MotherFluxer Docs

Audio ​

Audio in MotherFluxer is a real multi-track composition, not a single flat clip. Every piece has its own tracks, instruments, effects, and mixer, so you can keep shaping it long after the first generation. Audio artifacts live in the Media filter group under the label "Audio".

Create an audio artifact ​

You have two starting points:

  • Generate from chat. Describe the music or audio you want in a chat message. When the result is ready it appears in your Artifacts as an Audio piece you can open and edit.
  • Upload your own. Bring an existing audio file into MotherFluxer to edit, arrange, and build on inside the multi-track editor.

When a model choice is offered for music or audio generation, choose from the options shown, each with its cost and speed. Pick the one that fits the quality and budget you want for that piece.

Open the editor ​

Open any Audio artifact to launch the multi-track editor. Along the top of the editor you'll find:

  • Smart Edit — first on the left: describe a change in plain language and let MotherFluxer make it for you.
  • The tool menus on the left — Add and Meter. Everything else lives on the tracks themselves: each track's own row, the master's row under the timeline bar while nothing is open, and the editor that opens when you select one.
  • File — the last menu on the left, after Meter: save a version of the piece you can return to, share it, or export it.

Move between them anytime as you work.

The editor renders its voice effects — Voice transform, Pitch snap and Harmonizer — on your device's graphics processor, so it opens only in a browser that can use it: a current Chrome, Edge or Safari, on a computer or a phone. In any other browser, opening an Audio artifact shows This artifact can't be opened on this device. in place of the editor, with a quieter line beneath it: Update your browser to edit this artifact. when the browser has no graphics-processor support at all, or Editing needs a device with a supported graphics processor (GPU). when it has the support but can't give the editor's sound work a graphics processor to run on. Its card and its saved export still play everywhere. Changing a track's speed or pitch doesn't need the graphics processor — that is worked out on your device's main processor.

When an AI edit changes a piece that uses a voice effect, its new sound is rendered the next time the piece is open in a browser that can render it. Until then, on a device that can't, the piece's card shows Opens on a computer to finish rendering, and the version saved before the edit keeps playing.

Smart Edit an audio piece ​

In Smart Edit, you tell MotherFluxer what you want in Discuss and it does the work across your tracks. The edits it can run:

  • Add music — layer in a new musical part or element.
  • Add voice — generate spoken or sung vocals from text. Pick a voice from the voice picker; when model or voice options are shown, choose from the options shown, each with its cost and speed.
  • Add instrument — generate a new MIDI instrument part for the piece.
  • Hum a melody — record or hum a tune and have it played back on a real instrument, optionally arranged into a fuller part.
  • Compose arrangement — generate a full multi-instrument arrangement, in key and in time with your piece.
  • Edit track — change an existing track based on your instructions. You pick which track on the timeline itself: Smart Edit asks you to select the track below, a tap on a track's row lights it and names it in the panel, and Continue goes on to the edit. A group's row can't be picked — a group's sound is the arrangement it plays, which this edit doesn't remake.
  • Remake all — produce a fresh take of the whole composition.
  • Change settings — tune one or several tracks from a sentence: a volume, the pan, an effect's settings, a clip's fades or speed, or a curve over time. It never adds a track, an effect or a sound.

Describe the result you want, generate the edit the AI suggests, and review the updated piece.

The edits Smart Edit can run on an audio piece, each with what it does:

  • Add music — Generate an instrumental stem and layer it as a new track
  • Add voice — Generate a spoken narration track from text
  • Add instrument — Generate a MIDI part played by a chosen instrument
  • Compose arrangement — Generate a full multi-instrument arrangement, in key and in time
  • Edit track — Regenerate or modify an existing track
  • Remake all — Replace the whole composition with a freshly generated piece
  • Hum a melody — Record a hummed tune; get it played on a real instrument, optionally arranged
  • Change settings — Change a track's settings from a sentence

Hum a melody into a part ​

Don't have the notes written down? Hum or record a melody and MotherFluxer turns it into a played instrument part you can drop into your composition.

  • In Smart Edit, ask Discuss to turn a hum into a part — the AI comes back with Hum a melody.
  • Record yourself humming or singing the tune, or bring in a short audio clip of it.
  • MotherFluxer transcribes the melody and plays it back on a real instrument. You can have it arranged into a fuller part rather than a single line.
  • The new part is added to your piece and saved as a new version, so you can compare and roll back.

