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he favorite DAW (digital audio workstation) of producers like Metro Boomin and Mike Will Made It finally has a piece of hardware to call its own. Ableton got its first dedicated hardware controller way back in 2009. And Pro Tools has had them since… well honestly I don’t even know, but long before that even. FL Studio though, despite its popularity, has had to make do with generic MIDI controllers until now. The Akai Professional Fire changes all of that.
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If you’ve spent any time tinkering in FL Studio (or Fruity Loops, for those of you who go way back) the Fire should look immediately familiar. Its 4×16 grid of pads looks exactly like the ones you’ll find in FL Studio’s step sequencer, complete with a little black notch. They’re not just simple on-off buttons though since they’re velocity sensitive you can use them for finger drumming and even play keyboard instruments in “note” mode.
fl studio 12 Crack has a search engine that gives you the opportunity to find any track or tool in a very short time. The program also can edit your tracks as you want. It also has a playlist window, which is divided into two parts top and bottom. On the top pattern and audio tracks in the bottom. FL Studio Keygen has a browser view and many editing windows so that the user can easily manage their creation. That allows you to do many works without any hesitation. If you want a playlist, there is a separate window for it. Some other windows are the piano roll, pattern. You can do many works in many methods.
Of course, if all you could do was control the sequencer Fire wouldn’t be that exciting. But there are also four knobs that can change anything from volume and panning to oscillator tuning or filter sweeps. And you can even browse and select samples from a small OLED screen without having to touch a mouse or keyboard. And of course, there are all the controls you’d expect for the record, playback, muting and soloing channels. It’s not quite as comprehensive as Ableton’s Push, but you can perform at least most basic tasks in FL Studio right from the Fire.One unique feature here is the ability to combine up to four units into a single virtual control surface. That gives you an 8×32 grid of pads to play with, which should mean a little less scrolling and button pushing on longer loops and bigger projects.
A channel’s volume can be automated in the piano roll by right-clicking the grey box under the keyboard and selecting Channel volume. This is useful for adding tremolo and subtle variations in levels, which isn’t easily doable using note velocities. It’s also great for adding an organic feel to a phrase. A consequence of automating the volume in this way, though, is that it adjusts the channel’s Volume knob in the step sequencer, which can be an issue when mixing. A good fix is to use the Volume Multiplier knob in the Misc tab of the Channel Settings window to set the level before it gets to the Mixer.
In the step sequencer, click the pattern selector and select Split by the channel on the right. All of the notes and automation for each channel will appear in new patterns, named after each channel, stacked on top of each other in the Playlist.
How often do you find yourself playing something really awesome on your MIDI controller and wishing you’d had Record engaged (or a better memory)? Even when not recording, FL Studio remembers all of the incoming MIDI notes from the last five minutes or so. To get that great riff back, go into an empty pattern and select “Dump Score Log To Selected Channel” from the Tools menu. Those MIDI notes will magically appear!
The Browser can be organized by snapshots – specific locations accessible via number keys 1 to 5. To set up a snapshot, navigate to the location in the Browser that you want easy access to and click the Current Snapshot dropdown menu, next to the Browser label. Choose the number key you want to associate with this location and click that snapshot. You can also rename and freeze the snapshot. When you want to navigate to that location in the Browser, press the associated number key while the Browser is in focus.
Automation clips can have their minimum and maximum values scaled, enabling you to edit the depth of the automation without going through and tweaking each point in the clip. In the Channel Settings window of the automation clip, the MIN and MAX knobs at the top will adjust the range of the automation clip. To the right of these knobs, the Timestretch knob can be used to adjust the clip’s timing and length.
In the piano roll, the velocity levels or other parameters of the currently selected notes can be scaled by pressing Alt+X. This affords you a lot of flexibility when it comes to adjusting note properties and can be very useful when a number of notes are too loud or too soft and you want to make them fit better without sacrificing their relative levels.
To set the resolution of FL Studio’s sequencer, select the project’s General settings from the main Options menu and change the Timebase (PPQ) value. Higher values will enable you to zoom in closer on notes and draw smaller ones more accurately, as well as being able to adjust the start and end points of the notes to a finer resolution.
Pattern clips in the Playlist can be sliced and rearranged. Using the Slicer tool (C), click and drag across a clip, or hold Shift and click to slice without dragging. The new sections of the clip can be moved around as you see fit. Be careful when slicing a pattern: any notes that start before the slice will be omitted from the resulting piece. The slip tool (S) can come in handy for remedying this.
To quickly edit events smoothly in the piano roll or the event editor, enable Auto smoothing in the piano roll’s Options menu and edit the events with the pencil tool. Then set Snap to Step and draw in your automation. Once that’s done, FL Studio will make the events smooth and rounded, rather than jerky and broken.
At the bottom of the Snap to grid menu in both the piano roll and the Playlist is the Snap To Events option. With this enabled, notes and clips won’t snap to anything except the start and end points of pre-existing notes or clips. When the note or clip is at a point at which it will snap to another one, the other notes or clips will be colored purple. This can be useful when you want to add notes to a phrase that isn’t strictly quantized without them overlapping, or when slicing audio in the Playlist.
Here’s the full feature set from the official press release:
Editing In Multiple Way:
The Mixer of Tune:
Lots Of Plugins: