Find your sound.
Know your instrument.

01 Install and activate

Install

Close your DAW, run the installer for your platform, then reopen the DAW and let it scan plugins. Insert Flite on an instrument/MIDI track, not as an audio insert effect.

Sign in

Use your Wavea account email and password. A guest purchase may require you to follow the password-setup email before signing in. The provider API key used for AI generation is not your Wavea password.

Library

Follow the content setup prompt and choose a writable library location. Keep this folder available when reopening projects; the plugin and its sound library are separate.

Licence

Settings shows Full or Play. If a purchase is missing, confirm the purchase email and use Sync. Avoid purchasing again simply because the local licence has not refreshed.

02 First sound

Preset

Choose a factory preset, enable input monitoring and play a MIDI note. The footer MIDI indicator helps distinguish missing note input from an audio-output problem.

Macros

Turn a named macro gradually to hear the preset designer's intended performance range. Save a new preset when you want to keep an edited version.

Create

Select Create to access the detailed panels. Availability of editing features depends on your licence.

01 Navigation

Play / Create

Choose the macro-focused performance view or the detailed sound-design interface. They are two views of the same preset, not separate copies of the sound.

Home

Return to the main Create dashboard from expanded editors and overview panels.

Preset name and arrows

Open preset selection or step through available sounds. Save before replacing a sound you have edited.

Save / preset menu

Save and manage the current preset through the header controls. A preset is the complete instrument setup, rather than just one sample slot.

Settings and Size

Open account/library preferences or adjust the interface scale. Larger sizes improve legibility without changing the audio.

02 Performance

Hold

Keeps incoming notes held for sustained sounds and sequenced patterns. Turn Hold off when a sequence appears to continue after releasing the keyboard.

Engine A / Engine B

The two engines have separate voice-mode controls. A source's A/B selector determines which engine plays it; A/B is routing, not an undo or comparison button.

Poly / Mono

Poly allows overlapping notes up to the selected voice count; Mono restricts the engine to monophonic playing. Long releases can keep voices active after keys are released.

Glide A / Glide B

Set pitch-transition time for the corresponding engine. The audible result depends on voice mode and the notes you play.

Source key range

Restrict a sound source to a region of the keyboard. Use this with engine assignment for splits and layered patches.

01 Browse

Preset list

Select a sound to load its complete configuration. Use its pack/library context and category tags to narrow the list.

Search

Search the browser to find a sound by its available text metadata. Clear the search and tag filters if an installed preset appears to be missing.

Categories and tags

Filter the visible presets by sound type. These are browser organisation tools; they do not alter the synthesis engine.

Heart

Mark a favourite so you can return to it while auditioning. Favouriting is not the same as saving an edited preset.

Expansions

Installed, licensed expansion content is available through the library. A preset that uses missing audio cannot be made complete merely by saving it again.

02 Buying and installing expansions

Expansion packs add themed sounds to your library. Buying a pack adds content; it is not itself an upgrade to the Create editing licence. Purchase and installation are separate steps.

1. Choose a pack

Listen to the store demos and check the product page for contents, requirements and current prices. Expansion sounds run inside Flite, not as a separate plugin.

2. Use your Wavea email

Purchase with the email you use to sign in to Flite so the pack is linked to that account. New customers buying without an account should follow the password-setup email after purchase, then sign in with their purchase email and chosen password. Existing account holders keep their existing password.

3. Sync your licences

Save your current sound and project first. In Flite Settings, use SYNC to rescan your licences and content. Flite resets to its default state when the rescan completes. Make sure you are signed in to the account used for the purchase.

4. Download the content

Find the pack in the preset browser and click its download button. Check the minimum required Flite version and whether the factory library is required. Meet those requirements, then click DOWNLOAD with a reliable internet connection. Save unsaved progress first: Flite also resets when the download completes.

5. Play the presets

Select the installed pack in the browser, load a preset and explore its Play macros. You do not need to reinstall the plugin just to add an expansion.

Missing content?

Check your purchase email, signed-in account, completed download and library location. Clear browser search and category filters. Keep required audio installed for project recall: resaving a preset will not restore missing samples. If you purchased with the wrong email, contact info@wavea.co rather than buying again.

03 Library folders: Factory and User

Open Settings and read the path below Library: this is the active content folder. It may differ from the default if you chose another drive. In Finder or File Explorer, navigate to that folder. Library → CHANGE selects a different content location and attempts to move the existing Factory, User and Packs folders; back up your content before relocating it.

Default locations

Mac: ~/Music/Wavea/Flite (inside your home folder). Windows: Documents\Wavea\Flite, using your Windows Documents location, which may be redirected. The path shown in Settings is the authoritative location.

Factory

Factory/Presets, Factory/Instruments and Factory/Samples contain supplied library content. Treat Factory as the original library; save your own variations to User rather than editing factory files in place.

User

User/Presets contains saved complete .flite presets. User/Instruments contains your .finst sampler instruments. User/Samples contains .fsamp granular sample definitions. These last two are Flite sound definitions, not simply folders of interchangeable WAV files.

Packs

Purchased expansion content is installed beneath Packs in the same library root. Keep these files available alongside the factory content required by your presets.

Finding sounds in Flite

Use the preset browser’s Factory, User and pack filters for complete sounds. Use the Sampler instrument selector for .finst instruments and the Granular sample selector for .fsamp definitions. A saved instrument does not automatically become a complete preset.

Backups

Back up the library and any external audio used by your projects. Do not assume that saving a preset or DAW project collects every source audio file. Moving or deleting referenced content can leave a sound incomplete.

04 Play and save

Play macros

Each macro may control multiple parameters and is named by the preset designer. An unassigned macro will not change the sound.

Save a preset

Preserve your complete sound, including source settings and assignments, under a useful name. Keep an untouched copy of the original when experimenting.

Instrument files

A .finst is a sampler instrument; a .fsamp is a granular sample definition. These are not interchangeable with a complete Flite preset.

Project recall

Your DAW stores plugin state, but external content still needs to remain available. Keep user instruments and their required audio backed up with the project.

01 Source and editor

Sampler / Granular selector

Choose the slot's playback model. Sampler uses mapped sample zones; Granular builds a texture from small grains of a source sample.

Slot header / sample name

Open the instrument's editor or source selection controls. Use the editor/header controls to open settings; the large level knob is for level adjustment.

Power / mute

Silence an individual source to compare its contribution without removing its settings.

Previous / next

Step through instrument or sample choices in the corresponding library.

02 Mix and performance

Level

Balance the slot against the synth, noise and other sample slots. Drag to change level; the main level knob is not a settings toggle.

Pan

Place the source left or right in the stereo image.