It's the quickest way to capture a tune that's in your head and get it into your track without writing a note by hand.

Edit an audio piece by hand ​

The editor gives you precise, hands-on control, organized into menus:

  • Add — put sound in. The menu opens on its four choices; pick one and its results appear beside it: Sounds, Instruments, Import (MIDI file, Audio file, Artifacts — your sounds, starred sounds and the community's, each one a card you can play first; a community sound is copied into your artifacts and added as a track named after it — or Starred and community, the tracks, clips and effects of songs people have posted (nothing in a song takes a star of its own): a track lands as a new track, a clip as a new track at the cursor, and an effect on the open track's sound — or on the master's when no track is open — in the first stretch with room for it; where there is none, the editor says Shorten an effect to add another) and Record (Microphone, or a MIDI keyboard to play a new notes track in). A track's volume, pan, clips, effects, groups and curves are on its row and in the editor that opens when you select it, and the song's tempo is in the Master window.
  • The master row — under the timeline bar while no track is open, in the editor's blue: the whole mix as the output limiter hears it, with the master's effects drawn over it, the song's tempo (120BPM, say) under its name, and the master volume on its row where every other row has its volume. Click its picture and the whole mix opens in the same editor a track opens in; the row steps aside while any editor is open, since the master's own window is the same picture at full size. Its Master view shows the finished mix with the master's effects drawn on it and the master volume on top, and its Automate view draws curves across the whole piece. It is not a separate, fixed set of knobs: anything you can put on one part, you can put on the whole piece.
  • Tempo — press the BPM on the master row and the Master window opens on the song's tempo. Each tempo change is a mark over the mix, labelled with its BPM: press one to pick it, and drag it along by whole bars — it stops beside the changes on either side. The window's second row, under Add effect and Volume, shows the picked change's Bar, its BPM and its time signature, with Add change and Remove; the song's opening tempo, at bar 1, never moves and can't be removed. Beside the picture, each recording is listed with the tempo detected in it, so you can set the song to match one.
  • Meter — turn on the level warnings that colour your waveforms, choose which level they watch, and see a list of where each track and the whole mix get too loud.
  • Track colours — every track draws in the editor's blue until you give it a colour of its own, worn by everything the track draws: its waveform or notes, its effects, its curves and its glow while it is selected. Select the track and press the ⋯ among the icons at the top left of its window (after the keyboard button on a notes track): its Color row shows the colour in a circle — click it to pick another, and click the × beside it to go back to the default. The same ⋯ holds a notes track's Ghost and Grid.

Work across these menus and rows to build and refine the composition exactly how you want it.

Your composition is saved as you go, a moment after you pause, so you don't have to close the editor to keep a change. The finished mix — what the piece's card and everything outside the editor play — is made when you close the editor, leave it, or save a version, so what you hear everywhere else catches up at those moments, not on every tweak. It is made from the mix you have been hearing in the editor, not rendered again, so leaving only takes as long as saving that sound as a file, and a piece you didn't change leaves at once. Opening the piece again doesn't make it a second time. If the finished mix never got made — the page closed before it was done, say — it is made the next time you open the piece.

Open a track or a group ​

Select a track and its editor opens at the bottom of the screen, on its first tab. Its tabs are always in the same order: first the one piece or pattern the track is made of, then the whole track, then how it sounds, then how it changes over time.

