How to use it

1. Select the events to shape, then search Velocity, crescendo, decrescendo or Accent.
2. Choose a fixed level, relative change, range compression, normalization or expressive contour.
3. Watch the stems and listen at a comfortable master volume.

Controls explained

Set / adjust velocity

Give events an exact or relative strength.

Normalize / compress velocities

Balance differences in event dynamics.

Crescendo / decrescendo

Apply a gradual dynamic contour.

Accent meter beats

Emphasize beat-aligned hits.

Remove duplicate notes

Clean up duplicate same-bar attacks.

How it works

Fixed velocity choices are25%,50%,75% and100%. Relative changes are±5 or±10 percentage points, clamped to0–100%.

Normalize note velocity makes the strongest selected event90% and scales the others proportionally. Compress velocity range moves each value halfway toward the phrase’s mean.

Crescendo rises from35% to90%; decrescendo falls from90% to35% across event times. Simultaneous-only selections use the midpoint.

Accent notes on meter beats strengthens events close to a beat and slightly softens the others. Remove duplicate notes removes matching note names at the same rounded millisecond.

Duplicate notes one bar later keeps the originals and adds a repeated phrase. Use it carefully when existing material already fills that bar.

How to use it

1. Click Add Track, choose Drums, enter a useful name, and confirm the new track.
2. Select its track header. In Arrange, the lower instrument panel becomes the drum editor.
3. Click a large pad or its row name to select and audition the sound. To record a performance, start Record on the selected drum track and use the keyboard shortcuts or mapped MIDI notes.

Controls explained

Kick · 1 · MIDI 36

Original Kick sample.

Snare · 2 · MIDI 37

Original Snare sample.

Closed Hat · 3 · MIDI 38

Original Closed Hi-Hat sample; shares the hat choke group.

Open Hat · 4 · MIDI 39

Original Open Hi-Hat sample; shares the hat choke group.

Cowbell · 5 · MIDI 40

Original Cowbell sample.

Cymbal · 6 · MIDI 41

Original Cymbal sample.

Tom · 7 · MIDI 42

Original Tom sample.

Kick 2 · 8 · MIDI 43

Kick sample at 0.86× playback rate: lower and longer.

Rim · 9 · MIDI 44

Snare sample at 1.42× playback rate: higher and shorter.

Shaker · 0 · MIDI 45

Closed Hi-Hat sample at 1.22× playback rate; it does not share the hat choke group.

Crash · - · MIDI 46

Cymbal sample at 0.92× playback rate: slightly lower and longer.

Low Tom · = · MIDI 47

Tom sample at 0.78× playback rate: lower and longer.

How it works

Clicking a large on-screen pad or row name auditions and selects it; it does not record that click into a take. Clicking the sequencer grid edits the pattern instead of recording a live strike.

Keyboard pad strikes are recorded only while the drum track is armed and recording. Keep focus outside text fields and other controls when using the number shortcuts. Release a key before striking it again; holding it does not create a roll.

Drum MIDI input uses consecutive notes 36–47 in the pad order below. This is a custom consecutive layout, so a controller using a General MIDI percussion map may need remapping.

Kick 2, Rim, Shaker, Crash and Low Tom reuse existing samples at different playback rates. They are useful colour variations rather than additional independently recorded instruments. Closed Hat and Open Hat share a choke group, so a new hit in that group cuts the previous hat sound.

How to use it

1. Click a dark grid cell to enable it, or a lit cell to disable it. Drag across more cells to paint the same on/off state.
2. Right-click a cell to select it for the inspector without toggling the hit.
3. For keyboard editing, Tab into the step grid. Use arrows to move between columns or drum rows; press Enter or Space to toggle the focused cell.
4. Use the inspector below the grid, or a parameter tab and its expression bars, to shape the selected step.

Controls explained

Click / drag

Toggle a cell, then paint the same state across other source steps.

Right-click

Select a step without changing whether it is on.

Arrow keys; Home / End

Move the focused step through rows and visible columns.

Enter / Space

Toggle the focused step on or off.

A / F / M

Toggle Accent, Flam or step mute. A and F also enable the hit.

Delete / Backspace

Clear the focused step and reset its expression.

Shift-click / Alt-click

Toggle Accent / Flam on a clicked step and enable it.

How it works

A paint gesture uses the state of its first cell: starting on a dark cell paints hits on, while starting on a lit cell paints them off. Re-entering the same underlying source step during that gesture does not toggle it again.

Short rows and rotated rows can show the same source step in several grid positions. Editing any displayed occurrence updates all occurrences of that source step.

The grid has a single Tab stop. Arrow keys move inside it; Home and End move to the first or last visible column. The shortcuts below apply while a step has focus.

Changing an inspector slider or an expression bar enables that step. A previously dark cell can therefore become a hit when you adjust its velocity, probability, timing or repeats.

How to use it

1. With a drum track selected in Arrange, click Expand drums beside FX in the instrument header.
2. Scroll the drum editor to reach its lower controls; scroll the step grid horizontally for later columns and vertically for lower drum rows.
3. Choose velocity, probability, micro or repeats below the grid to reveal that parameter’s expression bars.
4. Click Collapse drums to return to the compact panel.

Controls explained

Expand drums / Collapse drums

Toggle the larger drum instrument panel.

velocity / probability / micro / repeats

Choose the expression lane and reveal its bars.

Pad or row name

Select the lane shown by the workbench and expression controls.

How it works

Expansion is available on desktop windows wider than 767 pixels and taller than 680 pixels. Height is limited to leave space for the arrangement; a larger panel can still require scrolling.

The expansion preference is remembered while the current app instance is open. Switching to a marimba track, Note Editor or Mixer restores the appropriate ordinary layout; returning to the drum instrument view can restore expansion.

Expression bars show the currently selected drum lane, not every drum at once. The row name in the Beat workbench identifies which lane its tools will affect.

How to use it

1. Click a slot letter A–H to make that pattern active.
2. Type a name in the Pattern name field and finish the edit by leaving the field.
3. Program or load the pattern, then switch to another slot to prepare a variation.

Controls explained

A–H

Choose one of eight pattern slots.

Pattern name

Give the active slot a useful musical name.

How it works

The active slot is the pattern heard by Live Pattern and used by Add Pattern Region. Merely saving patterns in the other seven slots does not arrange them into a song.

Pattern names can contain up to 80 characters. An empty name falls back to Pattern A, Pattern B and so on.

Each slot stores its own steps, row settings, swing, Human amount, Density and expression. Live Pattern On/Off belongs to the drum machine rather than to an individual slot.

Pattern bank contents are part of the session. The small populated-slot indicator counts enabled stored cells; it is not a guarantee that all of those cells will sound when mutes, solos or probability are in use.

How to use it

1. Choose the source slot and click Copy.
2. Choose a destination slot and click Paste, or use Duplicate to Next to copy into the following slot and select it immediately.
3. Change one or two lanes in the copy to make a variation, then audition it before arranging the song.

Controls explained

Copy

Capture the active pattern in the drum clipboard.

Paste

Replace the active destination with the copied pattern.

Duplicate to Next

Replace and select the following slot, wrapping from H to A.

How it works

Copy stores a drum-pattern snapshot in the app’s internal drum clipboard. This is separate from timeline clip copy/paste and the operating system clipboard; it is not a permanent clipboard across reloads.

Paste replaces the destination pattern, including its row setup and expression, and gives it the destination’s default Pattern letter name.

Duplicate to Next advances A→B through H→A. A default pattern name becomes the next slot’s default name; a custom name gains Copy. The destination is replaced even when it already contains a pattern.

Undo can restore a pattern replaced by Paste or Duplicate to Next. Copy itself leaves the source unchanged.

How to use it

1. Choose 16, 32 or 64 in Steps to set the overall pattern length.
2. Use a row’s Length menu to choose the number of source steps that row uses.
3. Use the row’s − / + controls to rotate its phrase, then watch the source-step tooltip when editing repeated cells.

Controls explained

Steps

Visible pattern length: 16, 32 or 64 sixteenth-note columns.

Row Length

Number of source steps used by that individual drum row.

Row − / + and rotation number

Rotate one row without physically rewriting its source phrase.

How it works

Each grid column is one sixteenth of a quarter-note beat. At 120 BPM it lasts 125 ms. In 4/4, 16 / 32 / 64 steps are one / two / four bars; other meters change how those columns relate to a bar.

Row Length offers the available values among 4, 8, 12, 16, 24, 32, 48 and 64, plus its current length, up to the pattern’s retained capacity. Increase overall Steps first when a longer option is unavailable.

A short row wraps within the visible pattern. For example, a 12-step row across 16 columns shows its first four source steps again in columns 13–16. Each new overall pattern cycle starts that row mapping from the beginning again; it does not keep drifting freely across pattern boundaries.

Reducing Steps hides later columns without deleting their stored source cells or automatically shortening a long row. Increasing Steps can reveal them again. When a row’s length exactly matched the previous pattern length, extending the pattern also extends that row; existing shorter custom rows keep their own lengths.

Positive row rotation moves source hits later in the displayed cycle and wraps at the row length. Rotation changes the mapping, while the source-step numbers in tooltips and the inspector identify what you are actually editing. A long retained row can map a visible cell to a source step beyond the currently visible pattern length.

How to use it

1. Click M beside a drum row to silence that row in the pattern.
2. Click S beside one or more rows to hear only those soloed rows.
3. Clear the relevant M or S switches before judging the complete groove.

Controls explained

Row M

Silence one row of this pattern.

Row S

Include this row in the pattern’s solo set.

Track M / S

Separate whole-track mix controls; they also affect committed events on that track.

How it works

If any row is soloed, rows without S are excluded. Several soloed rows play together.

A muted row stays silent even if it is also soloed. These row switches are independent of a track’s Mute or Solo buttons in the track header or Mixer.

Row mute and solo affect generation of the active pattern, including the hits captured by Add Pattern Region. They do not retroactively rewrite drum notes in already committed regions.

