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Music Tech Guide to FL aracer.mobi - Free download as PDF File .pdf), Text File . txt) or read online for free. A complete guide and tutorial on FL Studio Learn how to use FL Studio and some more of the advanced techniques in one day. Get started for free today!. FL Studio is a very powerful beat making program and we're going to create a very basic beat! You can make use all kinds of sounds to recreate reggae, hip hop.
As good as the MIDI sequencer on FL Studio is, most users will nd it incredibly useful to be able to capture audio parts into their projects, whether its a simple guitar line, a full vocal track or even multitracking a live band. Its often in blending real and synthesized sounds that the most interesting results are achieved, and you can then process any audio using the many supplied audio effects.
FL Studio Producer Edition has two main methods for recording audio, plus a third technique for printing audio internally. If you are working with one or just a couple of audio parts, or working with a loop, its recommended to use the Edison recorder module. This acts as a sort of mini wave recorder and editor and has a range of sample editing tools. It can then be triggered inside the Playlist, a bit like a very advanced version of a MIDI hardware sampler setup.
You can use as many instances of Edison as you like. If you are recording longer parts or multitracking audio through a multi- input audio interface, perhaps a drum kit or several musicians at once, it can be a better idea to record arm mixer tracks in the Playlist and record directly into these.
This is a more conventional, linear approach to recording and is preferred by some. Although it doesnt have all the bells and whistles of Edison, its better for some kinds of audio recording tasks. Last but not least, using the softwares internal routing features you can freeze audio tracks internally to new, simple audio parts.
This is really useful for conserving CPU power on tracks where you might have lots of effects going, so that you can lower your buffer size for more latency-free recording of new parts.
However you approach audio recording in FL Studio Producer Edition, theres sure to be something for you to learn, so read on! To record multiple tracks at once you will need the corresponding number of physical inputs.
Go to the Audio Preferences and check your device is set up. Generally this means a smaller buffer. To avoid feedback you will need to switch off any speakers and use headphones to monitor on unless you DI an instrument, say by plugging a guitar straight into the interface. This can be done in realtime or non-realtime modes, with the latter providing a slower but higher quality render. Essentially what you do is record arm the mixer tracks you wish to record, then in the Mixer menus Disk Recording submenu, select Auto Create Audio Tracks as this will place a copy of the track into the playlist after recording has completed.
First we will look at recording into Edison, so create an instance by dragging it into your project. Or, click on the Record button on the Transport panel to be shown recording options. FL Studio will show you audio input levels at the top left and also in the mixer if you happen to have that open.
Check your levels you should be aiming for a decent signal, into the yellow but not hitting the red at the top. On Input, On Playback or Now being the main ones. To record along with a click, activate the metronome or have a beat playing in a track, then press the record button in Edison and perform.
The sounds you make will be captured and you will see the waveform display update. On Input allows you to set a threshold trigger level by left clicking on the peak meter and dragging up and down. You will see the level displayed in the Info area at the top left of the app. On Play will start recording when play is pressed useful for recording multiple takes. Since it operates in RAM, its better suited to working with shorter sections of audio than long takes. For that, use the Mixer recording mode.
Activate the loop button on Edisons transport if you want to loop playback within the module. If you click on the button with the spanner icon you can access a range of functions including time and pitch stretching, normalization, noise gating and more. Interestingly, at the bottom of this list is the option to analyse the clip and send it to the Piano Roll as score data. These are both ways to take captured and edited audio clips and make them part of a project.
Use Edison to work on audio clips prior to sending them elsewhere in a project. As well as getting to the audio processing functions from the previous step, this allows you to import a sample from your hard drive into Edison and also export the current sample as a le out to your desktop.
Here you can set things like panning, volume and stereo envelopes plus an all-purpose envelope which can be assigned to parameters like setting volume fades or pans within a clip.
In Edisons toolbar, click the Regions button for options. These include audio slicing, loop selection and the ability to manually identify a downbeat. These will help FL Studio accurately incorporate rhythmic and other loops into a project.
For a track, select it and then go to the Input menu at the top right and choose the input. To multitrack, assign each input to its own mixer track. This can be handy for sending different takes to different locations.
All drums to one folder for example, all vocals to another and so on. You could, for example, record several versions of the same take, but process each one differently using effects. It would also be possible to set a separate record location for each one, giving you more control over your recordings. This is perfect for longer recordings since it records directly to disk.