  • Audio (on a recording track) — one piece of the recording on its own. Split in two cuts the piece in two (at the playhead, or in the middle when the playhead is outside it). Once the track holds more than one piece, pick which one from the Piece list, set its own Piece volume, or take it out with Remove piece. To trim it, zoom in on the part you want and press the scissors inside the zoom window; Reset brings back the whole recording.
  • Notes (on a notes track) — one pattern on the piano roll. The row above it is that pattern's, in one frame: the pattern list (switch a pattern on or off, duplicate it, delete it, drag it into another order, or add one with +) and the pattern's length in bars. The keyboard button at the top left opens the on-screen keyboard in a container of its own above the window: its top row holds the track's Instrument, the MIDI devices line and, on a keyed instrument, the octave, with the keys full width beneath. MIDI devices names the keyboards connected to your browser; press Connect to let the browser listen to them (a browser without MIDI support says Not supported in this browser). Every connected keyboard, and your computer's keys, plays the notes track whose window is open. The ⋯ beside the keyboard button holds Ghost (another notes track's notes drawn behind these, for reference) and, while the markings count bars, the Grid. The clip's fade boxes are drawn over the notes, and its trim scissors sit inside the zoom window when you zoom in.
  • Group (on a group) — the tracks the group is cut from (see Group tracks that belong together).
  • Composition — the whole track on the song's own time: every piece or pattern where it plays, its repeats drawn fainter. Press a piece to pick it, and drag it to move it. A picked piece shows its own icons to the left of the picture, each opening its control: Repeats (with Gap, which reads in beats of the clip's own bar, or in seconds when the markings count time, and runs up to one bar), Speed, Piece volume (when the track holds more than one piece) and the Fade in and Fade out switches. A fade you switch on appears on the clip's picture — here, and on its Audio or Notes tab — as a box over the stretch it fades, starting at one second (or half the clip, if the clip is shorter than two seconds), drawn the same way as an effect's box and labelled with its name and length. Click a box to select it, and drag it, or its inner edge, to make the fade longer or shorter — up to two seconds, or half the clip. Switching a fade off removes it. On a notes track the row above the picture holds which piece and Remove piece, and the scissors inside the zoom window trim the clip, with Reset to bring back the untrimmed clip. On a group, this tab is the arrangement you build from its sources.
  • Sound — the track's Pitch and Keep voice, and its effects.
  • Automate — curves over any of the track's settings. Select a point for its Ease, At and Value, and once a curve holds two points Repeat can Loop it, play it Back and forth, make it Climb or Keep going past its last point. Repeat from this key plays what comes before that point once and loops from there. A clip's speed opens here too, on the curve's Speed view, where its map is one curve you shape as speed or as time; a sound's eases leave out the ones that overshoot or bounce, because an overshoot in volume is heard.

Sound and Automate show the track's own stretch of the song, from where it starts to where it ends, so nothing is drawn over silence it never plays.

Where two clips meet on a row, they crossfade across the cut in a few thousandths of a second, and neither one moves: every clip sounds exactly where it sits. A clip you cut in two plays exactly as it did whole.

Undo and Redo ​

Undo steps back your last change and Redo puts it back — notes, clips, effects, curves, tracks and tempo all go through the same history. Each step takes you to where you made the change, so you see it go back: undo an effect and that track's editor opens on Sound, undo a curve and it opens on Automate at that curve, undo a note and it opens on Notes. A change you made on the track list with no editor open — a track's volume on its row, a track added or deleted — is stepped back with the editor closed, so the list shows it. Pressed during a recording, Undo waits until you have finished the take, then takes the whole take back; if you throw the take away instead, it steps back your last change.

How rendering works while you edit ​

Inside the editor, rendering happens as you work and in the background. When a composition opens, each track is prepared once its audio has arrived — a row on its way shows the same N% complete a video track does, with its bar, or a ring in the middle of its picture when there is nothing to count yet, only once the wait has lasted a second, so a quick render shows nothing — and pressing play never starts a render of its own. If you press Play before a track is ready, the button shows a ring and the piece starts the moment it can; press again to take it back. A long track without effects is ready in well under a second. Many effects play live as the piece plays and need no preparing at all; a track with an effect that must be prepared, such as a voice transform, is prepared from the moment under the playhead outward, so the first bar is what lands first and you are not waiting for the whole piece before you hear it. If your device's graphics processor resets while a track is being prepared — a driver update, or another app taking it over — the track is prepared again once, on its own, while the rest of the piece keeps playing; if that fails too, a message in the middle of the screen says so and offers Try again.

Group tracks that belong together ​

Several parts that make up one thing — a drum kit, a stack of backing vocals, a whole verse — can be put in a group. The group is then a single row you can treat like any other: one volume, one set of effects, one thing to move. In the track list, a group's row shows the waveform of what the group actually sounds like — every clip mixed together — with an outline around each clip where you hear it: grab an outline to move that clip, or anywhere else on the row to move the whole group. While that combined sound is being prepared, the row shows each clip's own picture instead.