Tune

Transpose the source. Detailed pitch settings include octave, coarse and fine tuning; the sample root note is a separate setting.

EQ

Open that source's three-band EQ. Tone-shape a layer before combining it with the other sources.

A / B and keyboard range

The strip beneath each sample slot, Synth Engine and Noise selects engine A or B and the source's lowest/highest triggering notes. It is a source-level keyboard split, not the polyphonic voice count. A source must match the playing engine and receive a note inside its range to trigger.

Low note / high note

Drag each displayed note vertically to change that boundary. Both end notes are included and the boundaries cannot cross. Double-click the low value to restore MIDI note 0, or the high value to restore MIDI note 127. Octave labels can differ between hosts; MIDI note numbers are the reliable reference.

Splits versus layers

For a split, use non-overlapping ranges, such as one source ending at B2 and another beginning at C3. For a layer, overlap their ranges. Notes in the overlap can trigger both sources if their engine assignment matches. These limits do not transpose the sound.

Source range versus sample zones

The source strip gates the whole instrument. Individual Sampler zones still have their own note and velocity ranges: a note must pass the source range and match a playable zone. Widening the source range does not create missing sample mappings. The Synth Engine strip applies to its oscillator group, not separate ranges for Osc 1, 2 and 3.

01 Source and tuning

AN / WT

Choose an analogue-style waveform or wavetable source. The wave selector and its available shapes follow this choice.

Analogue wave

The source list includes Sine, Triangle, Saw, Pulse, Saw-Tri, VarPulse, 2xSaw, 7xSaw, FoldSine, Trapez, SyncSaw and Sub Stack.

Wavetable

The wavetable choices, in menu order, are: 1. Bell; 2. Chime; 3. Sine Clip; 4. Screech; 5. Scream; 6. Vowel 1; 7. Vowel 2; 8. Voice; 9. Gong; 10. FM Synth; 11. Glass; 12. Talker; 13. Robot; 14. Throat; 15. Burp; 16. Bow; 17. Organ; 18. Vocal AA; 19. Vocal OO.

Level / Pan

Set the oscillator's contribution and stereo placement within the synth.

Octave / Coarse / Fine

Tune in octaves, semitones and small pitch offsets. Fine detuning between oscillators creates beating; large intervals create layered harmonies.

02 Shaping

Colour

Change harmonic character with the selected colour mode, amount and bias. Audition at comparable levels because extra harmonics can sound louder.

Sync

Reset the oscillator's cycle against a synchronising source. Mode and tuning change the reset relationship; moving the amount/tuning produces the characteristic hard-edged sweep.

FM

Use internal phase modulation to create FM-style sidebands. INDEX controls intensity, RATIO sets the modulator frequency relationship, and MOTION shapes how the index changes after a note starts. Open CONFIG for the additional controls below.

Exp FM

Exponential frequency modulation offers different pitch behaviour from ordinary FM. The advanced menu includes Classic, Fixed and Interval depth behaviours and starting recipes.

AM

Amplitude modulation introduces a rhythmic or metallic change depending on modulator settings. Mode and modulator wave alter its character.

Unison

Layer two detuned copies of this oscillator. AMOUNT controls their pitch separation and SPREAD their stereo placement; there is no separate Unison voice-count control. See the detailed controls below.

03 Advanced FM

Modulator wave

Sine gives a relatively simple starting spectrum; Triangle, Saw, Pulse and Noise produce different sidebands and texture.

INDEX

Set modulation intensity from 0 to 100%. Zero removes the phase modulation; increasing it creates a more complex spectrum. This is not an output-level control.

RATIO / Fine Ratio / Musical Ratios

RATIO sets modulator frequency relative to the played oscillator: 1 is equal frequency, 2 is twice the frequency and 0.5 is half. The panel range is 0.5–10 in steps of 0.5. Fine Ratio in CONFIG offsets it by hundredths, not oscillator tuning cents: +25 adds 0.25. Musical Ratios sets both values together, including subharmonic, integer and inharmonic choices such as sqrt(2), Golden and pi.

MOTION

A bipolar index envelope: zero holds the chosen index, positive values make it decay after note-on, and negative values make it rise towards the chosen index. Greater magnitude makes the movement stronger and faster. CONFIG offers Off, Fast Decay, Medium Decay, Slow Decay and Slow Rise starting points.

Feedback

Feed the modulator's previous output back into its phase to increase spectral complexity. CONFIG offers 0, 10, 25, 50, 75 and 100%. Start low for controlled harmonic changes; high values can become rough or noisy.

Velocity to Index

Choose 0, 25, 50, 75 or 100% velocity sensitivity for modulation depth. At zero, note velocity does not scale the index. At 100%, quieter MIDI notes use proportionally less index; this controls timbre rather than directly setting output volume.

Phase mode

Legacy follows the oscillator's Phase Reset switch. Reset restarts oscillator and modulator phases at note-on; Free keeps their running phase; Random chooses new starting phases. Use Reset for repeatable attacks and Free or Random for variation.

Quality / Level Compensation

The FM options include Legacy and 2x quality and level compensation. Higher quality can cost more CPU; compensation helps with level changes but is not a mastering limiter.

Recipes

FM recipes are Clean, Bass, Electric Piano, Bell, Glass, Pluck, Metal, Growl and Percussion. Each sets a combination of index, ratio, motion, feedback, velocity response, modulator wave, phase, quality and compensation. They are starting settings, not additional algorithms; save your own patch before trying them.

04 Colour controls

Choose Colour in SHAPE. Its processing changes the oscillator's harmonic character without adding an external effect slot.

AMOUNT

Set the strength of the selected colour treatment. In Warm, Fold, Bend and Bite this blends the original oscillator with the treated signal. Classic uses the waveform's original shape-dependent processing, so its response depends on the source wave.

Classic

Use the original waveform-specific colour behaviour. BIAS has no effect in this mode.

Warm

Apply soft saturation. BIAS offsets the saturation curve to change its asymmetry; the processing compensates for the resulting DC offset.

Fold

Fold the waveform back on itself to create additional harmonics. BIAS moves the folding symmetry, changing the balance of the resulting tone.

Bend

Distort the oscillator's phase within each cycle rather than shifting its fundamental pitch. BIAS changes the position of the phase-bending curve.

Bite

Apply different saturation strengths to positive and negative waveform halves for a sharper character. Positive and negative BIAS favour different halves.

BIAS

Range -100 to +100. Zero is the reference position; move either way to alter the chosen algorithm's symmetry. Its effect varies by mode, and Classic ignores it.

05 Sync controls

Sync uses an internal master at the played pitch to synchronise this oscillator. It does not require another main oscillator to be enabled.