The tools that you use to edit MIDI clips in the playlist can also be used to manipulate the audio takes. Select Song Mode and then create a loop area using the markers in the Playlist. To toggle audibility of recorded parts as you loop, go to Options and turn Blend Recorded Notes on or off. From the waveform display at the base of this window you can drag and drop the clip anywhere into the Playlist area to duplicate it.
Once its there, you will almost certainly need to edit it in some way, either to correct any problems with performance or timing, or to make it more exible than a regular audio clip. This might be, for example, so that it can have a groove extracted or be replicated as a MIDI part. FL Studio has a range of tools available to help you with this. The more basic ones deal with things like normalization of a clip, reversing or fading clips.
The Channel Settings window also lets you control time and pitch stretching, which are both essential for making audio parts conform to your project even if they start off being recorded in the wrong key or at the wrong speed.
For detailed editing you can move to the Edison module, FL Studios dedicated audio manipulation tool. Here you will nd a much more advanced selection of functions that can be used to take control of audio parts before they are played back using the sequencer. The spectrographic view in particular is handy for understanding whats going on inside an audio clip and how to x any potential problems. In the Playlist editor its also possible to edit audio clips insofar as they are sequenced as blocks of data on a timeline.
So between these various tools and techniques you will nd it quite possible to manipulate every aspect of your audio track whether its simply normalizing a clip thats been recorded too quietly, removing hiss or rumble using effects and EQ, or slicing loops to the sequencer to make them playable as instruments in their own right. Read on to nd out how it all works. Part 5 FOCUS ON WAVES Edison is able to show you waveforms in a regular fashion or as a spectral display, which gives you much greater information about the intensity of specic frequencies in a clip, rather than just the amplitude of the sound over time.
Its also useful for specic tools like acquiring the noise prole of an audio clip and subsequently removing specic sounds from it or gating it to get rid of unwanted background noise.
Other tools like Izotopes RX or Sonys Spectralayers have spectral capabilities, Izotopes Iris synth actualy uses spectral technology to generate sound but there are some built right into FL Studio as well.
Then click on it to open the Channel Settings window and you will see a number of options. Start by going to the very base of the window, and experimenting with using the In and Out knobs to create a fade at the start or end of the clip. If you turn this to the left or right you will hear that your audio clip speeds up or slows down as it goes. Its sort of like a rubber band effect, and can sound really cool. To reset any of these knobs back to their default position, hold the alt key while clicking on them.
Normalization is useful for when a clip is too quiet, to raise the volume without having to push the channels fader all the way up. The two can work independently. Move the Pitch knob to change pitch but not time, and the time knob to alter duration but not pitch you can alter both.
In the Stretch Type menu choose the algorithm suited to the material youre stretching. You can also drag the wave display into a project to place the track into the sequencer. To make more detailed edits, right click and choose Edit, which will open the Edison module.
These work on the selected part of the waveform so you can select some or all of it. Some are similar to those found in the Channel Settings window. You can do more with channels, declicking and normalization. Using these you can acquire a noise threshold to identify parts of a clip where you want to gate out unwanted background noise, then either gate it in real time or have it trimmed out of the clip great for vocals, where background bleed can be removed when no singing is taking place.
Go to the Detection section and you can choose to slice a clip up using different sensitivity settings. From here you can also detect beats and pitch regions, making it easier to slice a clip up. Choose this and you can place a marker inside any audio clip where the rst beat of the bar occurs.
This is great for correctly-slicing and aligning rhythmic clips which may not at rst be correctly cut, and may have an irregular length. Try, for example, applying an effect directly to a clip using the EQ, Blur or Reverb buttons.
This renders an effect onto a clip so that it is always played back as part of it rather than working as an insert on an audio channel useful for reducing CPU overhead. These include pan, volume and stereo separation and an assignable envelope.
Right click to add a point and right click on a point to choose a curve or shape for that point. Use envelopes to modulate parameters in realtime.
So once you have made your edits you can make the clip a part of your track. You can always re-open it in Edison at any point to make changes. FL Studio provides you with a number of great tools to shape your beats. And the multiple programming options mean that whether you prefer to play your beats in using the mouse, a step sequencer or an auto generator, theres sure to be something that works for you.
In addition to the various virtual instruments provided for making beats, you can also import your own loops and slice them up or time stretch them to make new variations and patterns.