  • Adding a track to a group changes nothing about how the piece sounds. The track leaves the main list and its full length is placed in the group exactly where it already was, so play it back and you hear what you heard before.
  • A track with an effect that listens to the group — keyed to it, or following its sound — can't join it, and no clip can be cut from such a source, because the group would be hearing itself. The editor says so instead of doing nothing: An effect on this track listens to this group, so the group can't play it.
  • Once it's in, you can cut pieces out of any of its source tracks and repeat them along the group's own row — the way you'd build a chorus out of a verse you already recorded. Open the group's Group tab, drag across a source track to choose a stretch and press Add clip, then pick the new clip on the Composition tab and repeat it with its Repeats.
  • A clip you cut keeps the sound it had at that moment. Editing its source track afterwards, taking the track out of the group or deleting it changes nothing the clip plays, and a later tempo change moves where the clip sits without speeding it up or slowing it down.
  • A clip that plays its track to the end keeps that track's effects ringing afterwards — an echo keeps repeating and a reverb keeps decaying past the clip, over whatever comes next, just as it did before you grouped it. Give the clip a Fade out and it ends silent at its end instead.
  • Effects on the group apply to everything in it at once, which is how you treat a whole drum kit as one sound rather than tuning six parts to match — or to only some of the clips in it, if you want the reverb on the toms and not the snare (see Put an effect on just part of a track).

Opening a group shows Group, Composition, Sound and Automate — the same tabs a track has. Group is what the group is cut from, its source tracks; Composition is what you have built from them. Sound gives the group its own Pitch and Keep voice, and its effects.

Group lists every source track as a full lane over one shared time, the longest track's, and the list scrolls when they don't all fit. Drag across a lane to choose a stretch — on a phone, a sideways drag chooses and an up-and-down drag scrolls the list — or press Enter on a lane to choose the whole track, then press Add clip at the lane's right end: the stretch joins the arrangement at the place it was cut from. Zoom in to cut precisely from a short take. The last lane, + Source, adds another track to the group. The settings button beside a source's play button frames it with its one setting, Take out of group, which returns the track to the track list rather than deleting it.

Composition is the arrangement alone, one lane per clip, and its own time starts at zero where the arrangement starts — so a chorus you placed a minute into the piece reads from 0:00 here. Its settings row is the group's own clip, which plays the whole arrangement as one: its Repeats and Gap repeat it, its Speed stretches it, gaps included, and its Fade in and Fade out shape it, an on fade showing as a box on a line of its own above the lanes. Its scissors inside the zoom window trim the arrangement, with Reset to undo the trim. When the group's row holds more than one clip of its own, which one and its Piece volume sit on a row above. The group's own clip is what the group's row plays in the track list, so this row is how you repeat the whole arrangement as one unit.

On Composition, click anywhere on a clip's lane to select it — the whole lane is that clip, so you do not have to hit the clip's own block, which can be a sliver in a long arrangement — and drag it to move it. A selected clip's own icons appear beside its play button, each opening its control: Repeats (with Gap once it repeats), Piece volume, the Fade in / Fade out switches (an on fade shows as a box on the clip's lane that you drag to set its length), and Delete.

The two tabs zoom independently, and the one playhead is drawn on both and can be moved from either; it is solid over whatever is playing and faint elsewhere. Every lane has its own play button, in the column down the left, and each plays a different thing:

  • A source track plays that track alone, with its own effects and nothing else — it is raw material, not yet part of the arrangement, so the group's effects are not on it.
  • A clip plays just that clip, with the rest of the arrangement silenced. Because the clip is part of the group, it plays through the group's effects, so it sounds exactly as it does when the arrangement plays. The first press on a clip takes a moment to prepare; playing it again is immediate.
  • The play button beside the time along the bottom plays the whole group.

Repeats and tempo changes ​

A notes part is written in bars and beats, so when it repeats past a tempo change, each repeat plays at the tempo where it lands: a bar that repeats into a slower section takes the slower section's time, and the next repeat starts on the next bar. This holds for every Repeats — a repeat always belongs to a clip, and a whole arrangement repeats as its group's clip. A recording repeats at its own length instead, so a tempo change never stretches sound that is already in place.

A clip can only be moved to another track that plays the same sound — two tracks made from the same recording can trade clips, but a clip never lands on a track with a different sound, where its trim and its waveform would no longer match the track.

