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Digital Audio Workstation Bias (DAW Bias for short) is real, and it’s a problem. Notable signs of someone with DAW Bias are: blaming the DAW for the music made in that DAW, making sweeping statements about the capabilities of a DAW (without spending time to actually learn it), and randomly cursing people out on the internet for not using their DAW of choice.

The most common and one of the most damaging forms of DAW Bias is FL Studio Bias. This is marked by the belief that only amateurs and people without talent use FL Studio, and is usually accompanied by being a low-key hater of Hip-Hop and EDM. Countless smash hit records have been made in FL Studio. It’s a great tool in all forms of electronic production, including Music For Film, Experimental Rock, and of course Hip-Hop, EDM and Electronica.

However, behind many biases are a grain of truth. DAWs are complex and reading manuals is boring. This leads to a lot of mistakes that are simple to fix, but often go unchecked. I mix a lot of records that were produced in FL Studio and there’s a few stand out mistakes I think need to be addressed.

Help end DAW/FL Studio Bias today!

Mistake 1: Clipping Your Master Channel

Let’s be honest, we all want our productions to be more thumpy, and a big part of that is making the playback level loud and proud. However, there is a good way to do this, and a not-so-good way to do this. The most common mistake I see is people overloading either their individual channels, or their master channel.

What does overloading mean? In the digital world we have a level ceiling, and once a sound exceeds that volume level it distorts. While we get the signal louder by turning it up, up, and up, we also lose punch and create a tonal quality that is usually worse than what we started with.

Unfortunately, it’s very easy to do this. Why? Because most of our drum samples are starting out normalized to maximum volume. Drum sample producers want their drums to appear as loud as possible, so they maximize the level of the sample. That means when we program this sample into FL Studio, there is no more room to turn it up without distorting!

Deceptively, FL Studio’s internal channels use 32 bit depth which is a scalar amplitude system. This means that within the program your sounds won’t clip. However, once you export to a fixed bit depth like 16 or 24, or convert your export at 32 to an mp3, any overs suddenly become clips. If you end up in the red it won’t be a problem inside FL but could be pretty gnarly once printed.

Solution: Turn your sample level down right at the beginning and turn your monitoring level up if you want that thump while you’re producing. By doing this, you leave yourself room to turn things up or down. Watch for those little red squares at the top of your channels. If they show up, that means you’ve overloaded the system.

But how do you make the playback loud? On your master channel place a device called a Limiter and use that to turn up your levels. The limiter will prevent clipping. And while it may seem counterintuitive, by turning things down at the very beginning you will actually have an easier time getting things even louder at the end.

Mistake 2: Ignoring Velocity, Time Offset and Swing

FL Studio has a ton of capability — even within the primary sequencer itself. But alas, many aspiring producers don’t go even a few steps further to explore these capabilities. While I don’t think it’s necessary to learn every nuance of FL Studio (although … why not?), I think there are three that are an absolute must when producing music: Velocity, Time Offset and Swing.

Music is dynamic — meaning it changes. If everything hits exactly the same, exactly on the beat, it sounds like robots made it. Which in some circumstances can be ok. Freezepop has made an entire subgenre of their own from strictly quantized, robotic sounding music. The perfect sequencing of Muse’s “Madness” is effective. And the hi-hat rolls in Trap kind of work, somehow. However, most music benefits from dynamics and pocket (changes in level and timing).

By default, FL will put a hit at a designated velocity on the exact timing of a beat. But if you open up the sequencer window you can find that all of this is adjustable. Just by doing something as simple as drawing a contrast in velocity between your “big beats” (the really important drum hits you want to accent) and “inside beats” (the less important ones that just help the groove along) can make a profound difference.

Making some micro-timing adjustments can give the record an exciting feel. If you want something relaxed and groovy like the kind of Hip-Hop we like to smoke wee … err … relax to, drag those snares ever so slightly late. If you want something really upbeat and exciting, put whatever is on the second quarter note (probably a snare/clap) exactly on grid or a little late, and put whatever is on the fourth quarter note (probably also a snare/clap) ever so slightly early. And I’m talking just subtly enough so that you feel it, not so much hear it.

Congrats, you’re in a whole new world of thinking now.

It’s also worth playing with the Swing slider. Just mess with it, you’ll hear what it does. There’s a whole new world of potential grooves out there. Swing Trap? Somebody better do it, or I will.

Mistake 3: Stagnant Arrangements

Music is progressive. If you start at point A, go to point A, and then end at point A, you haven’t told a story. You’ve just repeated a sentence. No one is trying to hear that. People want arc, drama and excitement. Don’t make a two bar loop, copy it eight times, copy it four more times with one new element on top of it, and then go back to the original loop eight more times and call it a verse – chorus – verse. It’s 2017 — c’mon now.