Changing a row switch preserves its steps, lengths, rotation and expression, so it is useful for testing an arrangement without erasing a part.

How to use it

1. Build a pattern, leave Live Pattern On, and press Play to hear it repeat over the drum track’s live region.
2. When a section is ready, stop if necessary, place the playhead at its intended start and click Add Pattern Region.
3. Select another slot or edit a variation, move the playhead to the next section, and click Add Pattern Region again.
4. Use Arrange to place or trim the resulting regions, and Note Editor when individual committed drum events need precise editing.

Controls explained

Live Pattern On / Off

Enable or disable generation from the active pattern bank slot.

Add Pattern Region

Capture one pass as a new take/region, then turn live generation off.

Playhead and Snap

Determine the new committed region’s starting position.

How it works

Live Pattern repeats the currently active slot. Its extent is at least four pattern cycles and can extend to cover the other tracks’ arrangement or the transport loop. It follows the session transport rather than running as a separate unlimited drum player.

Add Pattern Region creates a new active take/region at the current playhead, quantized by the current Snap setting. It captures one generated pass, using that pattern’s cycle-zero probability choices, groove timing, repeats, accents and flams.

Committing switches Live Pattern Off automatically. The pattern bank remains available, but subsequent grid changes do not alter the fixed events already committed.

The saved region contains the generated hits rather than the probability recipe: an omitted hit stays absent, and a captured flam or roll is now several fixed events. A fully muted or probabilistically empty pass cannot be committed and produces Add drum steps first.

Previously committed regions remain on the track. Place sections deliberately; overlapping regions can layer. Turning Live Pattern On again can also layer the current pattern with saved take notes rather than replacing them.

How to use it

1. Select a step with a right-click, or select a drum lane and choose velocity beneath the grid.
2. Adjust the inspector’s Velocity slider or drag the corresponding expression bar.
3. Play the groove and balance strong anchors against quieter connecting notes.

Controls explained

Velocity slider / velocity expression bars

Set the selected source step’s strike level from 5–100%.

How it works

The step editor offers 5–100%. A newly created ordinary step defaults to 85%. Changing a velocity control enables the step.

Velocity applies to the hit and all of its repeats. Accent can multiply its main-hit velocity by 1.18, capped at 100%; the flam grace hit uses a lower level.

This is playback gain for the fixed source sample. It does not select a different recorded articulation or create a longer note. Track volume, effects and the master mix still affect the final sound.

How to use it

1. Enable the step you want to vary and select probability beneath the grid.
2. Reduce its Probability slider or bar from 100% to a lower value.
3. Listen through several pattern cycles and keep important rhythmic anchors more certain than decorative hits.

Controls explained

Probability slider / probability bars

Per-step chance before global Density is applied.

Density

Pattern-wide multiplier for every enabled step’s chance.

How it works

The control ranges from 5–100%. Probability does not turn a cell visibly off; it decides whether an enabled, unmuted hit is generated.

Effective hit chance is Probability multiplied by the pattern’s Density. An 80% step under 50% Density has a 40% effective chance.

The decision happens once for the whole source-step event: its main hit, repeats and flam either pass together or are all omitted.

Short rows can display the same source step repeatedly, but the decision is based on each visible column and cycle. Matching source cells can therefore pass in one displayed occurrence and be omitted in another.

How to use it

1. Right-click the hit and adjust Timing, or choose micro to reveal timing bars.
2. Move left/below zero for an earlier strike or right/above zero for a later strike.
3. Hover a micro expression control to read its current millisecond offset at the session BPM.

Controls explained

Timing inspector / micro bars

Signed offset from −45 to +45 on the half-step scale.

Micro control tooltip

Shows the equivalent millisecond timing offset.

How it works

The range is −45 to +45 in the displayed percentage scale. The offset is that percentage of half a sixteenth-note step, rather than a percentage of a whole beat.

At 120 BPM, +16 means +10 ms and the full ±45 range is approximately ±28.1 ms. The millisecond effect scales with tempo.

Micro is added to Swing and the Human timing offset. A negative offset at the very beginning of a pattern is clipped to the pattern start; it cannot create a strike before that pass begins.

The column and gate are unchanged. Existing repeat hits stay spaced within their source step relative to the shifted main hit.

How to use it

1. Select an enabled drum step and choose repeats or use the Repeats inspector.
2. Set 2, 3 or 4 for the desired subdivision; use 1 for a single attack.
3. Audition the pattern at its real song tempo before adding more roll steps.

Controls explained

Repeats slider / repeats bars

Choose 1–4 attacks per source step.

How it works

Repeat count includes the main hit. A value of 4 makes four hits, not one plus four extras.

The attacks are spaced one step duration divided by the repeat count. At 120 BPM, a 125 ms step with four repeats starts attacks 31.25 ms apart.

Every repeated hit uses the source step’s main velocity, including its Accent boost if enabled. Probability and Density gate the complete group together.

Flam is independent of the repeat count and can add an extra quieter grace hit before the group. Repeated hat hits also obey the hat choke behaviour.

How to use it

1. Right-click the desired step, then click Accent or Flam in the inspector.
2. For a quick edit, Shift-click a cell for Accent or Alt-click for Flam; each also enables the cell.
3. With a grid cell focused, use A for Accent or F for Flam.

Controls explained

Accent / Shift-click / A

Toggle the 1.18× main-hit level boost.

Flam / Alt-click / F

Toggle the quieter grace strike before the hit.

How it works

Accent multiplies the main and repeated-hit velocity by 1.18, with the result capped at 100%. It therefore has little or no extra level to add when the original hit is already near maximum.

Flam normally adds one grace strike 18 ms before the main strike, at 55% of the step’s original velocity. At extremely fast tempos the grace gap is limited to one step.

At the start of a pattern the grace hit is clipped to the pass start, so a flam on the very first attack can coincide rather than sound as a distinct earlier strike.

Accent and Flam are saved source-step flags. Their visual marks help distinguish stronger hits and double attacks without adding extra lit columns.

How to use it

1. Right-click the step to inspect it.
2. Click Mute Step to silence it while preserving its programmed expression, or use M with that grid cell focused.
3. Click Clear Step, or press Delete / Backspace on the focused grid cell, to remove and reset it.

Controls explained

Mute Step / M

Preserve the hit’s settings while suppressing its sound.

Clear Step / Delete / Backspace

Reset that one source step to its default off state.

How it works

Step mute preserves velocity, probability, timing, repeats, Accent and Flam for later use. A source-step mute affects every repeated display of that source cell.

The inspector’s Mute Step button also enables the step if it was dark. The grid keyboard M shortcut changes the mute flag without forcing a dark cell on.

Clear resets the step to off, 85% velocity, 100% probability, zero timing, one repeat, and no Accent, Flam or mute.

Turning a cell off by ordinary clicking preserves its expression. That differs from Clear Step, which resets the expression as well.

How to use it

1. Start with a steady eighth- or sixteenth-note pattern.
2. Raise Swing gradually from 0% while listening to the subdivision against the melody.
3. Use per-step micro timing only for the individual hits that need to depart from that overall feel.

Controls explained

Swing

Pattern-wide alternating delay from 0–65%.

How it works

Swing ranges from 0–65%. It delays visible columns 2, 4, 6, 8 and so on; columns 1, 3, 5, 7 and so on keep their unswung base positions.

The delay is Swing percentage multiplied by half a sixteenth-note step. At 120 BPM, 50% adds 31.25 ms to those delayed columns; 65% adds about 40.6 ms.

The overall pattern duration and number of columns remain unchanged. Swing is a timing offset, not a change of BPM or an automatic triplet grid.

It applies to all rows in the active pattern by visible column. Row rotation does not change which visible columns are swung.

How to use it

1. To add generated timing variation, raise the Human slider a little from 0%.
2. To rewrite the stored feel, click Humanize and audition the result.
3. Use Undo if the written version is less useful, or lower Human when you want only the stored timing to remain.

Controls explained

Human slider

0–50% generated timing variation without rewriting stored step values.

Humanize button

Write varied micro timing and velocity into enabled source cells in the displayed range.

How it works

Human ranges from 0–50% and affects timing only. Its maximum offset is Human amount × one fifth of a sixteenth-note step in either direction. At 120 BPM, a 50% Human amount allows approximately ±12.5 ms.

The Humanize button is a separate one-off edit. For enabled cells in the displayed pattern range it replaces micro timing with a value between −18 and +18 on the half-step percentage scale, and adds up to ±10 percentage points to velocity, clamped to 10–100%.

Clicking Humanize again makes another written variation. It preserves hit gates, repeats, probability, Accent, Flam, step mute and row setup.

Stored micro timing, Human timing and Swing can all be active together. The slider’s generated timing uses repeatable per-cycle choices; the button uses a fresh variation when you click it.

How to use it

1. Use 100% Density while building the essential groove.
2. Lower Density when you want enabled hits across the pattern to be less likely to sound.
3. Listen to several successive cycles before deciding whether the reduced texture still supports the song.

Controls explained

Density

Pattern-wide chance multiplier from 5–100%.

Probability

Per-step chance multiplied by Density.

Live Pattern / Add Pattern Region

Choose generated per-cycle variation or a captured fixed pass.

How it works

Density ranges from 5–100%. It multiplies every enabled step’s probability, including the kick and main backbeat; it is not limited to fills or decorative sounds.

At 50% Density, even a 100% Probability hit is only a 50% candidate. Row mute, row solo and step mute can silence it before chance is considered.

The saved pattern, slot, visible step and cycle position determine the generated chance and Human timing values. Later cycles can differ, while replaying the same settings at the same cycle positions produces the same scheduled choices.

A copied pattern in a different slot can make different chance decisions because the slot is part of that variation identity. This does not mean the copy’s lit cells or probability values have changed.

Add Pattern Region freezes the generated cycle-zero result as notes. Those committed notes no longer run Density or Probability decisions on every playback.