AMOUNT

Raise the synced oscillator's internal tuning relative to its master. Sweep it for changing harmonics while the reset cycle follows the played note. TUNE determines whether this movement is continuous or stepped.

Hard

Reset the oscillator phase at each master cycle for the conventional hard-sync character.

Soft

Pull the phase partway towards the reset point instead of forcing a complete jump. This produces a different, less abrupt synchronisation behaviour.

Rev

Alternate the oscillator's playback direction at successive master resets.

Window

Combine hard reset with an amplitude window around the cycle boundary to soften the transition.

Free

AMOUNT moves the internal tuning continuously from 0 to 24 semitones above the master.

Semi

Quantise the same 0–24-semitone range to whole semitone steps.

Harm

Step through frequency multiples 1–8 of the master, rather than equally spaced semitones.

Oct

Step through 0, 12, 24 and 36 semitones above the master.

06 Exponential FM controls

Exp FM modulates pitch in semitone space. Large depths can move the perceived pitch substantially; it behaves differently from the ordinary FM mode.

DEPTH

Set the strength of pitch modulation from 0 to 100%. The Depth Mode in CONFIG determines how that percentage becomes a pitch interval.

WAVE

Choose Sine, Tri, Saw, Pulse or Noise for the internal modulator. Smooth waves give smoother pitch movement; sharp waves and Noise create more abrupt or irregular changes.

RATIO / FINE

Set modulation frequency relative to the played pitch. RATIO spans 0.5–10 in half-unit steps; FINE spans -50 to +50 and adds hundredths to the ratio. For example, RATIO 2 with FINE -25 gives 1.75. Musical Ratios in CONFIG sets both together.

Depth Mode: Classic

Depth scales with the frequency ratio: at full DEPTH the peak excursion is ratio × 12 semitones before motion and velocity scaling. Changing RATIO therefore changes both modulation speed and depth.

Depth Mode: Fixed

DEPTH controls an excursion up to 24 semitones independently of RATIO. Change modulation speed without automatically changing its depth.

Depth Mode: Interval

Quantise the effective depth to 0, 1, 2, 5, 7, 12 or 24 semitones. Motion and velocity can move the effective depth between these steps; this does not quantise the final audio to a musical scale.

Motion

CONFIG offers Off, Fast Decay, Medium Decay, Slow Decay and Slow Rise. These shape depth after note-on using the same rising/decaying behaviour described for FM, but Exp FM has FINE rather than a MOTION control on its panel.

Feedback

Feed the modulator back into its own phase to roughen its waveform. The choices are 0, 10, 25, 50, 75 and 100%.

Velocity to Depth

Choose 0, 25, 50, 75 or 100%. Greater sensitivity reduces depth more strongly on softer notes; zero leaves depth independent of note velocity.

Phase

Choose Legacy, Reset, Free or Random, as for FM. Reset favours repeatable starts; Free retains running phase and Random varies the starting phase.

Recipes

Classic, Rubber, Siren, Laser, Riser, Chime, Growl and Chaos set combinations of depth, ratio, depth mode, motion, feedback, velocity response, wave and phase. They replace those settings rather than adding a second effect.

CONFIG differences

Exp FM does not expose the ordinary FM Quality or Level Compensation options. Its Fine ratio is directly on the panel.

07 AM controls

AM changes the oscillator's amplitude using an internal modulator. At audio rates this creates additional frequency components, not just a slow volume wobble.

AMOUNT

Blend from the unaffected oscillator at zero towards full amplitude modulation at 100%. This is modulation depth, not the oscillator's LEVEL.

Classic

Use unipolar modulation to reduce the signal's amplitude through the modulator cycle without reversing its polarity.

Ring

Use bipolar modulation. At full depth the signal is multiplied by the modulator, including polarity inversion on its negative half-cycle, giving ring-modulation character.

Rect

Use the absolute value of the modulator. Negative halves are flipped positive, producing a different repeating amplitude pattern without polarity reversal.

Chop

Switch between open and closed states according to the modulator's sign. AMOUNT determines how deeply the closed state attenuates the sound.

WAVE

Choose Sine, Tri, Saw, Pulse or Noise. The chosen wave is transformed by MODE, so the same wave can behave differently in Classic, Ring, Rect and Chop.

RATIO / FINE

Set modulator speed relative to the played pitch. RATIO spans 0.5–10 in half-unit steps; FINE adds -0.50 to +0.50 in hundredths. This FINE is a ratio offset, not oscillator detuning in cents.

08 Unison controls

Choose Unison in SHAPE. This mode generates two copies per oscillator, independently of the synth engine's Poly setting.

AMOUNT

Separate the two copies in pitch using a curved response: small values give fine beating, while large values move far beyond subtle detune. At maximum, one copy is an octave above and the other an octave below the base frequency.

SPREAD

Range -100 to +100. At zero, both copies are mixed equally into left and right. Moving away from zero separates them across the stereo field; opposite signs swap the sides, and either extreme gives full separation.

LEVEL / PAN

The normal oscillator LEVEL and PAN still apply to the combined result. Check mono playback, since the stereo arrangement and beating can change how the sound combines.

Voice count

There is no adjustable Unison count in this mode. Engine polyphony controls simultaneous played notes; it is not the number of copies created by Unison.

09 Utility icons

Copy / Paste

Open the source oscillator’s Copy / Paste icon and choose Copy oscillator settings. Open the destination oscillator’s same menu and choose Paste oscillator settings. This replaces the destination’s values; macro and modulation assignments stay with the destination. Save first if you need to preserve its previous sound.

Phase Reset

Restart oscillator phase for more repeatable note attacks. This differs from the oscillator's Sync shaping mode.

Invert

Invert polarity. It may have little effect on a solo oscillator but can alter cancellation when mixed with correlated signals.

Initialise

Right-click the oscillator’s enable/power control and choose Initialise to reset that oscillator’s parameters to their defaults. This is a local reset, not a reset of the whole preset, and differs from Phase Reset. Save first if you need the current settings.

01 Colour and stereo

White

A bright, broad-spectrum noise starting point; useful for hats, air and filtered sweeps.

Pink

A less top-heavy noise colour than white. Useful for balanced texture and softer layers.

Brown

A darker noise colour for low, rumbling textures.

Violet

An especially bright noise colour; use a restrained level and filter it when needed.

Stereo / Width

Control stereo presentation. Check mono compatibility when layering wide noise under a focused tonal sound.

02 Level and routing

Level

Adjust the noise contribution. Low levels can add texture without obscuring pitch.

A/B and key range

Choose the engine and playable region like the other sources.

Filter routing

Send noise to a filter or bypass via Routing. Filtering is central to turning unpitched noise into a useful part of the patch.