Create variations of your original loop and bring them in and out during the verse. When you go from the verse to the chorus, put in something to build tension and make the listener want that chorus to kick in. Don’t forget an intro and maybe a bridge. Even if you’re just making a beat and there’s no lyrics yet, give the lyricist some energy to go off of. Make a format to help them tell their story!

Mistake 4: Missing The MIDI Functions

FL Studio is centered around its wonderful step sequencer. It also has MIDI capability that allows you to plug in a keyboard and play a part in real time. The best producers know this and take full advantage of being able to both play live and program by sequence.

Even if we go under the hood and meticulously sculpt every note velocity and bit of timing, it still doesn’t account for all the possibilities one can create by simply playing a part in real time.

Mistake 5: Not Optimizing Your Export

After spending hours to days to weeks producing a song, don’t drop dead at the finish line! When exporting, we want the absolute highest quality file we can print out. For this I would just straight up copy these settings:

1. Under “Project Type” select “Full Song” and “Leave Remainder”.
2. Select “Wav” and under “Wav Bit Depth” select 24-bit. I generally recommend not printing 32-bit float unless you will be doing further treatment to the track yourself — like if you are going to pull the file back into another DAW to do your own mastering for example. Very few audio playback systems accept 32-float and will either reject the file or convert it to a non-floating bit depth. Consider a 16-bit version if your distribution website or digital platform specifies 16-bit as a requirement and there won’t be any mastering done outside of FL Studio prior to uploading, or if you are printing to a CD.
3. Under “Quality” select the highest resampling rate you can pick. Currently that number is 512. Enable “HQ For All Plugins” and “Disable Max Polyphony”. If you are exporting to 24 or 16 bits, enable “Dithering” as well.

Mistake 6: No “Re-Recording” Mix or No Individual Trackouts

This one is for folks who are selling instrumentals online. When advertising your production on your sales page, I completely advise making a heavily compressed, pumped up, loud version of the instrumental. Your potential customers don’t understand the process of production, they just know what they hear and they expect the record to be loud. However, when it comes time to record the vocals for the production, that’s an entirely different story.

In order to get the vocals to blend well with the music, whoever is recording and mixing needs space in the record. If the record is slammed, whether through compression, limiting or hard-clipping the master channel — there is no more room. In order to make the vocals work, the engineer will have to make concessions. And again, counterintuitively, the final product will probably be less loud than it would have been had the engineer been given a less compressed file to begin with.

Once a beat is purchased, make an alternate version that is less compressed to help the process. Your name is going on this record and over the long term, everything that can help the success of the song benefits you!

You know what’s better than a less compressed mix? The complete individual trackouts of each audio element.

This one takes a bit of judgement. If you don’t know whose hands the instrumental is going to end up in for mixing, you may want to stick with the 2-track (just the beat, without the trackouts). However, if you know that a badass engineer will be handling the mixdown, give us the versatility to make the record the best it can be.

In order to do this, under “Miscellaneous” in the Export menu, select “Split Mixer Tracks”.

Now, again, here’s a bit of subjectivity. There is also an option labeled “Enable Insert Effects”. With that selected, all the processing like EQ and compression you have on your sounds will be printed into the trackouts. Personally, I’m an advocate for enabling that button. It’s your song and your sound. Mix engineers are not here to reinvent your music — we’re here to make it sound incredible. As long as you like what you did, you’ll love what you get back. However, if you are new to producing or unsure of your choices in effects, it’s ok to leave them off.

With these things in mind, FL Studio is every bit as good (if not better in some regards) as any DAW out there. So go make your music and let haters stand in the dark.

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/free-loops-for-fl-studio-12.html. FL Studio is one of the most powerful music production tools around, with an array of synths and effects available right out of the box. But like most producers, you could probably use a few more plugins! Here we’ve put together some of the best free plugins for FL Studio, which should cover you for almost every imaginable musical scenario.

Sitala

Download for Free

Sitala is a drum plugin that can also be used as a standalone app. Although it is about as simple a drum plugin as you could want, it will find a place in almost any project due to its musicality and highly intuitive interface. Sitala’s six knobs and sixteen pads encourage you to use it as an instrument, which results in more musical beats and grooves.

Best Features & Specs

Sitala features 16 assignable pads that should be familiar to anyone who’s ever used a drum plugin before. You can drag and drop your own samples right into these pads or use the factory kits that come with the plugin.

Sitala also includes an array of sound-shaping tools that lets you put your own stamp on your drum sounds. With features such as ‘Shape’, ‘Compression’, and ‘Tone’, recreating traditional drum beats or more experimental grooves is a piece of cake.