When you have your beats in the Playlist, you can quantize them. Straight quantization will give you a more mechanical feel, which you might want for certain types of electronic music like house or techno. For a more human feel, say perhaps for hip hop, dubstep or even rock you can add groove quantization and swing so that the music doesnt sound like its been made by a machine.
FL Studio also makes it easy to layer up patterns, create variations and add percussion and other, non-drum sounds to your beats to keep things interesting.
The bundled plug-ins allow for drum synthesis as well as sample-based beat creation. When you have a kit built from synth modules you can really get to the heart of the sound, detuning and morphing each element of the kit in ways that arent possible with samples, in order to get a really unique sound. So, however you approach beat making in FL Studio, theres sure to be something on offer that will get you the best results possible.
This might be as simple as a USB keyboard with drum pads, a dedicated drum pad controller or a full MIDI drum kit that you can play in the same way as a real kit. Go into the MIDI setup and see if your controller is natively supported. If not you can add it and make MIDI assignments manually, or you may nd that the manufacturer has created an FL Studio-specic template that you can download and adapt to suit.
Programming beats using a more drum-centric hardware unit is a great way to get better sounding beats. We have chosen Fruity DrumSynth Live, which is a simple drum synth for making electronic beats.
Open the Piano Roll editor and use the Pen tool to draw in some beats. They will default to one measure in length. If you double click on any note you can open the note properties window where you can set various parameters including velocity and release on a note-by-note basis.
To get a more human feel, go to the Piano Rolls Tools menu and choose Quantize. In the lower part of the window you can adjust quantize strength, which may be enough for some purposes.
These will affect not only the timing of the beats but also the velocity, and alter what kind of emphasis is placed on the different beats. Try a hip hop groove for a nice swing, for example. Go to the Kit Selection menu and choose from the bundled kits. Here we have chosen a drum and bass kit.
Program a pattern in using whatever your preferred method is and then you can start working with the modules that are generating the sound to customise the kit.
This should point you at the Drumaxx patches folder and you can try some different sounds. Repeat for any drums you want to swap until you have a kit thats working for you. Select a drum module and then in the step sequencer bar, click to add notes for every hit you want to add. Repeat for each drum module you want to include. Also use the multiple controls in the centre of the instrument to tweak the sound of each individual drum hit.
Add an instance of GMS Groove machine and go to the Special FX folder where youll nd some synth hits and other sounds good to incorporate into rhythm patterns.
Add some hits to the beats you already have running and repeat the process to start layering things up. Choose how to import the beat. We have chosen Slicer channels as it gives more freedom to play. This opens the le in Fruity Slicer and chops it up for us. This effectively lets you turn any sampled beat or other loop into an instrument. You can also re-order the MIDI notes inside the pattern to change the slice playback order, which makes it easy to quickly create new grooves. Last time we looked at beats so now were going to explore working with bass in FL Studio.
Many of the synths that come with the software are great for making bass sounds and it also supports specialised third-party models. Synths tend to be good at bass as they can generate low frequencies and, as the sound remains virtual, there are no distortion issues.
Even more generic synths have bass patches to use to build your own basses from scratch. If youre after a more realistic bass sound you could look at a specialised plug-in like Spectrasonics Trilian or one of the many Kontakt-based electric basses from Native Instruments, either of which would do a better job than the simple BooBass that comes with FL Studio.
If youre looking to record your own bass parts you can do that live as well. Whichever route you take, there are plenty of tools to help you get a bigger bass sound. These include EQ and compression and things like amp simulation which helps add realism. The key thing when mixing bass is to retain as much energy as possible without letting it overpower the rest of the track or suck the life out of it.
You might use the side-chain compression feature of a plug-in to selectively compress only certain parts of a bass signal, or indeed a multiband compressor to rein in certain elements of it while leaving others intact. How low can we go? By applying a plug-in like FLs own Wave Candy across any channel or ideally across the master channel, you can see how each part of the frequency spectrum of the track is behaving and whether you need to make any adjustments.
Using your ears as a guide is also important, but the way you hear music will depend on your surroundings as well as the speakers you are listening on. Analysing the signal digitally in this way helps you understand it more fully and thus ensures it plays back more accurately on a range of different systems. Many of FL Studios bundled synths have bass patches or the ability to generate bass sounds.