01 Instrument and audio

Instrument selector

Load an existing sampler instrument (.finst). The instrument contains mapping and playback setup, not just a waveform.

Initialise the Sampler

Open the instrument-name menu and choose Initialise for a fresh start in this slot. It clears the loaded sampler content, resets instrument parameters and the full note range, switches off engine B assignment and detaches this slot’s macro targets. It does not initialise the other sources or the whole preset. Save your work first.

Clear Layout / Clear All

The instrument menu also offers these narrower clearing actions: Clear Layout removes the mapping while retaining the audio pool; Clear All clears the instrument including its pooled audio. Use Initialise when you also want the slot’s default settings. These actions clear the loaded state, rather than deleting your saved library files.

Audio pool

Inspect the audio available to this instrument, audition files and map them into zones.

Generate

Open provider-based text-to-audio generation. API setup, credits and usage permissions are covered in the AI generation chapter.

Save

Store the sampler instrument. The orange outline after loading raw or generated audio prompts you to save; opening an existing .finst does not require this unsaved-audio prompt.

02 Keyboard mapping

Zone range

Set the lowest and highest keys a zone responds to. Overlapping zones can create layers.

Root

The note at which the sample is treated as its original pitch. This is not necessarily the lowest mapped note.

Velocity range

Restrict a zone to a range of playing strengths. Use separate ranges for soft and hard samples.

Mapping keyboard

Inspect which keys are covered and audition the mapped result. A correct-looking waveform does not guarantee the currently played key is mapped.

Follow (MIDI Follow)

When enabled, playing a mapped note selects the sample triggered by that note and velocity for display in the editor. Disable it to keep editing one sample while playing other notes. It changes editor selection, not pitch tracking, tempo sync or the mapping itself.

Zoom

Change the keyboard mapping view's scale for easier zone editing. This changes the view, not the sample's pitch or audio duration.

03 Instrument controls versus selected sample

Select a sample zone before changing the waveform-side controls. Check Follow if the selection unexpectedly changes while you play.

Top-row LEVEL and PAN

These balance the entire loaded instrument. The GAIN and PAN beside the waveform affect only the selected sample, so use them to balance individual samples without changing the whole slot.

Top-row OCT, COARSE and FINE

Tune the whole instrument in octaves, semitones and cents. These offsets combine with the selected sample's own coarse and fine tuning.

Instrument VEL. SENS.

Set how much playing velocity changes the instrument's level. Zero removes this level response; 100% gives the full squared-velocity response, making softer notes quieter. Sample-level velocity sensitivity can further reduce their level, so enabling both compounds the response.

Instrument KEY TR.

Enable note-dependent pitch tracking for the instrument. In the Sampler, both this switch and the selected sample's KEY TR. must be enabled for played note pitch to transpose that sample.

Selected sample GAIN

Adjust only this sample from -40 to +20 dB. Balance mismatched recordings here, then use the instrument LEVEL for the overall sound.

Selected sample PAN

Position this sample left or right within the instrument. Its pan combines with instrument-level panning.

Selected sample COARSE / FINE

Transpose this sample by -24 to +24 semitones and fine-tune it by -50 to +50 cents. These are separate from the instrument's top-row tuning.

ROOT

Declare the MIDI note corresponding to the sample's original pitch. With key tracking enabled, notes are transposed relative to this root. Changing ROOT does not change the zone boundaries or automatically detect the recording's pitch.

Selected sample KEY TR.

Enable pitch following for this sample, provided instrument KEY TR. is also enabled. With either switch off, different mapped keys trigger the sample without note-dependent transposition; tuning offsets still apply. Useful for drums and fixed-pitch effects.

Selected sample VEL. SENS.

Range 0–100%. Zero leaves this sample's level independent of velocity at this stage. At 100%, level follows squared normalised velocity. This is not Velocity Range: sensitivity changes loudness, whereas the zone's velocity limits decide whether it triggers.

REV.

Reverse the selected sample's playback direction. This does not reverse the MIDI sequence or the keyboard mapping.

04 Sample boundaries and looping

Fade In / Fade Out

Soften the beginning and ending of the playback region. These sample-edge fades are separate from the synth amplitude envelope and from the loop crossfade.

Loop Start / Loop End

Set the region repeated while looping. Keep both points inside the usable sample region and audition the join.

Loop Mode: OFF / ON / RELEASE

OFF plays without repeating the loop. ON keeps playback looping during the release stage. RELEASE exits the loop after note release and continues towards the sample end; the amplitude envelope still affects what you hear.

Loop Curve

Choose the linear or exponential loop-fade curve. Compare the join by ear: the best result depends on the audio either side of the boundary.

05 Sample playback

Start / End

Limit the part of the source used during playback. Check attacks after trimming so you do not cut off the transient.

Loop controls

Enable and set the looping region for sustained playback. Looping repeats a region; it is not the same as slicing the region into separate notes.

Loop Fade

Blend the loop boundary to reduce clicks. Longer crossfades can soften or blur rhythmic material.

Gain

Adjust sample-level gain before relying on the main source level to balance the whole instrument.

Auto Loop / Auto Slice

Access sample context-menu tools. Auto Loop helps find a loop; Auto Slice detects transient divisions and creates mapped slices.

01 Pool list

Name / path on disk

Identify the sample and its source location. Use the path information when tracing missing or unexpectedly duplicated audio.

Preview

Audition a pooled sample independently of the current keyboard zone. Hearing preview audio does not mean its zone is assigned to your played note.

Mapped on

Inspect the note and velocity ranges associated with the file.

Add / mapping controls

Place a pooled sample into the instrument mapping. Check its root and key range after adding.

Multiple selection

Select several rows when you need a group operation.

Delete / Delete All

Delete is the single-file action. With multiple selected rows, Delete All refers to the selected set, not every file on your computer. Review the selected set before confirming any removal.

02 What to save

.finst

Save Sampler mapping and instrument data for reuse in a source slot.

.fsamp

Save the Granular sample definition for reuse by a granular source.

Exclude unmapped audio

The sampler save option can omit unused pooled audio. Do not enable it if you want to retain unmapped material for later editing.

Full preset

Save at the preset level to preserve the combined sources, sequencers, filters, effects and assignments.

Backup

Keep copies of user instruments, sample material and DAW sessions. Test moving a saved instrument in a copy of a project before removing its original source files.

01 Source region

Load / Generate / Save

Choose audio, generate it through a provider, or save a granular sample definition. Saving a definition differs from saving the complete preset.

Initialise the Granular slot

Open the sample-name menu and choose Initialise to clear the loaded granular content and restore the instrument slot’s defaults. It also restores the full note range, switches off engine B assignment and detaches the slot’s macro targets. Save first; this is a reset of this slot, not the whole preset.