Bottom-line

Like the best free FL Studio plugins, the beauty of Sitala lies in its simplicity. We found that it lets you lay down grooves quickly, and the results are always musical. We especially like how the interface allows you to play it like an instrument.

Piano One by Sound Magic

Download for Free

Sound Magic’s Piano One is reminiscent of the Yamaha C7 concert grand, which is highly revered by many professional piano players. Based on Sound Magic’s Hybrid Modeling Engine, Piano One combines the best qualities of physical modeling and sampling. The result is an amazingly rich and responsive sound that often felt like playing a real piano.

Best Features & Specs

Sound Magic’s Hybrid Modeling Engine does a great job of combining the realism of piano samples and the responsiveness of physical modeling. Unlike other modeled instruments, Piano One responds instantaneously, with no sluggishness or delay. The sound is reasonably rich and full-bodied, particularly when playing sustained low notes. The plugin even comes with an onboard reverb that simulates environment and soundboard resonance for added realism.

Bottom-line

Even with its limitations, Piano One is a pretty impressive piano plugin. If you need a range of basic piano sounds but don’t have the cash for a humongous piano library, Piano One is worth looking into.

TyrellN6 & Zebralette by u-He

TyrellN6 is based on the legendary Roland Juno 60, which is one of the most iconic analog synthesizers ever made. Users of the venerable classic will appreciate the simplicity and ease of use of this plugin, which lets you create deep bass, lush pads, and cutting leads with relatively little effort.

Zebralette isn’t based on any particular instrument. Rather, it is a teaser of sorts for u-He’s well-respected Zebra 2. It has the same great-sounding oscillator that is in Zebra, giving you a taste of what you could achieve with the more fully-featured product.

Best Features & Specs

TyrellN6 and Zebralette give you a pretty diverse range of sounds, from classic to cutting edge. TyrellN6’s classic architecture is the ticket to thick and lush vintage sounds, with noise and a ring modulator joining the two oscillators for extra flavor.

Zebralette is a more esoteric plugin that allows for the creation of more outlandish and experimental sounds. This is a great entry point into the sonic possibilities offered by Zebra 2, and we were thrilled to find that Zebralette patches can be opened in Zebra 2.

Bottom-line

TyrellN6 and Zebralette are compact yet powerful synths that will find a place in any modern production. Even if you already have some powerhouse synths in your collection, these two free VSTs for FL Studio are worthy additions.

Guitar M Lite II

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Guitar M Lite II offers studio musicians the crisp and authoritative sounds of the Martin D-41 acoustic guitar in a convenient software plugin. Developed by Ample Guitar, M Lite is a great way to add glistening acoustic textures to your productions, even if you don’t happen to have a guitar player handy.

Best Features & Specs

M Lite is a sample-based instrument that weighs in at just under 850 MB. It includes standard guitar articulations such as hammer-ons and pull-offs, palm mutes, and pops, allowing you to create surprisingly realistic performances. The plugin also offers Customized Parameters Control (CPC), which lets you add more expressive touches via MIDI CC or automation.

We especially like the plugin’s Strummer function, which allows for some pretty convincing strummed performances. Strumming is where most acoustic guitar plugins fall short as far as we’re concerned, so were pleasantly surprised to find it implemented so convincingly in a free plugin.

Bottom-line

Those with discerning ears aren’t likely to be fooled by M Lite. But if you need some rudimentary acoustic guitar parts for a mockup, this plugin will do very well in a pinch.

LABS by Spitfire Audio

Download for Free

Spitfire Audio’s LABS has created quite a stir in the software plugins world, so we were eager to put it through its paces. At present, the collection already covers a pretty broad range of instruments, and more are being added all the time. And because each instrument is a labor of love by dedicated musicians and sampling experts, the results are consistently impressive.

Best Features & Specs

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Each LABS instrument comes in the form of a dedicated plugin, rather than a library you load in a software sampler. We found the user interface to be focused and refreshingly straightforward, with easy to use controls for dynamics and expression. We also like the inclusion of a knob that can be customized for whatever function the user wants.

The LABS collection currently includes strings, guitars, pianos, brass, drums, vocals, percussion, synths, and experimental instruments. Although not quite as detailed as more extensive sampled libraries, we had no trouble making them fit into our productions.

Bottom-line

The LABS instruments are about as straightforward as plugin instruments can be. Even if you already have a collection of software instruments, you will probably find a use for some of these plugins.

Vinyl by iZotope

Download for Free

iZotope has long been known for its excellent noise reduction and sound improvement plugins. So it was a bit of a surprise when the company rolled out a plugin that adds grit and dirt to audio. With Vinyl, you can dirty up your tracks with a healthy helping of dust, scratches, and mechanical noise, instantly giving them the character of a vintage recording.

Best Features & Specs

As the name implies, Vinyl makes tracks sound like they are being played from a turntable. Ideally suited for every stage of the production process, we found this to be the most convenient solution to get the authentic vibe heard on ’60s and ’70s recordings.

We like how you can control how much ‘pixie dust’ you can add to your tracks. Whether you need just a few cracks and pops, a touch of mechanical noise, or you really want to thrash your audio, Vinyl provides independent control over each element.

Bottom-line

Vinyl works on pretty much everything from drums and strings to full mixes. If your tracks are sounding just a bit too clean, this plugin will let you dirty them up in a few clicks.

Ozone Imager 2 by iZotope

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iZotope’s Ozone Imager 2 offers a quick and easy way to alter the stereo image of your tracks. Whether you need to widen a pad or string section or narrow down your bass and kick drums to fit into a mix, Ozone Imager lets you do so quickly and easily.

Best Features & Specs

The most obvious application of Ozone Imager is to widen an audio track. If you need your synth pad or string section to fill up the soundstage, Ozone Imager will get the job done without imparting any sonic anomalies that could make mixing a nightmare.

Ozone Imager provides two flavors of Stereoize: one lets you widen source audio with a cool phasing effect, while the other widens signals more subtly. The plugin also has three vectorscope meters that give you instant visual feedback on your stereo spread.

Bottom-line

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Ozone Imager is a fairly simple plugin that is useful for mixing as well as creative experimentation. If you are struggling to make certain elements fit into a mix, this is one you can try out, of check out or list of other mixing plugins.

MAutoPitch

Download for Free

MAutoPitch is a pitch correction plugin developed specifically for vocals and monophonic instruments. Simple and straightforward, it is nevertheless capable of producing great-sounding results that compare favorably to more expensive pitch correction plugins. It even has formant shift and stereo-expansion features that expand its capabilities as a creative audio production tool.

Best Features & Specs

Compared to many FL Studio plugins for free, MAutoPitch has quite an impressive user interface. It can be resized freely and has standard meters as well as time graphs. It also has sophisticated multi-parameter features such as mid-side and 8-channel surround processing. We particularly like the onboard safety limiter and the automatic gain compensation (AGC) features that keep levels in check.

All MAutoPitch parameters can be mapped for MIDI control and automation. This enhances the plugin’s value as a creative tool, making it more than just a “set-and-forget” processor.

Bottom-line

From subtle pitch correction to creative sound design, MAutoPitch does it all. If you do a lot of vocal work, this plugin is an essential addition to your toolbox.

Supermassive by Valhalla DSP

Download for Free

Supermassive is only one of a handful of time-based plugins that form the bedrock of Valhalla DSP’s stellar reputation. The company’s delays and reverbs compare favorably to much more expensive plugins, and their features and capabilities are well known to producers across the globe. With Supermassive, the company once again proves its expertise in developing lush and exquisite sounding plugins, with a few more tricks up its sleeve.

Best Features & Specs

Supermassive is designed specifically to produce spacious and expansive delays and reverbs. Ideally suited for adding atmosphere to dry and lackluster productions, it sounds just as good when dialed down for more subtle ambiance.

Like all Valhalla DSP plugins, Supermassive is freely resizable, with precise controls for every parameter. It is based on a system of feedback delay networks, with each delay ultimately being processed by a unique WARP control. This allows you to produce everything from twinkling echoes to rich and deep reverbs and everything in between.

Bottom-line

Supermassive is easily a great VST for lush ambiance, even able to compete with our list of top VSTs on the market. Even if you already have a couple of favorite reverbs and delays, you will likely find yourself patching in Supermassive every time you need a unique atmosphere in your productions.

Pancake 2 by Cableguys

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Cableguys’ Pancake 2 handles a variety of panning and imaging functions in a slick and easy to use interface. Like all Cableguys plugins, Pancake 2 offers full control over the most useful parameters, giving you total control over your sound. You also have plenty of options to modulate the source audio as you wish, so you have free rein over your creative vision.

Best Features & Specs

PanCake allows you to set and forget the modulation depth and rate if you wish, although you could also draw in your own modulation curves. This feature is perfect for panning audio in time with the tempo or ramping up the speed for a buildup.

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Of course, the plugin’s LFO can be set to sync to your host DAW’s tempo as well. Speeds from ¹⁄₁₂₈ notes to 32 bars are possible, giving you a wide range of movement options. The plugin also has a left/right display so you always know what is going on with your soundstage.

Bottom-line

Like the other top FL Studio plugins out there, Pancake 2 can be as simple or as complex as you wish. Whether you need subtle movement in your tracks or you are looking for more intense panning functions, Pancake 2 is one of the best free plugins for FL Studio.