Here we have loaded in an instance of the classic TS bass synthesizer, chosen a patch and then programmed in some notes so it plays back. There you will nd an Arpeggiator section where you can activate and congure arpeggiation and repeats for the part, giving it a more classic effect. This is more meaty and offers the ability to add multiple effects onboard and use up to six oscillators to create a truly enormous bass sound.
Theres also a mod matrix for extra exibility. This has some excellent onboard controls for shaping your bass including a string damping section, resonator control and some built-in effects. Its a good alternative to using a real bass guitar and you can program it using the MIDI tools supplied. Once you have your part recorded you will want to start to shape the bass sound. Start by going to the effect preset chooser and open the mixer. Locate a compressor we have the Fruity Compressor and drop it onto the instruments channel.
For more acoustic sounds, use a slower release. If a simple compressor isnt working, try a multiband compressor like FLs own Fruity model. This allows you to apply different levels of compression to the low, mid and high bands, taming frequencies while letting others breathe more naturally. For synth basses you might nd yourself compressing the bottom end of the signal more heavily while leaving the mid and upper ranges more free to cut through. The nature of sub basses means they can be tricky to tame, so special treatment is required.
Using one with at least ve bands should ensure better control over the different frequencies. Use one of the bundled distortion or overdrive plug-ins, or a specialised model. You dont have to go mad just adding a little crunch can really sound great and remove the articiality of computer-generated instrument parts.
Here we have added an instance of Image Lines Hardcore multi-stage guitar effect pedal plug-in and created a chain that adds a range of effects to really spice things up.
Native Instruments Guitar Rig is another good effect for achieving this. Be aware of how many EQs you are using and try to limit them. With instrumental music it is taking the place of a vocal in carrying the melody and adding catchy hooks to the song. Even when vocals are present, lead sounds still play a part, whether lling in breakdowns or middle eights or providing hook lines to underscore the vocal melody.
As such, lead sounds tend to have certain characteristics. They occupy a similar frequency range to vocals, which is anywhere between the mid and high range, and tend to be either percussive, attacking or both. As you might imagine, FL Studio has tons of lead sounds supplied as part of its arsenal of synths and other instruments and, of course, you can record in any sounds in that you like. Tweaking existing presets to make them suit your song is pretty straightforward and you can even create your own sounds from scratch in many of the synths.
When it comes to mixing lead sounds they often benet from being treated the same as vocals, which is to say that they need to be prominent and noticeable, while still working in the context of the track as a whole, and not overpowering any other elements. They usually benet from some careful compression and EQ in addition to any other effects like reverb, delay or distortion you may be using.
When you write lead lines you might start with a sequence or melody and then add other things like beats and basslines later, or you may do it the other way round, starting with a beat then adding a complementary lead part afterwards.
Whichever way you do it, FL Studio has some excellent tools for helping you program and shape your lead parts and since its so exible, its easy to quickly substitute one synth or patch for another. Strapped across the master channel, it can help you to tame difcult or unruly mixes, specically targeting one or more frequencies that may be jumping out of a mix. You can also use this type of effect on any channel you like say, for example, where a synth sound runs the gamut from very low to very high frequencies, and needs carefully compressing as a result.
Guide to FL Studio 49 Working with lead sounds Tutorial MT MT Step-by-Step Taking the lead 01 You can load up a lead preset in any synth, of course, but to really get a unique sound for your tracks it can be good to design your own, by starting from scratch or by modifying an existing preset. Here we have chosen Follow The Lead. Experiment with changing the waveforms used to generate the noise.
You will see that the rst two oscillators have four waveforms to choose from, and the third one has two. Use the Osc Mix slider to vary the amount of each signal present. A low pass lter will give a more nasal, resonant effect which can be good for lead sounds that need to pierce through the rest of the track to be noticed.
Raising the cutoff and resolution knobs will also have the effect of sharpening up the character of the sound. To make the sound more immediate, lower these controls.
Similarly, use the decay and sustain dials to control the way the sound behaves after a note is released. The Dual, Analog and White Noise buttons can also be activated to further fatten up the signal.
In the next step well add some effects. Here we have dropped an instance of Fruity Delay 2 onto our synth. This is a simple delay unit but works well on lead synth sounds, especially electronic types. Here we have chosen an instance of Hardcore, FL Studios guitar pedal and cabinet modelling suite. By ipping through its presets we can quickly dial in some crunch and compression that make our lead sound much meatier.