Start / End / Loop Fade

Set the usable sample region and smooth a looping boundary. Watch the waveform and grain positions while auditioning.

Root / Gain

Set the source's pitch reference and level. Granular pitch changes and the source root work together; tune the root before adding random pitch.

02 Activation

Rate / Sync

Choose the grain trigger speed in free-running or tempo-related units. Faster triggering usually produces a denser cloud.

Rate Jitter

Vary the interval between grain triggers. Small amounts break up mechanical repetition.

Chance

Control the likelihood of a grain trigger occurring.

Burst / Skip

Introduce grouped triggers or skipped events. Available divisions include Off, 2, 4, 6 and 8.

03 Playback and position

Normal / Reverse / Random

Choose forward, reverse or randomly selected playback direction.

Position

Set the source region from which grains are taken. Moving position scans through different timbres in the recording.

None / Scan / Drift / Swarm

Choose a fixed position or an automatic position behaviour. The panel reveals the relevant controls for the selected mode.

Scan Rate / Key Track

Control systematic movement through the sample and whether scan behaviour follows played pitch.

Drift Rate / Bias

Set the speed and tendency of position wandering.

Swarm Range

Spread positions around the base location to explore a wider part of the sample.

04 Grain shape

Length / Sync / Length Jitter

Set grain duration and optional rhythmic synchronisation, then vary duration per grain. Short grains can become buzzy; long grains retain more source detail.

Spray / Stereo Spray

Disperse grain starting positions and stereo placement. Use moderate values when preserving a recognisable attack.

Bounds: None / Contain / Wrap

Choose how the grain player handles the selected sample boundaries. Compare modes near the edges of a short source region.

Window

Shape the amplitude contour of each grain. Choices include Box I, Box II, Triangle, Cosine, Hann, Spike, Fall and Rise.

Max Grains

Limit simultaneous grains. Higher limits allow denser overlap but can raise processing cost.

05 Random variation

Random Level / Pan

Vary loudness and stereo placement from grain to grain.

Coarse / Fine

Introduce large or small pitch variation. Start with small fine variation for shimmer before trying wide coarse intervals.

Pitch mode

Constrain random pitch with None, Fifth, Octave, Chromatic, Major or Minor. A constraint is not an automatic analysis of the musical key of your source.

01 Lifetime curves

Enable

Enable an age treatment only when you want it to affect the grain. Compare enabled and bypassed results at the same source level.

Start / End

Set the treatment at the beginning and end of a grain. These are grain-lifetime values, not sample start and end markers.

Random Invert

Introduce variation in the direction of an enabled age treatment where provided.

Level / Pan / Widen

Fade, move or change stereo width across a grain.

Coarse / Fine

Make each grain climb or fall in pitch as it plays.

Damp / Air / Drive

Change darkness, brightness or saturation during the grain's lifetime.

01 Provider connection

Generate / provider choice

Open Generate from the Sampler or Granular editor. The selected provider is remembered; use the generation panel's provider controls when you want to change it.

Connect

Click Connect to open Connect ElevenLabs or Connect Stable Audio. This is an API connection screen, not the Wavea licence login. Use Signin to open the provider's login page in your browser, or create an account if needed. Enter your provider password only on its website, not in Flite's API-key field.

Create and copy an API key

After signing into the provider in your browser, use the connection screen's API key / Create API Key link to reach its key-management page. Create a key with generation access and copy the complete key using the provider's copy control. Use a key for the selected provider, not your Wavea password or a key from the other provider.

Paste the key into Flite

Return to the connection popup, click the field labelled Paste API key here, then press Command-V on Mac or Ctrl-V on Windows. To replace an old key, select the field's contents with Command-A or Ctrl-A before pasting. The characters are masked for privacy. Copy only the key value, without quotation marks or an Authorization/Bearer prefix.

Finish connecting

Choose whether to remember the key securely, then use the popup's connection button. Read the status before generating. ElevenLabs can show API key ready because restricted Sound Effects keys cannot read account details; actual generation access is checked when a request is made. A ready status alone does not prove sufficient credit or permissions.

Login is not connection

Signing into the provider website does not automatically connect Flite: you still need to paste the API key. Likewise, signing into Wavea unlocks your Flite licence but does not supply an ElevenLabs or Stability API account.

Connection problems

For an invalid-key message, copy a fresh complete key from the correct provider and check its permissions. For credit or quota errors, check the provider's API account allowance. Network errors are different from a rejected key. Never include the key in screenshots, presets or support messages.

Forget a saved key

Use the connection popup's Forget action to remove the saved credential from this computer. Other already-open Flite windows may still retain a session copy. Close those windows if you need to clear their session access too.

Remember key

Optional local credential storage uses macOS Keychain or Windows Credential Manager. Keys are not saved into presets or DAW state.

Credits / balance

Generation consumes your provider's API allowance. A website subscription may not include API credits. Stable Audio offers an API balance check; provider account capabilities differ.

02 Describe and generate

Describe a sound

Describe the material, texture and desired musical role. Start with a focused request, then refine it after hearing the result.

Duration

Choose an available generation duration. Supported choices depend on the provider.

Root

Choose the pitch reference used when preparing the generated source. It does not guarantee the service generates a sound tuned to that pitch.

Auto-map

Use the available automatic mapping option to place generated Sampler audio into the keyboard mapping.

Auto-loop

Use the available loop option when preparing material for repeated playback. Check the resulting boundary by ear rather than assuming it is seamless.

Generate / cancel

Submit the request, wait for the result, then audition it. Cancelling or closing the panel may not prevent the provider charging for an already submitted request.

Save

Keep a useful result as an instrument/sample and save the full patch if you changed other modules.

01 Slice the loop

Prepare the region

Use a clean loop and check its start and end before slicing. Extra silence or a partial first hit can give you an unexpected first slice.

Auto Slice

Right-click the sample and choose Auto Slice. Enter the original loop BPM (20–400), then Slice. This replaces that sample's mapping while retaining its original audio in the pool. Other samples are not overwritten; protected pack instruments cannot be sliced in place. Audition the result because soft attacks and noisy material can divide unexpectedly.

Chromatic mapping

Each successive slice is mapped to the next semitone starting at C1. DAWs can label octaves differently; compare the actual triggered notes rather than the octave text alone.

Pool entries

The slice audio is available in the pool with names derived from the source. Save the instrument after checking the map.

02 Reconstruct and rearrange

Export slices as MIDI

Use the separate third context-menu item, Export Slices as MIDI, once slices have been cut. Confirm the original loop BPM in its dialog before exporting the notes that trigger the slice mapping.