How to use it

1. Copy the pattern to a spare slot if you want to compare two versions.
2. Click Nudge Left or Nudge Right in the drum topbar.
3. Listen to where the kick, snare and cymbal now land against the song’s downbeat.

Controls explained

Nudge Left

Rotate all active-pattern row phrases one source step earlier.

Nudge Right

Rotate all active-pattern row phrases one source step later.

How it works

Each lane’s source steps wrap within that lane’s own Length. A right nudge carries the last source step to the beginning; a left nudge carries the first to the end.

Complete step settings travel with the hits, including velocity, probability, timing, repeats, Accent, Flam and step mute.

This physically shifts stored source steps across all rows. It is different from the row − / + controls, which change the display/playback rotation mapping of one row. Existing row rotation numbers are retained.

How to use it

1. Choose the pattern you want to transform and keep a copied version for comparison.
2. Click Half Time.
3. Listen for the slower spacing, then restore or rebuild any ending fill that no longer fits.

Controls explained

Half Time

Double source-step spacing across all rows within their existing lengths.

How it works

Source step 1 stays at position 1, step 2 moves to position 3, step 3 moves to position 5, and so on. Intervening positions are cleared.

The row length does not double. Source hits whose doubled positions fall beyond that row’s length are omitted; this is not a lossless time-stretch of the entire original phrase.

The operation affects every drum row, carrying each retained hit’s expression with it. Pattern BPM, overall Steps and row rotation remain unchanged.

How to use it

1. Choose the pattern and click Double Time.
2. Listen to the busier first half of each row.
3. Add or copy material into the newly empty later half if you want a continuous fast phrase.

Controls explained

Double Time

Compress pairs of source steps, merging collisions.

How it works

Pairs of neighbouring source steps map to one destination: source steps 1–2 map to position 1, steps 3–4 to position 2 and so on. The remaining later positions are cleared rather than automatically filled with a second copy.

When two enabled hits meet, they become one source step. The merge keeps the greater velocity, probability and repeat count; keeps the micro timing closest to zero; combines Accent and Flam; and is muted only when both source hits were muted.

This is a step-data transformation, not audio time-stretching and not the same as setting Repeats to 2. It affects all rows while retaining their lengths and rotation.

How to use it

1. Choose a spare slot or copy your current pattern before experimenting.
2. Click Randomize and listen to the result.
3. Mute surplus rows, simplify the strongest pulses and edit the variation into a deliberate accompaniment.

Controls explained

Randomize

Write a fresh active-pattern candidate across the displayed step range.

How it works

The generator anchors the primary Kick on source steps 1, 9, 17 and so on, and Snare on 5, 13, 21 and so on. High-group sounds are anchored on alternating source steps; additional cells are enabled with smaller per-group chances.

It assigns velocities of roughly 55–97%, gives some hits 55% Probability and the rest 100%, resets micro timing to zero, and occasionally gives a step two repeats.

Existing Accent, Flam and step-mute flags are retained when those cells are rewritten. Row mute, solo, length and rotation also remain, so a newly enabled cell can still be silent.

It writes the displayed pattern’s stored index range. A short row continues to wrap its own source phrase; a retained source area beyond the displayed range is not a new full independent random phrase.

Each button click creates a fresh candidate. Once saved, the pattern’s later probability/Human decisions still follow their repeatable cycle behaviour.

How to use it

1. Check that the intended slot letter is active.
2. Click Clear in the topbar and confirm the Clear Pattern message.
3. Program new hits, load a starter groove or fill a lane.

Controls explained

Clear

Reset every stored step in the current pattern after confirmation.

Row M / S / Length / rotation

Existing row setup survives the clear operation.

How it works

Clear resets every stored source cell in that slot, including later retained cells outside the current visible Steps range.

Row lengths, rotation, row mute and row solo are retained. The pattern name, swing, Human and Density also remain.

Other slots and already committed drum regions are unaffected. Clear does not erase the entire drum track.

A blank pattern can stay silent after you add hits if a retained row mute or a different soloed row is still active. Check row M and S before assuming the new hits are broken.

How to use it

1. Select the drum pad or row you want to fill.
2. Enter the number of Evenly spaced hits, from 0 up to that row’s Length.
3. Set Offset, then click Fill lane.
4. Play the result against the kick or marimba phrase and adjust the hit count or offset until the interlock is useful.

Controls explained

Evenly spaced hits

Number of source hits distributed across the selected row’s Length; 0 clears that range.

Offset

Signed rotation of the newly generated distribution.

Fill lane

Apply the new distribution to the selected row only.

How it works

Five hits over a 16-step row produce a mixture of three- and four-step gaps rather than an exact every-N-steps grid. When the length divides the hit count evenly, all gaps are equal.

Positive Offset moves the generated distribution later in its source cycle; negative values move it earlier. Values wrap within the row length. The input accepts −128 to +128.

Fill lane replaces that row’s active source range with fresh step defaults, resets its row rotation to 0, and sets generated velocities to 88% at source positions 1, 5, 9 and so on or 65% elsewhere.

Probability resets to 100%, micro to zero, repeats to 1, and Accent, Flam and step mute are cleared for the filled range. Row mute and row solo remain; other drum rows and stored cells beyond this row’s Length are retained.

With a short row, the filled source phrase repeats across the displayed pattern. With a retained row longer than the visible pattern, only its currently mapped part is heard; the number entered counts the whole source row.

How to use it

1. Choose the intended slot and its 16, 32 or 64 Steps length.
2. Select Marimba groove in Starter groove, then click Load groove.
3. Press Play with Live Pattern On, then tailor the selected pattern’s lanes and levels for the song.

Controls explained

Starter groove → Marimba groove

Choose this named set of hit placements and swing.

Load groove

Replace the active slot with the selected starter.

How it works

Kick: steps 1, 7, 9 and 15. Snare: 5 and 13.

Closed Hat: 1, 3, 5, 7, 9, 11, 13 and 15. Shaker fills the even-numbered steps between them.

Cowbell: 1, 4, 7, 11 and 13. Swing is set to 12%.

Positions above describe the first 16-step motif. A 32-step pattern repeats it twice and a 64-step pattern repeats it four times. Load groove replaces the entire active pattern, resets its row setup, uses 100% Density and 0% Human, and preserves the chosen overall Steps length.

How to use it

1. Choose the intended slot and its 16, 32 or 64 Steps length.
2. Select Four on the floor in Starter groove, then click Load groove.
3. Press Play with Live Pattern On, then tailor the selected pattern’s lanes and levels for the song.

Controls explained

Starter groove → Four on the floor

Choose this named set of hit placements and swing.

Load groove

Replace the active slot with the selected starter.

How it works

Kick: steps 1, 5, 9 and 13. Snare: 5 and 13.

Closed Hat also lands on 1, 5, 9 and 13; Open Hat lands on 3, 7, 11 and 15.

Swing is 0%. The alternating closed/open hat events share the same choke group.

Positions above describe the first 16-step motif. A 32-step pattern repeats it twice and a 64-step pattern repeats it four times. Load groove replaces the entire active pattern, resets its row setup, uses 100% Density and 0% Human, and preserves the chosen overall Steps length.

How to use it

1. Choose the intended slot and its 16, 32 or 64 Steps length.
2. Select Pop backbeat in Starter groove, then click Load groove.
3. Press Play with Live Pattern On, then tailor the selected pattern’s lanes and levels for the song.

Controls explained

Starter groove → Pop backbeat

Choose this named set of hit placements and swing.

Load groove

Replace the active slot with the selected starter.

How it works

Kick: steps 1, 8, 9 and 11. Snare: 5 and 13.

Closed Hat: 1, 3, 5, 7, 9, 11, 13 and 15. Crash: step 1.

Swing is 0%. The Crash returns at the start of every repeated 16-step motif.

Positions above describe the first 16-step motif. A 32-step pattern repeats it twice and a 64-step pattern repeats it four times. Load groove replaces the entire active pattern, resets its row setup, uses 100% Density and 0% Human, and preserves the chosen overall Steps length.

How to use it

1. Choose the intended slot and its 16, 32 or 64 Steps length.
2. Select Offbeat pocket in Starter groove, then click Load groove.
3. Press Play with Live Pattern On, then tailor the selected pattern’s lanes and levels for the song.

Controls explained

Starter groove → Offbeat pocket

Choose this named set of hit placements and swing.

Load groove

Replace the active slot with the selected starter.

How it works

Kick and Rim both land on step 9, leaving the beginning of the motif open.

Closed Hat: steps 3, 7, 11 and 15. Shaker: 1, 3, 5, 7, 9, 11, 13 and 15.

Swing is set to 6%. This describes the actual saved rhythm rather than a promise of a complete genre arrangement.

Positions above describe the first 16-step motif. A 32-step pattern repeats it twice and a 64-step pattern repeats it four times. Load groove replaces the entire active pattern, resets its row setup, uses 100% Density and 0% Human, and preserves the chosen overall Steps length.

How to use it

1. Choose the intended slot and its 16, 32 or 64 Steps length.
2. Select Disco drive in Starter groove, then click Load groove.
3. Press Play with Live Pattern On, then tailor the selected pattern’s lanes and levels for the song.

Controls explained

Starter groove → Disco drive

Choose this named set of hit placements and swing.

Load groove

Replace the active slot with the selected starter.

How it works

Kick and Cowbell: steps 1, 5, 9 and 13. Snare: 5 and 13.

Open Hat: 3, 7, 11 and 15. Shaker enables every step from 1 to 16.

Swing is 0%; the shaker carries alternating levels so its uninterrupted pattern is less flat.

Positions above describe the first 16-step motif. A 32-step pattern repeats it twice and a 64-step pattern repeats it four times. Load groove replaces the entire active pattern, resets its row setup, uses 100% Density and 0% Human, and preserves the chosen overall Steps length.