Though you can, of course, use any effect you like, guitar effects can work really well on lead synth sounds. Try distortion, compression, delay and reverb and sync your delay tempo to the host tempo to keep everything in check. This allows you to make some great-sounding effects and it works particularly well on lead sounds. Poizone is a good example of a synth with some excellent lead presets so load it up and have a dig around to see what you can nd.
As you might imagine this is a basic synth consists of three oscillators and not much else. Select a waveform for each oscillator and add some effects using the mixer, to create your own lead sound.
Here we have loaded an instance of Sawer which is mainly for basses but by transposing its oscillators up a few octaves and playing with lter cutoff and resonance its possible to make some really cool sounding leads as well as basses. Taking the lead cont. These range from more conventional tracking and mixing tools like compression, EQ and reverb to more outlandish stuff like the excellent Effector, Gross Beat and Fruity Scratcher.
And the software can see any third party VST effects loaded on your system as well, so you can add anything you like to your setup.. Understanding the audio processing effects available to you is at least as important as knowing which dial to turn on a synth to make it go from bleep to sweep. Standard, run of the mill samples or patches can be juiced up no end with the careful use of some choice plug-ins, and sometimes getting a really cool sound for a loop or a beat can dene the sound of a track and inspire you to go off in other directions with it.
Although its always good to get as much of the character of a sound as you can in place at the source, theres nothing wrong with turning to effects post- recording to really spice things up and get a completely different avour for your productions. Effector is one of the most interesting effects that comes with FL Studio.
To use more than one instance of Effector, simply load them up into slots on the channel. Like many of the effects in FL Studio it can be synced to the host tempo so things like LFO and delay effects can be made to stay in time even as you switch between different resolutions to change the character of the effect. Your system will happily run lots of effects and you can freeze or bounce channels down to free up resources if you want even more.
Indeed, the sky is the limit! By adding a secondary plug-in folder here you can ensure that it correctly picks up all the additional models installed on your system. Demo versions of some of the plug-ins that come with your FL Studio install will generally function fully for a limited period of time before inserting a period of silence into the audio signal.
downloading the plug-in, depending on which version of FL Studio you have, should unlock them and make them fully functional.
Click on the picker arrow to reveal a list of all the plug-in effects installed and available on your system. In this example we have a beat and we are going to insert an instance of Effector, so simply choose this from the list.
By clicking in the grid you can change the way the effect behaves. Using the Bypass button you can make the effect stay on or only come on when clicked. Flip between the other effects and youll nd its easy to dial in something cool sounding to liven up even dull sounds. This guitar multi effect is capable of some really great crunch, warmth, overdrive and tone and is good for using on guitars, basses, synths, beats, vocals and much more.
It can even be good to record your guitars clean, then add effects afterwards so they can be edited. You can also click on the cabinet model to select a different sort of amp to change the sound, and edit EQ by using the eight band sliders located by the top of the effect window. Dial this in and you are able to create complex multi delays with variable feedback and ltering to add depth, movement and interest to your sounds. It works well on almost anything and you can take advantage of its host tempo-sync capabilities.
Use the grid to draw in some variations and, from the area on the left, choose patterns and gating types to achieve something really cool sounding. Take the Pan-O-Matic, for example, which is able to place your sound precisely in the stereo eld.
Combined with using automation this can be useful for moving a sound around in relation to the listener for some interesting results. Its subtle but effective and good to stick on all kinds of sources from drums and guitars to keyboards and vocals. Try using a moderate amount for the best results. Using the different control sections at the bottom left you can use envelopes based on LFO, modulation and other parameters to change the sound dynamically in real time.
Try this on drum loops and vocals. Try the Fruity Reverb 2 and drag the rotating display to change the size and shape of the reverb effect. Whack up the preamp amount and the colour control to create something really erce sounding. This effect might look simple but it sounds huge. As strange as it might sound, mixing is a combination of intuition and science. Your ears and your musical sense should tell you what is working or not working, but you will need the technical know how and an understanding of the tools at hand in order to x any problems and get the best results you possibly can.
In truth you should be performing mixing of one sort or another more or less the entire time when youre composing and arranging music. To listen back over and over again and let a particular sound be inaudible or much too loud is madness and so you will be making constant adjustments and getting a decent working mix going as you progress. The mixdown process is where you stop worrying about adding or removing new parts and focus on getting the balance of the tracks right.