Record from your microphone ​

Play or sing straight into your composition. Open Add, choose Record, and pick the microphone beside Microphone: it reads Default microphone until you press Find microphones, which asks your browser for permission and then lists every input by name. Press Record and a recording track appears in the list; press its Record button, and one bar of clicks counts you in at the piece's tempo — the same count-in every take in the editor uses — before the take begins where the playhead stands. You see the waveform as you go, hear the take back before you keep it, and can re-record as many times as you like before saving.

Recordings are captured at full studio quality and saved without being compressed first, so a take keeps its detail — the breath, the top end, the quiet parts — for anything you do to it afterwards.

Your browser normally applies phone-call clean-up to a microphone: it cancels echo, suppresses background noise, and rides the level up and down. That helps a voice call and hurts a performance, so it is off. If you are in a noisy room, or recording a spoken note rather than a performance, turn Clean up my voice on before you record.

Record notes from a keyboard ​

A notes track records what you play into the pattern its window shows. Open Add, choose Record, pick the instrument beside MIDI keyboard and press Start: an empty notes track is added and its Notes window opens. Press the record button beside the window's play button — Record into pattern — and one bar of clicks counts you in; then the whole piece plays from the playhead, so you hear the rest of the mix, and every note you play — on a connected MIDI keyboard, on your computer's keys or on the on-screen keys — lands in the open pattern at the moment you played it, alongside anything already there. Play past the pattern's end and it grows by whole bars. Press the pause button, or the record button again, to keep the take; pausing playback or leaving the window keeps it too. The whole take is one step for Undo, so one undo removes it. While nothing is recording, playing only sounds the notes.

A MIDI keyboard's sustain pedal works the way it does on a piano: while it is down, a key you let go of keeps sounding, and every held note ends when you lift the pedal. Play a held note again and it is struck afresh. A take records what you heard, so a note held by the pedal lands in the pattern as long as it sounded. When the editor stops listening to the keyboard, every note still sounding ends, so none is left hanging.

Change a track's instrument ​

A notes track plays one instrument, and you can change it at any time: open the track, press the keyboard button at the top left of its Notes window, and pick another from Instrument at the start of the keyboard's top row. The notes stay exactly where they are — they are pitches, and the new instrument plays them. Drum kits all put the same drum on the same pad, so a pattern written on one kit plays on another kit drum for drum. A pitch the new instrument has no sound for stays on the roll as a dimmed row and plays nothing until you move it or change the instrument again; nothing is deleted or moved for you. Undo puts the old instrument back.

Where the library's sounds come from ​

The sounds and instruments in Add come from public sound libraries whose licences allow them to be used here. Sound credits — the last line of the Sounds and Instruments lists, and the link under the Instrument picker — opens, in a new tab, the page that names where each one came from and its licence.

Draw a curve over any setting ​

Any setting can change over time — a track's volume or pan, every knob on every effect, a clip's own volume, pitch and speed, and the master's volume and effects. A choice, like the shape of a filter, can have a curve too: it steps from one option to the next, blending across each step. Open a track and choose Automate.

The menu says how many curves the track already has. Open it and the list takes over the window, with one Back: the ones in use come first, then everything you can add, grouped as This track (or This group), each Clip, and Master. Pick one, click on the picture to add points, and drag them to shape the curve. Clearing every point removes the curve.

  • Each effect is one row, and that row is the whole effect. A curve on it fades the effect in and out or swells it over time — the same thing its Strength dial does, drawn instead of set. The arrow at the end of the row opens the effect's own settings beneath it, and any of those can take its own curve; drawing both, the effect's curve scales whatever its settings are doing. An effect with nothing to dial (a strength of its own) simply lists its settings.

  • A curve on the track follows the beat. Change the tempo and it moves with the music.

  • A curve on a clip follows that clip's sound. It stays over the same words through a tempo change, it moves when you move the clip, and it plays again every time the clip repeats. You shape it where the clip itself sits; its repeats show the same curve faintly.

  • A clip's Speed opens a speed graph instead. The line runs from the clip's start to its end, and bending it slows parts down or speeds them up while the clip still starts and ends on the same sound. Add speed point puts a new point on the line for you to drag, and Back to normal speed straightens it again. The clips after it on the track keep their places as it grows or shrinks.

  • Repeat makes a curve loop. Once a curve has two points, the Repeat word beside it turns those points into one cycle played over and over across the whole piece — a wobble every bar is two or three points, not forty. A repeating curve on a clip stays whole when you cut the clip in two. The speed graph has no repeat.