How to use it

1. Choose the intended slot and its 16, 32 or 64 Steps length.
2. Select Hip-hop pocket in Starter groove, then click Load groove.
3. Press Play with Live Pattern On, then tailor the selected pattern’s lanes and levels for the song.

Controls explained

Starter groove → Hip-hop pocket

Choose this named set of hit placements and swing.

Load groove

Replace the active slot with the selected starter.

How it works

Kick: steps 1, 4, 8 and 11. Snare: 5 and 13.

Closed Hat: 1, 3, 5, 7, 9, 11, 13 and 15. Rim: 12 and 16.

Swing is set to 32%. The Rim uses the pitch-raised Snare variation, not a separately recorded rimshot.

Positions above describe the first 16-step motif. A 32-step pattern repeats it twice and a 64-step pattern repeats it four times. Load groove replaces the entire active pattern, resets its row setup, uses 100% Density and 0% Human, and preserves the chosen overall Steps length.

How to use it

1. Choose the intended slot and its 16, 32 or 64 Steps length.
2. Select Hat rolls in Starter groove, then click Load groove.
3. Press Play with Live Pattern On, then tailor the selected pattern’s lanes and levels for the song.

Controls explained

Starter groove → Hat rolls

Choose this named set of hit placements and swing.

Load groove

Replace the active slot with the selected starter.

How it works

Kick: steps 1, 7 and 12. Snare: 9. Open Hat: 5 and 13.

Closed Hat: 1, 3, 5, 7, 8, 9, 11, 13, 15 and 16.

Closed Hat steps 8 and 16 use three repeats. Swing is 0%.

Positions above describe the first 16-step motif. A 32-step pattern repeats it twice and a 64-step pattern repeats it four times. Load groove replaces the entire active pattern, resets its row setup, uses 100% Density and 0% Human, and preserves the chosen overall Steps length.

How to use it

1. Choose the intended slot and its 16, 32 or 64 Steps length.
2. Select Ride conversation in Starter groove, then click Load groove.
3. Press Play with Live Pattern On, then tailor the selected pattern’s lanes and levels for the song.

Controls explained

Starter groove → Ride conversation

Choose this named set of hit placements and swing.

Load groove

Replace the active slot with the selected starter.

How it works

Kick: steps 1 and 9. Snare: 7, 13 and 16.

Cymbal: 1, 5, 7, 9, 13 and 15. Closed Hat: 5 and 13.

Swing is set to 56%. The Cymbal is the supplied Cymbal sample; the preset does not add a separate ride-cymbal recording.

Positions above describe the first 16-step motif. A 32-step pattern repeats it twice and a 64-step pattern repeats it four times. Load groove replaces the entire active pattern, resets its row setup, uses 100% Density and 0% Human, and preserves the chosen overall Steps length.

How to use it

1. Choose the intended slot and its 16, 32 or 64 Steps length.
2. Select Bossa pulse in Starter groove, then click Load groove.
3. Press Play with Live Pattern On, then tailor the selected pattern’s lanes and levels for the song.

Controls explained

Starter groove → Bossa pulse

Choose this named set of hit placements and swing.

Load groove

Replace the active slot with the selected starter.

How it works

Kick: steps 1, 7, 9 and 15. Rim: 1, 7 and 13.

Closed Hat: 1, 3, 5, 7, 9, 11, 13 and 15. Shaker: 1, 4, 7, 9, 12 and 15.

Swing is 0%. The selected rim sound is the pitch-raised Snare sample.

Positions above describe the first 16-step motif. A 32-step pattern repeats it twice and a 64-step pattern repeats it four times. Load groove replaces the entire active pattern, resets its row setup, uses 100% Density and 0% Human, and preserves the chosen overall Steps length.

How to use it

1. Choose the intended slot and its 16, 32 or 64 Steps length.
2. Select Percussion circle in Starter groove, then click Load groove.
3. Press Play with Live Pattern On, then tailor the selected pattern’s lanes and levels for the song.

Controls explained

Starter groove → Percussion circle

Choose this named set of hit placements and swing.

Load groove

Replace the active slot with the selected starter.

How it works

Low Tom: steps 1, 7, 9 and 15. Tom: 4, 8, 12 and 16.

Cowbell: 1, 4, 7, 11 and 13. Rim: 5 and 13.

Shaker: 1, 3, 5, 7, 9, 11, 13 and 15. Swing is set to 10%.

Positions above describe the first 16-step motif. A 32-step pattern repeats it twice and a 64-step pattern repeats it four times. Load groove replaces the entire active pattern, resets its row setup, uses 100% Density and 0% Human, and preserves the chosen overall Steps length.

How to use it

1. Choose the intended slot and its 16, 32 or 64 Steps length.
2. Select Half-time space in Starter groove, then click Load groove.
3. Press Play with Live Pattern On, then tailor the selected pattern’s lanes and levels for the song.

Controls explained

Starter groove → Half-time space

Choose this named set of hit placements and swing.

Load groove

Replace the active slot with the selected starter.

How it works

Kick: steps 1, 7 and 15. Snare: 9.

Closed Hat: 1, 3, 5, 7, 9, 11, 13 and 15. Open Hat: 16.

Swing is 0%. The preset’s half-time feel is written directly into its hit placements; it does not change the session BPM.

Positions above describe the first 16-step motif. A 32-step pattern repeats it twice and a 64-step pattern repeats it four times. Load groove replaces the entire active pattern, resets its row setup, uses 100% Density and 0% Human, and preserves the chosen overall Steps length.

How to use it

1. Choose the intended slot and its 16, 32 or 64 Steps length.
2. Select Breakbeat in Starter groove, then click Load groove.
3. Press Play with Live Pattern On, then tailor the selected pattern’s lanes and levels for the song.

Controls explained

Starter groove → Breakbeat

Choose this named set of hit placements and swing.

Load groove

Replace the active slot with the selected starter.

How it works

Kick: steps 1, 7 and 11. Snare: 5, 12, 13 and 16.

Closed Hat: 1, 3, 5, 7, 9, 11, 13 and 15. Open Hat: 8.

The extra Snare strikes at 12 and 16 use 32% velocity. The main backbeats keep their stronger level. Swing is set to 8%.

Positions above describe the first 16-step motif. A 32-step pattern repeats it twice and a 64-step pattern repeats it four times. Load groove replaces the entire active pattern, resets its row setup, uses 100% Density and 0% Human, and preserves the chosen overall Steps length.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Reverse in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Reverse

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

The first and last source steps exchange places, then the second and second-last, across the row’s Length.

Each step keeps its complete expression as it moves. Other rows, row rotation and stored cells beyond this row’s Length remain unchanged.

This reverses event order. It does not reverse the sample’s audio waveform.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Invert hits in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Invert hits

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Enabled cells become off, and off cells become on, across the row’s current Length.

Existing per-cell expression is retained. A newly enabled cell can therefore retain an old step mute or low probability and may not sound.

The operation does not reset the row’s mute, solo or rotation. It complements the gate pattern rather than filling it with fresh defaults.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Rotate left in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Rotate left

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

The first source cell moves to the end of the row’s Length. All other source cells move one position earlier.

Complete step expression travels with each cell. The row rotation number itself stays as it was.

Only this lane is changed; use topbar Nudge Left when every drum row should move.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Rotate right in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Rotate right

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

The last source cell moves to the start of the row’s Length. All other source cells move one position later.

Complete step expression travels with each cell. The row rotation number itself stays as it was.

Only this lane is changed; use topbar Nudge Right when every drum row should move.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Quarter notes in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Quarter notes

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Fresh hits are placed at source positions 1, 5, 9, 13 and so on through that row’s Length.

Generated hit velocity is 88%. Other positions become fresh off cells; probability, timing, repeats, Accent, Flam and step mute reset for the rewritten source range.

The existing row rotation is retained. Reset it to 0 when those source hits should align with literal visible quarter-note columns.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Eighth notes in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Eighth notes

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Fresh hits are placed at source positions 1, 3, 5, 7 and so on through the row’s Length.

Hits at positions 1, 5, 9 and so on use 88% velocity; the intervening eighth-note hits use 60%. Other positions become fresh off cells.

Step expression is reset in the rewritten source range. Row mute, solo and rotation are retained, so check rotation when aligning the pattern with the displayed beat.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Sixteenth notes in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Sixteenth notes

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Every source position within the row’s Length is enabled.

Positions 1, 5, 9 and so on use 88% velocity, and other hits use 60%. Probability becomes 100%, micro timing zero, repeats 1, and Accent, Flam and step mute are cleared.

Row rotation, mute and solo remain; stored source cells beyond the current row Length are retained.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Build velocity in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Build velocity

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

The first enabled source hit is set to 30% velocity and the last to 95%, with a straight progression through the enabled hits between them.

Rests do not count as ramp steps. With one enabled hit, that hit is set to 95%.

The gate pattern and other expression remain, including mutes. The rise follows stored source order; row rotation can make the audible cycle start partway through it.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Fade velocity in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Fade velocity

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

The first enabled source hit is set to 95% velocity and the last to 30%, with a straight progression through enabled hits between them.

Rests do not count as ramp steps. With one enabled hit, that hit is set to 30%.

This changes strike levels rather than adding an audio fade envelope. Other step expression and the row’s layout remain.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Ghost alternates in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Ghost alternates

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

The first enabled source hit is set to 85% velocity, the second to 32%, then the strong/quiet pattern continues by enabled-hit order.

This is not simply odd/even numbered grid columns: rests are skipped when counting the hit sequence.

Probability, micro timing, repeats, Accent, Flam and mute flags are preserved. Accent can still boost the newly assigned main level.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Accent beats in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Accent beats

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Enabled source positions 1, 5, 9, 13 and so on receive Accent. Other enabled source positions have Accent cleared.

Rests stay rests. Velocity is preserved; the Accent flag applies the normal 1.18× boost when the hit is generated.

Quarter positions are based on the stored source index. With a rotated row, the visibly accented attacks may land on different displayed columns.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Vary probability in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Vary probability

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Enabled source positions 1, 5, 9, 13 and so on get 100% Probability. Other enabled source positions get 65%.

The gates and other expression are retained. A rest at an anchor position does not become a new hit.

Global Density still multiplies these values: 100% here is not guaranteed to sound under a lower Density setting or an active mute.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Push offbeats in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Push offbeats

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Enabled source positions 2, 4, 6, 8 and so on get micro timing −16. Enabled positions 1, 3, 5, 7 and so on reset their micro timing to 0.

The shift is 8% of a sixteenth-note step earlier: −10 ms at 120 BPM. Swing and Human timing are added separately.

Existing micro timing is replaced on enabled hits; gate, velocity, probability, repeats, Accent, Flam and mute are preserved.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Pull offbeats in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Pull offbeats

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Enabled source positions 2, 4, 6, 8 and so on get micro timing +16. Enabled positions 1, 3, 5, 7 and so on reset their micro timing to 0.

The shift is 8% of a sixteenth-note step later: +10 ms at 120 BPM. Swing and Human timing can increase or reduce the total offset.

Existing micro timing is replaced on enabled hits. The other saved expression and the gate pattern remain.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Two-hit rolls in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Two-hit rolls

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Repeats becomes 2 for every enabled cell in this row. No additional visible cells are switched on.

Each pair uses half-step spacing: 62.5 ms at 120 BPM. Both attacks use the source step’s main velocity.

Other expression remains, so a Flam may add a further grace hit and Probability/Density still gate each complete pair.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Three-hit rolls in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Three-hit rolls

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Repeats becomes 3 for every enabled cell in this row.

Spacing is one third of a sixteenth-note step: about 41.7 ms at 120 BPM. These are local three-hit subdivisions inside existing cells, not a change to the song’s meter.

Other expression remains; probability decisions apply to each complete three-hit group.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Four-hit rolls in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Four-hit rolls

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Repeats becomes 4 for every enabled cell in this row.

Spacing is one quarter of a sixteenth-note step: 31.25 ms at 120 BPM. The row’s number of enabled cells is unchanged.

Velocity and other expression remain. Dense rolls can make a sustained texture because the samples retain their natural decay.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Flam accents in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Flam accents

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Enabled source positions 1, 5, 9, 13 and so on receive Flam. Other enabled source positions have Flam cleared.

This uses source position rather than testing whether the separate Accent flag is already on. It does not add Accent or create gates on rests.

The ordinary flam behaviour applies: a softer grace strike normally 18 ms early, clipped at the pattern start.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Reset expression in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Reset expression

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Enabled steps keep their on state and existing velocity. Probability resets to 100%, micro timing to 0, repeats to 1, and Accent, Flam and step mute are cleared.

Clearing step mute can make a previously silenced enabled hit audible again.

Disabled cells are not rewritten by this tool. Pattern Swing, Human, Density and row mute/solo/rotation remain, so resetting expression does not make the whole pattern completely straight or guaranteed.

How to use it

1. Select the intended drum pad or row name; check that name above the lane tool selector.
2. Choose Clear lane in the selected lane menu.
3. Click Apply to lane, then audition the change in the complete groove.

Controls explained

Selected lane → Clear lane

Apply this transformation only to the chosen row’s current source length.

Apply to lane

Write the selected transformation into that row.

How it works

Hits and rests in the active source range become default off cells: 85% velocity, 100% Probability, zero micro timing, one repeat, no Accent, Flam or step mute.

Other drum rows are untouched. This row’s mute, solo, Length and rotation remain.

Stored cells beyond this row’s current Length are retained. To clear all retained data across every drum row in the slot, use the topbar Clear operation instead.

How to use it

1. Stop recording before changing input settings.
2. Open Tools → Audio Setup, or click the audio-health indicator at the top.
3. Use Refresh Inputs and allow microphone permission when the browser asks.
4. Choose Input device and select Mono or Stereo under Input format.
5. Click Save Audio Setup to apply the selection.

Controls explained

Input device

System default or an available named audio input.

Input format

Mono or Stereo.

Refresh Inputs

Requests/refreshes the available input list.

Save Audio Setup

Saves device, channels, monitoring and compensation choices.

Cancel

Closes the setup without applying the edited settings.

How it works

System default follows the operating system’s current default audio input. A named device selects that input explicitly.

Device names may be hidden until the browser has microphone permission.

Mono requests one input channel and Stereo requests two; the actual interface and browser determine the available signal.

The recording request disables automatic gain control, echo cancellation and noise suppression where the browser honors those constraints, helping retain the instrument’s own sound.

Saved input choices are stored in this browser. Selecting a device here does not change your computer’s operating-system input configuration.

How to use it

1. Choose the device and format in Audio Setup.
2. Click Test Input and speak or play at the loudest level you expect to record.
3. Check the meter and dBFS reading; reduce the interface or microphone gain if it says Clipping.
4. Click Stop Test when finished.
5. Enable Input monitoring and save the setup, or use the selected input track’s Monitoring On / Monitoring Off button.

Controls explained

Test Input / Stop Test

Starts or ends the temporary live level test.

Input meter

Shows incoming peak level, dBFS or Clipping.

Input monitoring

Enables listening through the studio.

Monitoring On / Monitoring Off

Toggles monitoring from a selected microphone/line-input track.

How it works

Test Input is a level check, not a saved take.

The meter reports the signal arriving from the device. Adjust the physical interface gain when the input itself clips; lowering a later track fader cannot repair clipped source audio.

Monitoring routes the microphone/line input through the selected audio track and its effects so you can hear the processed signal.

Monitoring does not mean the effects are permanently printed into the stored source file: the recorded source and editable track effects remain separate.

Closing Audio Setup stops an active input test. Changing the live input track stops unused audio input paths.

How to use it

1. Open Audio Setup and inspect Browser audio latency.
2. Enable Low-latency recording mode if appropriate for your device.
3. Use Browser Baseline to place the browser-reported estimate in Recording compensation.
4. Make a short click or precisely timed test recording against a known reference.
5. If the captured result is late, increase positive compensation; if it is too early, reduce compensation or use a negative value.
6. Click Save Audio Setup and make another short test.

Controls explained

Low-latency recording mode

Requests the interactive latency setting on the next audio-context creation/reload.

Recording compensation

−500 to +500 ms.

Use Browser Baseline

Copies the reported baseline into the compensation field.

Browser audio latency

Shows a browser estimate when available; some browsers do not report it.

How it works

Recording compensation accepts −500 to +500 milliseconds in 1 ms steps. Positive values move newly captured timing earlier; negative values move it later.

The compensation applies to newly recorded virtual note events and recorded audio alignment. It does not retime all material that was recorded previously.

Use Browser Baseline is an estimate based on the browser’s reported audio latency, not an acoustic or cable loopback measurement of your whole recording system.

Low-latency mode requests an interactive audio context; a changed latency mode takes effect after the next page reload.

Bluetooth, hardware buffers, browser scheduling, codecs and input/output hardware can still introduce delay. A low displayed base latency is not a guarantee of zero round-trip latency.

How to use it

1. Add a Microphone / line input track or select an existing input track.
2. Open Audio Setup to select the correct input and test its level.
3. Choose the start position and count-in, then press Record and allow microphone permission.
4. Perform the part and press Record or Stop to finish.
5. Wait for finalization, then select the new waveform region to inspect or edit it.

Controls explained

Microphone / line input track

Receives the selected browser audio input.

Record

Captures the waveform while arrangement playback can provide accompaniment.

Finalizing audio take

Indicates that recording has stopped and the captured source is still being processed.

How it works

The input is captured through the browser’s supported recording format and decoded for waveform editing. The available codec depends on the browser.

A microphone take becomes an audio region with its own source, offset, duration and fades. It does not become editable marimba-note names.

A short preparation preroll is trimmed when the captured region is aligned, and saved compensation is applied to the new recording.

If Record is pressed while an imported backing-track channel is selected, a separate audio recording track is created so the backing source is retained.

If the input disconnects or capture fails, the studio reports the problem and stops the recording flow. Review the resulting take before continuing.

How to use it

1. Use Tools → Import Audio, the audio track’s Import Audio button, or drag supported audio files onto the timeline.
2. Choose a decodable audio file. Common choices include WAV, MP3, M4A, AAC, FLAC and OGG; support depends on the browser.
3. The imported region is placed at the playhead or timeline drop position, following Snap when enabled.
4. Select the waveform region to display its Name, Gain, fades and Curve controls in Arrange.
5. Use Split at Playhead, Duplicate, Reverse or Normalize as needed, then listen through the transition.

Controls explained

Import Audio

Chooses existing audio files.

Name

Changes the selected region label.

Gain

Visible region slider: 0–200%.

Fade In / Fade Out

Fade times in seconds, up to half the region length each.

Curve

Equal Power, Linear or Exponential.

Split at Playhead / Duplicate

Create separate editable source-linked regions.

Reverse / Unreverse

Changes or restores playback direction.

Normalize

Adjusts region gain using its waveform peak estimate.

How it works

Importing onto an existing audio track adds a region to that track. Importing without an audio-track target creates an imported-audio track. Multiple chosen files are processed in order.

Name changes the region label. Gain adjusts that region independently of the whole-track fader; the visible slider covers 0–200%.

Fade In and Fade Out are measured in seconds and each is limited to half the region’s duration. Curve offers Equal Power, Linear and Exponential.

Split at Playhead separates one region into two source-linked regions; Duplicate places a copy after the selected region. Reverse toggles its playback direction without rewriting the original source.

Normalize estimates the selected source window’s peak and changes region gain toward 98% peak, with a maximum 4× gain. It is a non-destructive level adjustment, not noise reduction or loudness mastering.

Audio decoding, available memory and browser storage determine practical file sizes. The app does not promise that every audio codec or arbitrarily large file will import.