This also involves using the channel EQs available on each channel and the many plug-in effects available to you. The most commonly used mix tools are compression, EQ and a little reverb and delay although you are free to use any you like. As well as adding effects as inserts to individual channels in FL Studio you can add send effects which process multiple tracks through the same effect, and master effects that process the stereo output of the whole project at the same time.
Be sparing with master effects as they have a big impact on the overall sound of the track. FL Studio supports automation an important weapon in your arsenal, providing the ability to change levels, effects, panning and more in real time.
You can even link mixer channels to the controls on a physical control surface in order to get better hands-on control over your projects. In this example we have added EQ and a multiband compressor and, due to their location in the master channels insert slots, they are processing the output of the entire track. This is a form of pre-mastering and some people like to use it, others dont.
It can be useful however, for just sweetening or ne tuning a mix, and the compression stage can be used to add audio glue to the mix. Be careful not to overdo the processing here, as these kinds of effects can be used in a more targeted way in the next and nal stage of the production process, mastering. FL Studio provides you with lots of tools to take control over the balance of your tracks.
Start by soloing up the drums or bass. Its nice to turn the Scrolling Waveforms on as they show you when signal is present on a track and using the Wide Tracks and Big Meter options also makes things easier to manage. Maximise the mixer by dragging its edges out. Click on any of the effect insert slots and you are able to add an effect.
The most common mix effects are EQ, compression and reverb. It can sometimes be preferable to have an effect running at full wetness but then blended in using the mixer itself. Click and drag with the mouse in the EQ box or use the small sliders and the three shelf controls to tweak and tailor the EQ settings to shape the frequency of the track.
Here, for example, we have use an Insert slot to add an instance of the Fruity Parametric EQ 2 which affords us a much greater level of control over the precise behaviour of each frequency band.
This is invaluable for mixing. For example you might want to multiple select several tracks and then link them together using the Link option. This is handy for altering the levels of several tracks at the same time and by the same amount. This gives you control over the output of a number of different channels on a single fader and is also helpful for group processing those tracks.
When youre dealing with large, complex mixes and having to navigate the relatively small graphics in FL Studio, being able to see at a glance what any particular track is using its icon can be a real timesaver. If you right click on any Automation Keypoint you can choose its behaviour type and also assign it to control any mixer parameter, most obviously the fader level.
You can choose to assign a MIDI controller device if you have one connected, or if you select Internal Controller, you can assign any of the automation envelopes to the channel. This is how you would remote control faders. Instruments in the pattern can be routed to the Mixer tool for effects processing, and effects as of version As of version There is no audio recording feature.
Producer Edition — The Producer Edition includes all of the features of the Fruity Edition, as well as full recording for internal and external audio and post-production tools. It allows for hand-drawing point and curve based splines referred to as "Automation Clips". It also allows for waveform viewing of audio clips and the ability to add cue points. Also, instrument presets cannot be saved and the audio output of some instruments will cut out momentarily every few minutes until the program and its plugins have been registered.
Both support the ability to create multi-track projects on mobile devices including iPod Touches , iPhones , iPads. Groove — On September 2, , A new standalone app for Windows 8 was released.
It is a Groovebox style application optimised for touch-based music creation. It introduced native macOS support, multiple time-signatures, midi and audio clip consolidation conversion to audio , unlimited playlist arrangements, improved Plugin Delay Compensation, the return of the Step Sequencer Graph Editor, Sample Start for Channel samplers, Playlist tracks, Mixer channels.
Main pitch knob changes every cents, FL Studio ASIO's "Hard clip at 0 dB" option is now on by default, Scroll lock key state is no longer changed when toggling the auto-scroll toolbar button, several bug fixes. It also introduced Patcher, a modular workflow environment capable of chaining together an unlimited number of instruments and effects.
This allows mixing in 2. The mixer also supports audio-in, enabling FL Studio to record multitrack audio. FLP filename extension. Many of the plugins also function independently as standalone programs. Dashboard — An included plugin that allows the creation of full automation-enabled interfaces for hardware MIDI devices.
This allows FL Studio to control hardware from within the program. As of version 9. It is included in the Producer Edition and allows spectral analysis , convolution reverb , loop-recording, and loop-construction, as well as support for cue points.