NOTE: Regardless of the method you use, you may also want to set your the Snap on so that the drum pattern snaps to the closest defined setting. Then once you have the first part of the pattern down, you hit loop recording to overdub and add to that pattern. If you do select a length for recording, the initial pass will only record in the selected area.
If you do not select a length, this method will allow you to record as many bars long as you wish without looping. The second method has the same recording options selected, but requires the Loop Recording to be turned off. NOTE: The ghost note can also be on the FPC track as well.Ģ. Thus, you can put a ghost note (a note with little to no velocity) on the bar you wish to record up to in any track in the current pattern to designate length if you want using this method. If there is other pattern information on a different track in the currently selected pattern, it will cycle to the length of the longest track if a smaller segment is not highlighted. If there is no other pattern information in the currently selected pattern, this method will only record one bar even if you highlight multiple bars. You can also turn of the record button to audition and then turn it back on to record without stopping the loop. The first method would be to activate Blend Recording (Overdub) and Loop Recording, then hit the record button on the Transport Panel to arm (I like to activate either the countdown or wait for input), then hit the play button.ĭepending on your start options (Countdown, Wait for Input, or neither), you can start recording your drum pattern and it will loop for a single bar where you can continue to add elements on each pass. There are two different methods that I think are useful and whichever one you want to use is really just based on a preference of command sequences (button pushes and/or mouse clicks) and the desired length of the recording.ġ. Second, set up your recording to start in Pattern Mode, and select the channel that you want your first drum loop on. Also, the flexibility to create different scripts with the Launchpad allow you to be very creative.įor instance, you can use this custom FPC layout for the Launchpad that has velocity clusters for each pad.
#Using fpc presets fl studio download#
On the other hand, you can use the Launchpad or APC40/20 to have a nice set of system commands right on the same interface without putting your hands on a mouse or computer keyboard – see this tutorial on setting up a custom Launchpad configuration (there is a download of the script demonstrated in the demo).
#Using fpc presets fl studio series#
However, the the velocity sensitive controllers are better for getting those subtle and not so subtle variations in drum patterns, such as Steinberg’s CMC-PD, Akai’s MPD and LPD series controllers, and the discontinued M-Audio Trigger Finger. The Novation Launchpad and APC40/20 have a preset script for the FPC in FL Studio 11, which make them nice out of the box options.
If you are using a MIDI Controller, then make sure your controller is able to control the notes in FPC. Here is how I set up FL Studio for making beats:įirst, load up an instance of FPC (delete all other channels if you like to start fresh). One method that I find particularly useful is opening the FPC (named after Akai’s famous MPC series) in FL Studio 11. It’s much more intuitive and organic to create the beats in real time with a MIDI input (especially one that is velocity sensitive), and you usually end up with something that is way different and more distinctive than if you had plotted it out with a mouse, and in much less time. What you start with is an uninspired sequence that you have to manipulate far too much to sound like anything that is really distinctive and interesting. There are several ways to make beats, but about the most uninspiring ways is plotting out beats with a mouse on a step sequencer or piano roll.
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