How to use it

1. Connect the device before opening MIDI Settings where possible.
2. Click the MIDI badge and allow MIDI access if the browser asks.
3. Check Status and Device, then choose an Active Input or leave All devices selected.
4. Choose Any channel or Channel 1–16 in Channel Filter.
5. Select the intended marimba or drum track, close the dialog and play a few notes.

Controls explained

Status / Device

Shows access state and detected input count.

Active Input

All devices or a specific connected port.

Channel Filter

Any channel or one of MIDI channels 1–16.

Done

Closes MIDI Settings.

How it works

Web MIDI availability depends on the browser and page permissions. A MIDI-unsupported status means the browser does not expose the feature here; it does not prove the keyboard is faulty.

All devices accepts input from connected ports. A named Active Input restricts playing to that device.

Channel Filter applies to the incoming performance and controller messages; match it to the transmitting device or use Any channel.

MIDI follows the selected live input track. It does not route different incoming channels to several tracks simultaneously.

Audio waveform tracks do not receive virtual instrument notes from MIDI. Select a marimba or drum channel for MIDI playing.

How to use it

1. Choose the desired Alto, Tenor, Bass or drum track.
2. Use Octave − / + to shift by whole octaves, from −2 to +2.
3. Use Transpose to add a further −12 to +12 semitones.
4. Play within the instrument’s mapped range and check the highlighted bar or MIDI Monitor.

Controls explained

Octave − / +

Whole-octave input shift from −2 through +2.

Transpose

Additional incoming-note shift from −12 through +12 semitones.

How it works

Alto uses available natural and F-sharp sample bars across MIDI notes 55–89; Tenor uses its available bars across 55–76. Notes in unmapped chromatic gaps are not invented or synthesized.

Bass uses its own lower note map: C, D, E, F, G, A, B, C2 and D2 at MIDI notes 36, 38, 40, 41, 43, 45, 47, 48 and 50.

Live drum triggering uses consecutive incoming notes 36–47 in this order: Kick, Snare, Closed Hat, Open Hat, Cowbell, Cymbal, Tom, Kick 2, Rim, Shaker, Crash, Low Tom.

This live drum input layout differs from the General MIDI percussion note map used when exporting a .mid file.

The changes are input mappings. They do not transpose every note already stored in a take; use the Note Editor pitch tools for that task.

How to use it

1. Open MIDI Settings and choose a Velocity Curve.
2. Test soft, medium and strong strikes on the selected instrument.
3. Use Linear for a direct response, Soft for quieter intermediate strikes, Hard for stronger intermediate strikes, or Fixed Loudness for an even response.
4. Record a short phrase and inspect its velocities in the Note Editor.

Controls explained

Velocity Curve

Linear, Soft, Hard or Fixed Loudness.

How it works

Linear maps the incoming 0–127 strike value proportionally to the note velocity.

Soft reduces intermediate velocities; Hard raises them relative to Linear. The names describe this app’s response choices, not a hardware sensitivity calibration.

Fixed Loudness uses 85% velocity for each accepted note-on, regardless of the keyboard’s strike strength.

TRG octave partners use 85% of the main note’s resulting velocity.

Note-off messages, including note-on messages with zero velocity, release the held-key state; they do not create another recorded strike.

How to use it

1. Choose the Pitch Bend range in MIDI Settings, from ±2 to ±24 semitones.
2. Use your device’s pitch wheel while virtual notes are ringing.
3. Use CC1/mod wheel to change the rumble stroke interval, and CC64/sustain to retain held-note behavior until pedal release.
4. Use channel aftertouch for reverb amount or polyphonic pressure for stereo width if your device sends those messages.
5. Use CC7 if you want the controller to change the studio’s master level.

Controls explained

Pitch Bend

Range ±2–±24 semitones; default ±12.

Mod wheel / CC1

Changes rumble interval, 500–50 ms.

Sustain pedal / CC64

Holds/release the live held-note state.

Channel aftertouch

Controls reverb wet amount.

Polyphonic pressure

Controls stereo width.

Volume / CC7

Changes the studio master level.

How it works

Pitch Bend defaults to ±12 semitones and changes the rate of active MIDI-triggered samples on the selected track.

CC1 maps the controller’s value to a rumble interval between 500 ms at its minimum and 50 ms at its maximum. It changes the speed setting; it does not by itself turn rumble on.

CC64 values of 64 or more hold sustain; lower values release it. Marimba samples still have their own natural decay, and sustained key state is not an endlessly sustained oscillator.

Channel aftertouch sets reverb wet amount from 0–100% and can enable reverb. Polyphonic pressure maps stereo width through approximately 75–150%.

CC7 changes master output level, not just the selected track’s fader.

Recorded takes store strikes with note, time and velocity. Wheel curves, pedal gestures and pressure changes are not recorded as editable timeline automation or reconstructed by Standard MIDI export.

How to use it

1. Click Learn Record or Learn Play.
2. Press the controller button that sends the desired MIDI control-change message.
3. Check MIDI Monitor for the learned CC number, then test the button after closing the dialog.
4. Use Panic / All Notes Off if a controller disconnect or missed release leaves notes or repeated strokes active.
5. Use Clear Monitor when you want a fresh diagnostic log.

Controls explained

Learn Record

Learns a CC button for the Record toggle.

Learn Play

Learns a CC button for the Play toggle.

Panic / All Notes Off

Stops active tracked MIDI voices and clears held-note state.

Clear Monitor

Resets the recent-message display.

MIDI Monitor

Shows recent accepted device messages and actions.

How it works

Transport learning accepts a control-change message with value 127. Buttons that send another message type or never reach 127 will not complete this learning action.

The learned Record button toggles start/finish recording, including cancellation during recording preparation. The learned Play button toggles playback.

Active Input and Channel Filter still determine which device/channel messages are accepted.

Panic stops tracked live MIDI voices and rumble, clears held and sustain states, and resets live pitch-bend state. It does not delete notes already recorded in your arrangement.

MIDI Monitor retains a short recent history, including accepted notes and controller actions. Clear Monitor clears the displayed history, not the session.

How to use it

1. Select an audio region in Arrange, then choose Note Editor.
2. Use the Region selector to choose a different part on that track.
3. Check the source duration, channel count and sample rate beneath the waveform.

Controls explained

Region selector

Choose the exact audio region to edit.

Waveform

Preview the selected source segment.

Source metadata

Channel count, sample rate and original source duration.

How it works

If no audio exists on the selected track, the inspector offers Import audio.

The waveform previews the chosen source window and reflects forward/reverse direction.

Audio tracks do not provide editable marimba/drum event rows; use the audio fields and region tools instead.

How to use it

1. Set Timeline start to place the region on the song.
2. Set Source offset to the beginning of the wanted material and Source window to the span you want to use.
3. Set Timeline length, then enable Loop region if that source window should repeat to fill a longer part.

Controls explained

Timeline start

Where the region begins in the song.

Timeline length

How much song time the region spans.

Source offset

Where to begin within the original audio.

Source window

How much source audio to use per pass.

Loop region

Repeat the chosen source window.

How it works

All these values use seconds. Source offset is measured within the stored original audio; it does not move the region on the song timeline.

The source window is limited to available source audio. When changing its offset, the editor shortens the window if needed to keep it inside the source.

A looping region repeats its source window. Extending a nonlooping timeline region is not audio time stretching; it does not create new recorded material.

Source-window edits retain the original audio source. Changes to the region fields support Undo.

How to use it

1. Set Region gain to balance this part before the track fader.
2. Enter Fade in and Fade out durations and select a fade curve.
3. Use Reverse or Play forward to change playback direction. Normalize can bring the source segment peak toward the standard target.

Controls explained

Region gain

Adjust this region independently of the whole channel.

Fade in / Fade out

Set edge fade duration in seconds.

Fade curve

Choose the fade shape.

Reverse / Play forward

Switch region playback direction.

Normalize

Set a region gain based on its source peak.

Crossfade with next

Form an equal-power overlap between neighbouring regions.

How it works

Region gain supports0–400%;100% is unchanged. High gains can overload a mix, so watch the master output peak.

Each fade is bounded to half the region’s timeline length. Fade curves are Equal power, Linear and Exponential.

Commands offer fixed fade-in/out values of0,10,50,100,250 or500ms;0 removes that fade.

Normalize analyzes the chosen source segment and changes region gain toward a0.98 peak target; it does not rewrite the stored source.

Crossfade selected audio region with next uses the next region on the same track. Move the regions close together first: gaps greater than250ms are rejected. The normal crossfade requests120ms, bounded by each region’s length, and may move the following region earlier to form the overlap.

How to use it

1. Choose Undo or Ctrl/Cmd+Z to return to the previous saved edit state.
2. Choose Redo or Ctrl/Cmd+Shift+Z to reapply it. Ctrl/Cmd+Y is also available outside text/control fields.
3. Download a Project backup before a major restructuring or before clearing browser storage.

Controls explained

Undo / Redo

Step through captured edit states.

Project backup

Download editable project data including audio sources.

Save session

Save the current session in this browser.

How it works

History keeps up to80 arrangement snapshots. Making a new edit clears the redo branch.

Undo restores an arrangement snapshot and stops playback. It also restores the active track, region selection and relevant session data.

Not every continuous UI action is guaranteed to create its own history entry. History is a working-session aid, not a substitute for portable project backups.

Arrangement changes are blocked during recording, playback preparation and recording finalization; finish or wait first.

How to use it

1. Click Commands or press Ctrl/Cmd+K.
2. Type one or more words such as quantize, harmony, marker or export.
3. Use Up/Down to browse results and Enter to run, or click a command. Escape closes the search.

Controls explained

Ctrl/Cmd+K

Open command search, including from a focused field.

Up / Down + Enter

Browse and run a matching command.

Escape

Close the command dialog.

How it works

Search matches both command names and their groups. Groups include Project, Transport, Tracks, Regions, Timing, Pitch & harmony, Dynamics, Effects, Audio regions and Export.