Tempo

Import the MIDI into your DAW and use the original loop tempo as the first playback check. Changing project tempo changes note timing, not the intrinsic duration of each audio slice.

Playback accuracy

Keep the corresponding slice instrument loaded and avoid accidentally transposing its trigger notes. Envelope attack, effects and DAW scheduling can change the audible reconstruction.

Gaps and overlap

At slower tempi, gaps may appear between short slices; at faster tempi, slice tails may overlap or be cut by your voice/gate settings. This is not a promise of transparent time stretching.

MIDI versus audio

The MIDI file does not contain the slice audio. Move or back up the sampler instrument and required audio along with the MIDI.

01 Contour

Attack

Time taken to rise at the beginning of a note. Short values preserve percussive attacks; longer values create fades.

Hold

Time spent at the upper level before decay. This is different from the global Hold button, which holds MIDI notes.

Decay

Time taken to fall from the upper level towards sustain.

Sustain

The level held while the note remains active. It is a level, not a time value.

Release

Time taken to fade after note-off. Long releases allow voices to overlap and increase the number of active voices.

02 Behaviour and assignment

Linear

Change the envelope curve behaviour. Compare it by ear: equal time settings do not necessarily sound equally sharp with a different curve.

Legato

Change retrigger behaviour for overlapping notes in the appropriate playing mode. Use it for connected lead playing.

Tempo divisions

Right-click a time value to select Free or a tempo division. Attack, Hold, Decay and Release have separate sync choices; Sustain does not.

Assign

For an assignable envelope such as Env 2 or Env 3, drag the destination parameter’s text label (for example, filter CUTOFF) onto that envelope’s ASSIGN control and release. Drag the label, not the knob: dragging the knob normally changes its value. Only eligible modulation destinations are accepted, and the envelope needs an available target slot.

03 Assigning an envelope: step by step

Env 1A and Env 1B already shape their engines’ amplitude. An additional envelope needs a destination and a non-zero modulation amount before it changes another parameter.

1. Choose the destination

Set a useful starting value on the parameter you want to animate. For a filter pluck, lower CUTOFF enough that an upward sweep has room to be heard.

2. Make the connection

Select Env 2 or Env 3, then drag the CUTOFF label onto its ASSIGN control. Alternatively, click ASSIGN to open the envelope’s assignment view and choose an eligible destination there.

3. Set modulation depth

Open Modulation Overview and find the envelope’s destination. Adjust Amount: a positive amount moves above the base value as the envelope rises; a negative amount moves below it. A connection with zero depth makes no audible change.

4. Shape and audition

Play notes while adjusting Attack, Hold, Decay, Sustain and Release. For a pluck, try a short Attack, short Decay and low Sustain. Listen to the combination of base cutoff, envelope contour and modulation amount.

If the drop is rejected

Check that you are dragging a modulatable parameter label onto ASSIGN, that this destination is not already attached to the same envelope, and that the envelope has a free target slot. Inspect existing routes in Modulation Overview.

01 Mode and shape

Wave

Choose from the periodic shape collection, including Sine, Triangle, Saw, Pulse, Stepper, Exp Up/Down, Bounce and Double Pulse.

Draw

Use a user-shaped curve rather than a stock waveform. Listen to abrupt transitions at shallow depth before applying them widely.

Sample & Hold

Produce stepped random values for discrete changes.

Smooth Random

Produce less abrupt random variation than Sample & Hold.

Chaos

Create evolving irregular modulation. Character and Evolve controls change the behaviour; it is not simply another periodic wave.

Skew

Bend timing left or right for applicable wave shapes. This changes where movement happens within a cycle, not just the overall rate.

02 Timing and depth

Rate / Sync

Use a free-running frequency or a host-tempo division. Synced rate follows tempo changes.

Trigger

Choose how modulation starts or retriggers in response to notes. Use a resetting mode for repeatable attacks and a continuing mode for ongoing motion.

Delay

Wait before the LFO starts contributing. This is useful when the attack should remain stable before vibrato or movement enters.

Amount

Scale the LFO's overall contribution. Destination modulation amounts still determine how much each individual parameter moves.

Assign

Route the LFO to one or more destinations, then check those routes in Modulation Overview.

01 Pattern timing

Length

Set the number of active steps, up to 32, in the pattern.

Rate

Set the rhythmic duration of a step.

Swing

Redistribute timing between alternating steps. It changes groove without simply doubling the overall rate.

Trigger

Choose first-note or each-note retrigger behaviour. Overlapping notes can therefore restart or continue the pattern differently.

Direction

Forward reads left to right; Backward reverses it; Ping-Pong bounces between ends; Random may repeat steps. Shuffle visits each step in a shuffled cycle; Brownian walks to a neighbouring step or stays; Outside-In alternates from the outer edges inward.

02 Step lanes

Enable

Toggle whether a step plays. Disabled steps still occupy their place in the pattern.

Pitch / Octave

Set the note and its octave offset.

Gate

Set how long each note is held relative to its step. Very short gates emphasise transients; longer gates interact with the envelope's sustain and release.

Velocity

Set the strength of the note. Its audible effect depends on the patch's velocity response and assignments.

Probability

Set the chance of a step playing. Intermediate probabilities make repeated passes differ.

Ratchet

Repeat a step within its time slot. Increasing repeats produces rolls and stutters.

Attack / Decay

Apply per-step envelope articulation inside Flite. These are not standard note attributes included in a MIDI file.

03 Pitch rules

Key Track / KT Note

Transpose the authored pattern relative to played input using the configured reference note.

Scale / Key

Constrain notes to a chosen scale and musical key. None leaves the scale constraint off.

Round

Choose how off-scale values move to an allowed pitch.

Range

Compress the pitch excursions of the authored lane. This is distinct from an instrument's keyboard range.

04 Note pattern types

Patterns write Pitch and Octave across the active length, rather than changing playback direction. Scale degrees use the selected scale; None uses Major for pattern generation. Save before replacing your own notes.

Root-Fifth

Alternate root and fifth scale degrees.

Triad Up

Repeat root, third and fifth degrees.

Triad Down

Repeat fifth, third and root degrees.

Seventh Up

Repeat root, third, fifth and seventh degrees.

Seventh Down

Repeat seventh, fifth, third and root degrees.

Alberti Bass

Repeat root, fifth, third, fifth for a broken-chord accompaniment.

Octave Pedal

Alternate root and twelve semitones above it.

Chord Inversions

Cycle rising broken-chord voicings with lower chord tones moved into higher octaves. These are successive notes, not simultaneous chords.

Fibonacci

Repeat zero-based scale degrees 0, 1, 1, 2, 3, 5, 8, 13 for widening jumps.