  • An effect can follow something other than a curve. With an effect's row or one of its settings open, the Source button beside its name picks where the value comes from: Curve (the points you draw), Follow sound, Noise or Wave. Follow sound listens to another track — At rest is the value in silence and On the beat the value at a full beat, with the Band it listens to and which track it Reacts to — and offers only tracks the effect can hear without ending up hearing itself, so it is missing where there are none. Noise and Wave move the value between Low and High at their own Rate, a wave in the Shape you pick. The bin clears the source. A track's volume and pan, the master volume, a clip's own settings and a choice take a drawn curve only.

  • A knob a curve or a source is driving shows Auto. Press it to go straight to it.

  • The master's curves live in the Master's own Automate view, drawn across the whole piece, with the same Auto on the master volume and on any master effect a curve drives.

Play and preview ​

Listen as you go:

  • Play all to hear the whole composition together. While it plays, the same button becomes Pause all, which stops the sound and leaves the playhead where it is — so pressing Play all again carries on from there. The space bar does the same. Back to start, beside it, puts the playhead back at the start of what the timeline shows, so hearing a passage again is one press.
  • Play this track only on a track's own play button to focus on one part. It plays that part inside the full mix — the master effects and volume still apply — and the main playhead moves with it. While it plays, the button becomes Pause this track.
  • Every edit window has its own play button that previews just what the window shows — a clip, a source track, the stretch an effect covers — with the part's own effects but without the master effects, so you hear the part itself rather than the finished mix. The master volume still applies. It too becomes a pause button while it plays, and closing the window pauses it.

There is one playhead for the whole piece, and every window draws it. Drag it anywhere, in any window, whether anything is playing or not. A play button starts at the playhead when the playhead is inside what that button plays, and at the start of that part when it is not. While something plays, the main playhead moves with it. It runs as one line from the first track down through the master row, solid everywhere except over a track you are not hearing: a muted track at any time, and every other track while one plays alone. Inside a window, the playhead is solid over what you are hearing and faint over everything else.

The controls work the way the video editor's do: play and pause, with no stop or loop button. Every play button turns into a pause button while it plays, and pausing leaves the playhead where the sound stopped. When playback reaches the end of what you are playing, the playhead goes back to its start, so pressing play again plays it from the beginning.

Play starts as soon as the parts that sound at the current position are ready; anything that comes in later is prepared ahead of the playhead while you listen. Pressing play again on an unchanged piece is immediate.

Only one thing sounds at a time. Previewing a sound from the sound library stops the composition, and pressing play on the composition stops any preview that is running.

The timeline bar ​

The playback controls, the time markings and the zoom all share one slim bar at the bottom, so the space goes to your music instead of to chrome. Every edit window has the same bar under its own picture — except while the effect roster or the curve list takes the window over, since choosing from a list plays nothing.

To zoom in on a stretch of time, drag the small handle at either end of the bar inward. The bar then splits: the time markings stay on top and the zoomed stretch appears below them, with its start and end shown in the same unit as the markings above — bar and beat, or minutes and seconds. Drag that stretch along to move through the piece, drag either of its ends to widen or narrow it, and press the reset target in the middle of the zoomed stretch, between its two ends, to return to the full view. The target is there only while you are zoomed in, on the main bar and on every edit window's bar alike.

Everything lines up with the zoom as you go — the track waveforms, the beat lines and the play position all follow the stretch you are looking at.

The clock button in the top bar picks what the markings count: Time or Bars. Every window follows it together — the main bar, a track's or a group's edit window and the notes window all count in the unit you picked — and the notes window's grid follows its markings: in Bars the grid lines fall on the beat division you pick in its Grid control (under the window's ⋯), in Time they fall on round seconds and that control steps aside, with every other bar lightly shaded behind the notes so you still see where the bars fall. Notes snap to whichever lines are showing. Every project opens in Time; pick Bars and that project stays in Bars for you from then on, while every other project keeps its own choice. On the Bars row, the label at the right end — Scaling off or Tempo scaled — switches how the bars are spaced: with scaling off every bar is the same width; tempo scaled lays them on the clock instead, so in a piece with a tempo change the bars bunch up where it is fast and a recording is drawn exactly as it sounds. In a piece with one tempo the two spacings look the same. Both choices are yours alone — they change how you see the piece, never the piece itself, so a collaborator keeps their own.

Levels ​

The meter warns you where your audio gets too loud, right on the waveforms you already see. It is off until you turn it on, and while it is off it measures nothing. With it on, every track, group and the master keep their waveform in their own colour, and any bar that gets close to the limit turns yellow while any bar that reaches it turns red — so you see both the shape of a part and exactly where it is too hot. On an instrument track the notes take the colours instead. The level is measured from each track's finished sound, after its effects, and judged at its volume slider's setting, so pulling a slider down turns red bars yellow and then back to the track's colour; a muted track never shows a warning. Peaks are read the way the output limiter reads them: each channel on its own, the louder one counting, including peaks that fall between samples. Zoomed all the way out, a single loud moment still shows as one red bar.

The Meter tab at the top of the editor holds only the settings and a summary:

  • Meter — the first button turns the warnings on and off. It is lit while they are on.
  • Five categories — All is the whole signal, every frequency together. Low, Mid and High are slices of that same signal, so you can see which part of the sound is loud; a slice can never be louder than the whole, but the whole can be over while all three are under. Loud is how loud it feels, averaged the way the ear hears. Press one to make the bars watch that category — pressing a category also turns the meter on. While the meter is on, each category's outline is red if any track or the mix reaches its limit, amber if any comes close, and green otherwise.
  • The warning band — a thin strip, green then amber then red. Drag the white pill to set where yellow starts; its level is written above it. Red is the limiter's ceiling at −1 dB and cannot be moved: it marks where the engine has to step in and hold the sound back, so it states a fact rather than a preference. Yellow is the warning you choose.
  • Where it gets too loud — one line for the mix and for each track that goes over in the chosen category, outlined in its worst colour, with the times its loud moments start. Press a time to move the play position there and hear it.

The meter is read-only: it shows levels, and the volume sliders are where you change them.

The piece's own setting ​

The Master row pinned under the track list is the whole mix: its volume is the piece's own setting.

Master ​

  • Volume — How loud the whole song is, before the final limiter.

Export your audio ​

Open the File menu, the last menu on the left of the top bar, and choose Export, then Download. A dialog opens where you pick the format you need:

  • WAV — uncompressed, high quality.
  • AAC (.m4a) — compact and widely compatible.
  • MIDI — note data for use in other tools. Every notes clip the mix plays is written as you arranged it — including the notes clips inside a group — with only the part of the pattern its trim keeps, at every place it plays, repeats included.
  • Stems (zip) — every track and group in your mix on its own, as a zip of WAV files (16-bit to keep it small, or 24-bit). A group is one stem, with the clips you arranged in it; the tracks you cut them from are not separate stems, because the mix does not play them. Each stem is exactly as it sounds in your mix, including any effect on the whole mix, so the set remixes cleanly in another tool.
  • .mfaudio Project — the full editable project so you can keep working later.

Every format is made right on your device — WAV, AAC and the stems are rendered from the mix the editor already has — and nothing is sent away to be prepared. The dialog shows its progress while it works, and the file downloads on its own. If a recording the project plays can't be reached, the project still exports without it, and the dialog tells you how many were left out.

An export sounds exactly as the editor plays it, from its very first moment, and at the same level. The editor's output limiter holds every peak at or below −1 dB — while you listen and in the file alike — and nothing turns the file up or down afterwards, so a quiet piece exports quiet and the AAC copy never clips. It runs on past the last sound for as long as your effects ring, so a long reverb or a slow echo dies away naturally, and a song with no ringing effects ends right after its last sound. The timeline shows the same length.

When AI made the piece, or added to it, the WAV, AAC and stems files carry a hidden, machine-readable label saying the audio contains AI-made material, written into the file's own information rather than the sound — you hear nothing different. A piece made only from your own recordings and edits carries no label, and once AI has added to a piece its files keep the label even if you later take that part out. The MIDI file and the .mfaudio Project are not given this label.

Add to an App…, beside Download, sends the file the dialog makes into one of your Apps' Assets instead of downloading it. WAV and AAC can go, up to 25 MB a file — a WAV reaches that after a minute or two of sound, so send a longer piece as AAC. An App can't hold MIDI, Stems or a Project, so those are refused.

Choose the format that matches where the audio is going, then export.