A command uses the current track, selected region and note selection as appropriate. Select the target before opening Commands.

Commands offer operations beyond the main toolbar, including note-editor zoom, note processing, stereo treatments, marker navigation and custom shortcut settings.

How to use it

1. Click the timeline or Note Editor canvas when you want workspace shortcuts.
2. Use Ctrl/Cmd+1,2,3 for Arrange, Note Editor or Mixer; Space starts/stops playback.
3. Use the correct context for Ctrl/Cmd+C/X/V: regions on the timeline, selected notes inside the editor, and ordinary text in text fields.

Controls explained

Ctrl/Cmd+1 / 2 / 3

Arrange / Note Editor / Mixer.

Space

Play or stop outside text and control fields.

Ctrl/Cmd+S

Save the local browser session.

Ctrl/Cmd+B / D

Split / duplicate a selected region.

Alt+Up / Down

Select a neighbouring track.

Tab / Shift+Tab

Move keyboard focus.

Escape

Close the active dialog/FX, or stop and panic in the workspace.

How it works

Ctrl/Cmd+S saves locally; Z undoes and Shift+Z redoes; B splits a region; D duplicates a region. Alt+Up/Down selects the previous/next track.

Tab and Shift+Tab move through visible controls. A button keeps its normal keyboard activation; a select keeps its arrow-key selection behaviour.

Open dialogs keep keyboard focus inside the dialog. Escape closes a dialog or FX panel; outside those contexts it stops playback and sends a MIDI panic.

Plain letters such as R,C,M,S,T,F and L may be instrument notes on the selected channel. Musical note mappings take priority. Use buttons, Commands or a custom modified shortcut when a letter is also a note.

How to use it

1. Open Commands and run Customize keyboard shortcuts.
2. Choose the command, click the Shortcut field, then press Ctrl/Cmd+Alt plus the desired key. Add Shift for another layer.
3. Read any reassignment notice and click Assign shortcut. Close the dialog and use the binding from the workspace.

Controls explained

Command selector

Choose the production action.

Shortcut capture

Record Ctrl/Cmd+Alt+[Shift]+physical key.

Assign shortcut

Save or reassign the captured binding.

Remove binding for this command

Delete the selected command’s binding.

Saved binding list

Review keys and their assigned actions.

How it works

Bindings use the physical key position and are saved to this browser. They are not included as a shared account preference or portable project setting.

Assigning an already-used key combination moves it from the earlier command. Assigning another key to a command replaces that command’s previous binding.

Choose a command and use Remove binding for this command to clear it.

Custom bindings do not run while typing, using buttons/selects, or working inside a modal or open FX panel. Holding a key does not repeatedly rerun a custom command.

How to use it

1. Select the track you want to process.
2. Click FX, or use that track’s FX button in the Mixer.
3. Check the panel heading to confirm which track is being edited.
4. Enable the desired effect with its small power button and adjust its sliders while listening.
5. Watch the FX status bar and mixer levels as you work.

Controls explained

FX

Opens the selected track’s effects panel.

Effect power buttons

Enable or disable Reverb, Delay or Compression.

FX status bar

Summarizes the current processing state.

Panel ×

Closes the effects panel.

How it works

The dry signal remains present when reverb is enabled; Reverb Wet adds the room contribution.

EQ processes the dry/reverb combination. Delay receives the EQ output, and its repeats join the dry branch before compression and width.

Track volume and pan remain effective when track effects are bypassed. The master output still has its limiter.

The status bar summarizes active reverb, delay, compression, EQ, pitch, width and enhanced-rumble settings, or indicates bypass/dry state.

Audio tracks share reverb, delay, EQ, compression and width. Their FX panel hides virtual-instrument Pitch Shift and marimba Rumble Settings.

How to use it

1. Enable Reverb with its power button.
2. Start with a modest Wet level so the strikes remain clear.
3. Increase Size for a larger room impression.
4. Adjust Decay to change how the reverberant texture dies away.
5. Listen with the complete arrangement, not only the soloed instrument.

Controls explained

Reverb power

Turns the reverb branch on or off.

Size

0–100%; default 40%.

Wet

0–100%; default 25%.

Decay

Visible range 10–100%; default 40%.

How it works

Size is presented as 0–100%; the generated room response spans roughly 0.5–4.5 seconds as Size increases.

Wet is 0–100% and controls the level of the reverb branch added to the unchanged dry branch.

The visible Decay slider is 10–100%; it shapes the decay of that room response. It is not labelled in seconds.

Changing the sliders retains the original recorded notes or audio source.

A WAV render with effects includes the chosen room response and allowance for its tail.

How to use it

1. Enable Delay.
2. Choose Time to place the first repeat.
3. Set Feedback for the number and persistence of further repeats.
4. Set Wet for the echo level and balance it against the original strikes.
5. Reduce feedback and wet level if repeated parts obscure the next phrase.

Controls explained

Delay power

Enables the echo branch.

Time

10–1000 ms; default 300 ms.

Feedback

Visible range 0–90%; default 30%.

Wet

0–100%; default 20%.

How it works

The Time slider covers 10–1000 ms, displayed in milliseconds; the default is 300 ms.

Feedback’s visible slider covers 0–90%; higher settings make echoes persist much longer.

Wet is 0–100%; the default is 20%.

Delay Time does not automatically follow a later BPM change. At 120 BPM, for example, 500 ms is a quarter note and 250 ms an eighth note; enter an appropriate time by ear or calculation.

The WAV render accounts for delay tails, including the case where reverb feeds the delay.

How to use it

1. Select the track and open its FX panel.
2. Adjust Low (250Hz) to add or reduce low-frequency weight.
3. Adjust Mid (1kHz) to shape the body and presence of the part.
4. Adjust High (8kHz) to brighten or soften the upper attack.
5. Use modest adjustments and recheck the sound in the full mix.

Controls explained

Low (250Hz)

Low-shelf gain, −12 to +12 dB.

Mid (1kHz)

Peaking-band gain, −12 to +12 dB.

High (8kHz)

High-shelf gain, −12 to +12 dB.

How it works

Each visible EQ slider spans −12 to +12 dB, with 0 dB as a neutral starting point.

Low and High are shelf filters; Mid is a fixed-frequency peaking band. This panel does not offer variable frequency or Q controls.

The small EQ bars visualize the settings; they are not a frequency-spectrum measurement.

EQ has no separate power switch. Return all three bands to 0 dB for neutral EQ, or use Bypass All to bypass the whole track-effects chain.

How to use it

1. Enable Compression.
2. Lower Threshold until the louder strikes are being controlled to the degree you want.
3. Choose Ratio for stronger or gentler peak reduction.
4. Adjust Attack to preserve or soften the initial strike.
5. Adjust Release so the level recovers naturally between musical gestures.
6. Compare at a sensible listening level and check the whole arrangement.

Controls explained

Compression power

Enables or disables track compression.

Threshold

−60–0 dB; default −20 dB.

Ratio

1:1–20:1; default 4:1.

Attack

Visible 0–100 ms, effective minimum 1 ms; default 10 ms.

Release

10–1000 ms; default 250 ms.

How it works

Threshold spans −60 to 0 dB; the default is −20 dB.

Ratio spans 1:1–20:1; 1:1 produces no dynamic reduction, and the default is 4:1.

The visible Attack slider covers 0–100 ms, but the effective engine minimum is 1 ms. The default is 10 ms.

Release spans 10–1000 ms, defaulting to 250 ms.

This panel does not provide a separate makeup-gain or sidechain control. Use the track level for the overall balance.

How to use it

1. On a marimba or drum track, move Semitones to choose a fixed pitch offset.
2. Set Stereo Width to 0% for mono, 100% for the ordinary image, or above 100% for a wider image.
3. On a marimba, adjust Rumble Speed and Enhanced as needed.
4. Check the result in mono as well as stereo before exporting.

Controls explained

Semitones

Fixed virtual-instrument pitch offset, −12–+12.

Width

0–200%; default 100%.

Rumble Speed

50–500 ms between live repeats; default 125 ms.

Enhanced

Alternating rumble dynamics.

How it works

The visible Pitch Shift range is −12 to +12 semitones. It changes sample playback rate, so sample length changes with pitch. It is not independent formant-preserving pitch processing.

Pitch Shift changes how existing note events sound without rewriting their displayed note names.

Width covers 0–200%: 0 is mono, 100 is normal, and 200 is the widest setting. A mono source may offer little extra width without stereo-generating processing.

Rumble Speed is 50–500 ms. Enhanced alternates softer repeated strokes. These settings do not turn an existing single recorded note into a programmed roll on playback; live rumble is recorded as repeated strikes.

Pitch Shift is hidden for audio tracks; Rumble Settings are hidden for audio and drum tracks.

How to use it

1. Choose a preset in the FX selector and click Apply.
2. Adjust the result, then use Save Preset and give it a useful name if you want to reuse it.
3. Use Copy FX, select another track and use Paste FX to transfer the sound settings.
4. After editing, click Compare to hear the settings from when the FX panel was opened; click Compare again to return to your edited version.
5. Use Bypass All for a temporary full-chain bypass, or Reset Mix & FX when you intentionally want to restore the default mix and effect values.

Controls explained

Preset selector / Apply

Choose and apply a built-in or browser-saved preset.

Save Preset / Delete Preset

Create or remove custom browser-local presets.

Copy FX / Paste FX

Transfer the FX snapshot between tracks.

Compare

Audition the panel-opening baseline and return to the working sound.

Bypass All / Bypass On

Temporarily bypass the track’s effect processing.

Reset Mix & FX

Restores default mix, pitch and effect settings.

How it works

Built-in presets are Hall Glow, Echo Garden, Warm Bass Bed, Bright Lead Lift and Tight Ensemble. They target spacious, echo, warm-bass, bright-lead and tighter-ensemble treatments.

Built-in presets set their defined parameters while retaining other current parameters. Applying one is not equivalent to resetting the complete track first.

Save Preset stores a custom FX snapshot in this browser. Delete Preset removes the selected saved custom preset; built-in presets cannot be deleted.

Copy FX and Paste FX transfer effects, fixed pitch, width and rumble settings. They do not copy the track’s notes, volume or pan.

Compare temporarily restores the panel-opening baseline. Editing controls are disabled during that comparison. Returning from Compare, closing the panel or saving restores the working settings.

Bypass All becomes Bypass On while active. It bypasses reverb, delay, EQ, compression and width without deleting their settings. Fixed sample pitch, level and pan are retained.

Reset Mix & FX resets more than effects: it also restores track level to 80%, centers pan and returns fixed pitch to zero.

How to use it

1. Open FX on a marimba or drum track.
2. Click a take to make it the current editing and recording target.
3. Click New Take for an empty pass.
4. Use Duplicate Take when you want another copy at the same region position for editing.
5. Reposition a duplicated region on the timeline if it should become a later section rather than an overlapping layer.

Controls explained

Recording Takes / Pattern Takes

Lists note takes on marimba/drum tracks.

New Take

Creates an empty active note take.

Duplicate Take

Duplicates the active note take.

Audio Regions

Lists waveform regions on an audio track.

Duplicate Region

Copies the selected audio region.

How it works

Each list entry displays its take number, note count and duration.

All unmuted arrangement takes can play. Selecting T1 instead of T2 is not an exclusive take-comp switch.

Duplicate Take duplicates the active take as another editable take, preserving the source position. The timeline’s Duplicate region command instead places a copy after the selected region.

Drum tracks label this area Pattern Takes. Audio tracks label it Audio Regions and hide New Take.

Use Delete Region for an audio region; audio-track Duplicate Region acts on the selected waveform rather than duplicating a virtual note take.

How to use it

1. Select the intended take in FX.
2. Choose the desired Grid in Controls before using Quantize Take.
3. Use Quantize Take for deliberate grid alignment, or Humanize Take for small timing and velocity variation.
4. Use Tighten Velocity for more consistent strike levels.
5. Play the result with its accompaniment and use Undo if needed.

Controls explained

Quantize Take

Aligns the entire active note take to the chosen grid.

Humanize Take

Adds small timing and dynamic differences to the active note take.

Tighten Velocity

Reduces the active take’s dynamic spread.

How it works

Quantize Take moves note starts to the chosen grid in absolute session time. It works even when Snap is switched off.

Humanize Take adds randomized timing variation up to one thirty-second of a quarter-note duration in either direction; at 120 BPM that is about ±15.6 ms. It also varies velocity by up to ±8 percentage points and limits the resulting velocity to 20–100%.

Tighten Velocity draws velocities toward 78%, retaining 45% of their original distance from that target; the final range is limited to 35–100%.

These controls change stored note events. They are not non-destructive effect inserts.

Audio regions hide these three note-only tools because waveform audio does not contain editable marimba strike events.

How to use it

1. Select the take or audio region that needs attention.
2. For a note take, click Clear and confirm only if you want to remove that take’s recorded notes.
3. For a waveform track, select the waveform and use Delete Region.
4. Use Export Track as WAV when you want a rendered stem of the current track.
5. Save the session or a portable project backup after the arrangement is settled.

Controls explained

Clear

Clears the active virtual-instrument take after confirmation.

Delete Region

Removes the selected waveform region.

Export Track as WAV

Renders a track stem.

Duplicate Track

Copies the full track and its settings.

Delete Track

Removes the complete track after confirmation.

How it works

Clear replaces the active note take with a fresh empty one; it does not clear every track in the session.

Delete Region removes the selected waveform region from the arrangement. It is not a global deletion of every audio source or profile recording.

Export Track as WAV renders the track’s arrangement content, including its unmuted takes or regions. It is not limited to the currently selected take.

Single-track WAV export uses the current master level and the current Include effects choice from the Bounce dialog. Muted tracks are excluded from export.

Track deletion and mix reset are separate actions. Duplicate Track copies a complete track with its clips and sound settings when you need a larger alternative version.

How to use it

1. Finish recording and wait for any audio finalization.
2. Click Export mix, Tools → Bounce, or run Export WAV mix with effects from the command centre.
3. Enter Filename and check the tracks you want under Include Tracks.
4. Choose whether Include effects should be enabled.
5. Click Bounce and wait for preparing, rendering and encoding to complete.
6. Save the downloaded .wav file and listen to it before sharing it.

Controls explained

Filename

Names the downloaded file; the studio adds .wav.

Include Tracks

Chooses the explicit export set.

Include effects (reverb, delay, EQ)

Toggles track effects in the offline render; enabled by default.

Bounce

Starts rendering and download.

Progress/status

Shows preparation, render and encoding progress.

How it works

The result is a stereo, 16-bit PCM WAV at the current audio context’s sample rate. There is no separate sample-rate or bit-depth selector in this dialog.

The render begins at the arrangement’s time origin and includes the selected arrangement content plus sample/effect tails. It is not restricted to the current playhead or transport-loop window.

At least one track must be checked. Muted tracks remain excluded even if checked; for the Bounce dialog’s explicit track checklist, choose the exact set you want rather than relying on Solo to choose it.

With Include effects enabled, track reverb, delay, EQ, compression and width are rendered unless that track is bypassed. Track level, pan, fixed sample pitch and region gain/fades still matter when effects are excluded.

Master level and the master limiter are applied. Playback Speed is a rehearsal setting and is not used to make the exported arrangement faster or slower.

Missing samples or unreadable stored audio sources stop export and produce an error message. Restore the source or re-import it before trying again.

How to use it

1. Sign in to the profile whose recordings should receive the result.
2. Check mute and solo states to choose the audible mix.
3. Open Tools → Save Recording, or use the command-centre profile-save command.
4. Enter Recording Title and check the displayed storage availability.
5. Click Save to Profile and wait for rendering and the upload-complete message.
6. Open your profile recordings to review the saved result.

Controls explained

Recording Title

Sets the profile recording’s title.

Storage/quota message

Shows the signed-in account’s current available recording slots.

Save to Profile

Renders and uploads the audible mix.

Status/progress

Shows rendering, uploading and completion.

How it works

This action renders audible, nonmuted tracks; if one or more tracks are soloed, only the soloed audible set is included.

Profile saving always uses an effects-enabled render and respects each track’s bypass choice.

The recording uses the same saved-recording slots as the main profile. The dialog reports the current plan’s allowance and disables saving when access/storage is unavailable or full.

There is no fixed slot count that applies to every account. Use the quota shown for the signed-in profile rather than assuming a particular plan limit.

A saved profile mix is a rendered recording, not a cloud-hosted editable multitrack project. Keep the local session and a portable project backup if you want to continue editing later.

The full workflow includes an upload; a locally saved session or downloaded WAV is not automatically a profile recording.

How to use it

1. Finish recording and set mute/solo states to select the audible instrument parts.
2. Open the command centre and run Export multitrack Standard MIDI file.
3. Save the downloaded .mid file.
4. Import it into your other MIDI-capable music application and assign or confirm its instrument sounds.
5. Use WAV as well when the recipient needs to hear the exact mixed audio.

Controls explained

Export multitrack Standard MIDI file

Command-centre action that downloads .mid.

Mute / Solo

Define the audible instrument set included in MIDI export.

How it works

The file is Standard MIDI format 1 with a conductor track containing fixed tempo, time signature and markers, plus separate instrument tracks. Its timing resolution is 960 ticks per quarter note.

Alto, Tenor and Bass notes are mapped to MIDI pitches. Fixed track Pitch Shift is included; marimba tracks carry a General MIDI marimba program, level and pan information.

Drums use the General MIDI percussion map on MIDI channel 10, so live keyboard pad numbers are translated into standard percussion pitches.

The format supports up to 15 melodic tracks in this exporter. Drum tracks share channel 10; their individual gain is folded into note velocity, and independent per-drum-track panning is not represented.

Waveform audio regions, reverb, EQ, delay, compression, stereo-width processing and live MIDI expression gestures are not embedded. External playback uses the receiving application’s sounds and settings.

Marimba notes are struck samples without stored release durations. The exporter uses brief quarter-beat note gates, shortened before a rapid same-pitch retrigger. It preserves onset timing rather than inventing a sustained-note performance.

Unavailable note names, invalid event times and zero-velocity strikes are skipped. This command exports MIDI; it is not a MIDI-file import tool.

How to use it

1. Use Save Session for browser-local editing continuity.
2. Use a portable project backup for an editable copy with the project’s embedded audio sources.
3. Use WAV for finished sound, or MIDI for instrument-note exchange.
4. If an export fails, read the status message and check track selection, mute states, source availability and available browser resources.
5. Make a shorter or single-track export first when diagnosing an unusually large arrangement.

Controls explained

Save Session

Keeps the editable session in this browser.

Portable project backup

Downloads the editable project and embedded sources.

WAV

Downloads the mixed audio result.

Standard MIDI

Downloads instrument-event exchange data.

Save Recording

Uploads an effects-rendered mix to profile recording storage.

How it works

WAV preserves the rendered sound but does not retain separately editable tracks and note events.

MIDI retains instrument-event information and musical metadata, but substitutes external sounds and omits waveform parts and audio effects.

A portable project backup serves a different purpose from Save Recording: it preserves an editable project locally, whereas Save Recording uploads a rendered mix to profile storage.

A very long arrangement, many repeated events, large imported audio or long delay tails can require substantial browser memory during offline rendering. The presence of a valid project does not promise unlimited render capacity.

If a source is missing after browser storage has been cleared, the waveform cannot be recovered from its region label alone. Restore a project backup containing the source or import the original file again.

A compatibility audio fallback can allow some live playing, but precise Web Audio scheduling and effect behavior depend on successful sample decoding. Resolve loading errors before relying on an important recording or render.