Prime Sequence

Repeat zero-based degrees 0, 1, 2, 4, 6, 10, 12, 16, 18, 22, 28 for irregular widening movement.

Random Walk

Start at the root, then stay or move one degree up/down per step, bounded within seven degrees either side. Selecting it generates a stored walk, not a new walk every playback cycle.

Fractal Motif

Repeat degrees 0, 1, 0, 2, 0, 1, 0, 3, raising each eight-step block by two scale degrees.

05 MIDI destinations

Host / DAW

Choose Host / DAW in the sequencer output selector. Create another MIDI/instrument track, select Flite's track/plugin MIDI output as its input, load the receiving instrument, and enable monitoring or recording. Trigger Flite's sequence with incoming notes. Availability depends on host and plugin format; not every AU/VST3 host exposes instrument MIDI output. Do not route the receiving track back into Flite, which can cause MIDI feedback.

Export

Click EXPORT to save a .mid file or drag EXPORT onto a DAW MIDI track that accepts file drops. If dragging is unsupported, save and import the file. The file contains notes, not audio or the Flite preset: keep the intended instrument on the receiving track.

Exported order

File export follows the authored lane from left to right. It does not capture the live Direction setting as a performed pass.

Random playback

Probability is exported as a deterministic snapshot, not every possible future pass. Record live MIDI in a compatible host if you need a particular performance.

No sound in a MIDI file

A MIDI export contains note events, not Flite audio, effects or all internal modulation. Keep the preset available for the intended sound.

01 Lane and timing

Steps / Amount

Each step stores a modulation value. It only changes the sound once the sequencer is assigned to a destination.

Length / Rate / Swing

Set pattern length, step duration and alternating rhythmic feel.

Direction / Trigger

Choose the step traversal and restart behaviour. The current source exposes the same seven direction choices as the note sequencer.

Probability / Ratchet / Range

Vary step occurrence, repeated substeps and value range. Compare against a simple deterministic pattern when debugging unexpected movement.

02 Modulation pattern types

Patterns replace VALUE across the active length. RANGE still scales the result and smoothing shapes transitions. They do not assign a destination or change playback direction. Randomised choices generate stored values when selected, not new values on every cycle. Mod Sequencers output internal modulation, not note MIDI files or external MIDI CC streams.

Shapes: Sine

Sample a sine cycle with positive and negative movement.

Shapes: Triangle

Rise and fall linearly across the cycle.

Shapes: Saw Up

Rise from minimum to maximum across the active steps.

Shapes: Saw Down

Fall from maximum to minimum.

Shapes: Square

Hold high for the first half, low for the second.

Rhythmic: Pump

Repeat a four-step curved rise from low to high.

Rhythmic: Sidechain

Make a zero-to-full ramp per quarter-note beat. Incompatible slow or dotted rates switch to 1/16. Assign to a suitable level destination for ducking-style motion; this is not an audio sidechain detector.

Rhythmic: Offbeat

Alternate a modest negative value with a full positive accent.

Rhythmic: Syncopated

Repeat eight unequal positive and negative accents.

Rhythmic: Bounce

Alternate positive and negative values with diminishing magnitude over eight steps.

Organic: Smooth Random

Generate random anchors every four steps and interpolate between them. Playback smoothing remains separate.

Organic: Random Walk

Start at zero and make small random changes within the available range.

Organic: Turing Loop

Generate an eight-value motif from seven discrete levels, then repeat it. It does not continuously mutate.

Spatial: Pan Sweep

Make a cosine-shaped excursion from one extreme to the other and back. Assign to pan for stereo motion or use another destination.

Spatial: Centre Out

Alternate positive and negative values with increasing distance from centre.

Spatial: Outside In

Alternate extremes while progressively approaching centre.

Euclidean: 3 Pulses / 5 Pulses / 7 Pulses

Distribute the chosen number of high-value pulses as evenly as possible across the active steps, with low values elsewhere. Pulse count cannot exceed sequence length. These are modulation values, not MIDI notes.

03 Shape the movement

Smoothing enabled

Blend transitions rather than jumping immediately between values.

Smoothing Time / Tension

Control how long transitions take and their contour. Too much smoothing can erase a deliberately sharp rhythmic pattern.

Pattern menu

Choose a starting pattern, then edit the lane. A pattern is data, not an effect inserted in the audio path.

Rhythmic → Sidechain

Create a repeating rise from low to high within each beat. Assign it to an appropriate level destination for a pumping effect; the pattern alone does not duck the sound.

Assign

Select a destination and set modulation amount. The same pattern can drive level, cutoff or another eligible parameter for very different results.

01 Make an assignment

Drag a parameter label

Drag an eligible parameter's label onto a macro knob or its label. Alternatively, drag a macro label onto a supported destination knob, or choose the destination in Macro Overview. Dragging the parameter knob itself normally changes its value rather than assigning it.

Macro Overview

Inspect the destinations assigned to each of the eight macros. The destination selector provides an alternative when a small label is awkward to grab.

Name

Choose a performance-oriented name, such as Brightness or Space, rather than leaving an important macro unnamed.

Amount

The macro's current position is mapped into each destination's assigned range.

02 Control the range

Minimum / Maximum

MIN is the destination position at macro 0%; MAX is its position at macro 100%. These are percentages of the destination's normalised control range, not necessarily its displayed units. MIN 20 and MAX 70 restrict travel to that part of the control; halfway maps to 45%. For nonlinear controls such as frequency, this need not be the arithmetic midpoint in Hz.

Inverted movement

Set MIN higher than MAX to reverse movement. MIN 80 and MAX 20 make the destination fall as the macro rises. Equal endpoints hold it at a fixed position. Each target can have a different range and direction.

Destination knob: inner control

The main knob and its indicator represent the parameter's current control value. Once macro-controlled, that value follows the macro mapping. Do not confuse the current value with the endpoints of the allowed macro travel.

Destination knob: outer macro ring

On supported knobs, an orange arc and two endpoint dots show the assigned macro range. Drag an endpoint vertically to edit MIN or MAX directly; use the numbers in Macro Overview for precise edits or overlapping handles. The outer ring is not a second oscillator or an extra macro amount.

Coloured modulation arcs

LFO, envelope and other modulation routes have source-coloured arcs and depth handles around supported knobs. These show modulation excursions, distinct from the macro's two endpoints. Drag a modulation handle to change depth; right-click it for Bypass/Enable, Invert Amount or Remove Assignment. Alt/Option-click a modulation handle inverts its amount. Multiple routes can overlap, so use Modulation Overview when handles are difficult to distinguish.

Main macro knob rings

The eight main macro knobs are different from destination knobs: their value ring and central indicator both reflect the same macro amount. They do not represent MIN and MAX. WHITE RIMS changes the Play-mode appearance, not assignment ranges or sound.

Enable / remove target

Disable a route for comparison or remove it when it is no longer needed.

Several destinations

Each macro supports four target slots. Combine tone, level and FX changes; compensating a brightness boost with a small level reduction can make it easier to perform.

Assignment availability

Not every UI action is a parameter. File operations and descriptive headings are not automatically assignable controls.

01 Sources

LFO / envelope / sequencer

Use repeating, note-triggered or step-based movement. A source must be active and configured appropriately for the route to be audible.

Note / velocity

Use played pitch or note strength to change a parameter.

Aftertouch / mod wheel / pitch bend

Use controller performance data. The controller and DAW must actually transmit the intended messages.

Slide / MPE

Use expressive controller data with compatible MPE configuration. Match Flite's zone and bend range to the controller.

02 Destinations

Assign controls

Use a source's Assign control or the overview's target selector to choose an eligible destination.

Amount

Positive and negative values move a destination in opposite directions relative to its base setting. Large amounts can push a destination against its limits.

Enable

Temporarily bypass an individual route to find what is creating a movement.

Base value

The knob's underlying value remains important. A route near a parameter limit may sound one-sided or barely move.

Macro plus modulation

A macro establishes a performance range; an LFO or other source can add motion. Check combined extremes, not just each assignment in isolation.

01 Filter controls

Cutoff

Set the frequency region affected by the filter. Its audible role changes with the filter type.

Resonance

Emphasise the region around the cutoff or the selected character's resonance. High settings can produce sharp peaks; lower the level before sweeping.

Drive

Push the filter character harder. Compare at matched loudness so increased level is not mistaken for better tone.

Slope

Choose the available roll-off steepness for the applicable filter type.

Analog / Modern

Select the filter model where available. Special filter types can expose different behaviour from a conventional low-pass model.

02 Types

LP / BP / HP

Low-pass reduces highs, band-pass emphasises a frequency band, and high-pass reduces lows.

COMB

Creates a comb-like frequency response suited to pitched, metallic or flanging-style colour.

FORM

Adds a formant-style spectral character useful for vowel-like movement.

RES

Uses resonator behaviour for a more pitched or resonant character.

BENT

A circuit-bent character combining sample holding, quantisation and nonlinear feedback. Cutoff changes capture rate and smoothing, rather than acting only as a conventional cutoff. The model changes its starvation/glitch character; start at restrained resonance and drive.

03 Routing and amp

Routing tab

Choose whether each sample slot, synth and noise source feeds Filter 1, Filter 2 or the unfiltered path.

Parallel: 1 + 2 → AMP

Combine the two filters' outputs. A source routed only to one filter will not automatically pass through the other.

Serial: 1 → 2 → AMP

Feed Filter 1's output into Filter 2. Sources routed directly to Filter 2 join at that stage.

Bypass path

A source that bypasses the filters can stay bright even when both filter cutoffs are low.

Amp

Set the amplitude stage's level. Check it along with source levels and effect output controls when a patch clips.

01 Bands and graph

Enable

Compare the EQ with its bypassed source. Match loudness when judging the change.

Three bands

Each band has its own type and settings. The combined graph shows their summed response.

Type

Choose Low Cut, Low Shelf, Bell, High Shelf or High Cut.

Frequency

Place a cut, shelf corner or bell centre.

Gain

Boost or cut where the selected type uses gain. A cut filter does not behave like a bell with negative gain.

Q

Adjust the width/resonance of the applicable band. Narrow settings are useful for focused changes; broad settings shape overall tone.

01 Slot controls

Effect dropdown

Choose from the alphabetised effect menu. Display order is separate from stored effect IDs; alphabetisation does not renumber older preset selections.

Settings icon

Open the selected effect's detailed popup. Close the popup to return to the dashboard.

Power

Bypass the slot for comparison without treating it as a deletion of the effect settings.

Mix

Balance dry and effected audio. At a low Mix, even a strong effect setting can sound subtle.

A / B

Choose which engine the slot processes. A slot on engine B will not affect a source that is only playing through engine A.

Slot order

On the main Create panel, click-drag an FX slot’s background/title area onto another FX slot and release when the destination highlights. Avoid dragging MIX or another control, which retains its normal function. Reordering changes processing order: distortion into reverb sounds different from reverb into distortion. The FX 1/2/3 selector inside a popup only changes which slot you are viewing; it does not reorder effects.

01 Compressor

Threshold · −60 to 0 dB

Set the level above which compression acts. Lowering the threshold generally applies compression to more of the signal.

Ratio · 1:1 to 20:1

Set how strongly levels above the threshold are reduced. At 1:1 there is no compression ratio effect.

Attack · 0.1–100 ms

Set how quickly gain reduction responds. Slower attacks let more transient energy through.

Release · 10–1000 ms

Set how quickly compression recovers. Match it to the phrase to avoid unwanted pumping.

Gain · −24 to +24 dB

Apply manual makeup/output gain. Compare with bypass at similar loudness.

Slot Mix

Blend the compressed and dry signal for parallel compression. This compressor is not the mod sequencer's Sidechain pattern and does not expose a separate external sidechain input.

02 Bit Crusher

First knob · 2.0–24.0

Set bit depth; the value display is numerical without a 'bits' suffix. Lower values increase amplitude quantisation.

Reduction · 1×–64×

Increase the sample-rate reduction factor for stepped, aliased texture.

Drive · 0–10 dB

Increase level into the crushing stage. It can intensify the effect.

Output · −24 to 0 dB

Reduce output to compensate for added drive. Keep peaks under control when comparing settings.

03 Distortion

Type

Choose the available distortion character.

Drive

Increase the amount of saturation/distortion.

Tone

Shape the brightness of the distorted sound.

Output

Compensate for the level increase so the patch remains balanced.

04 Lo-fi

Drive and enable

Add the drive stage, or bypass that stage independently.

Bit depth and enable

Reduce amplitude resolution independently of the other Lo-fi stages.

Rate and enable

Reduce sampling resolution for a rougher digital texture. This is distinct from the separate Bit Crusher's reduction-factor control.

Slot Mix

Blend the degraded sound with the original for subtler texture.

01 Delay

Left / Right time or rate

Set separate delay times or synced rhythmic divisions.

Sync / Link

Use host tempo and optionally link the channel controls.

Feedback

Return delayed signal into the delay for more repeats. Raise cautiously.

Cross Bleed

Feed repeats across the stereo sides for interaction between channels.

Slew

Smooth changes to delay behaviour when adjusting time.

Low Damp / High Damp

Control the tone of the repeat path.

Colour

Change the delay's tonal character.

02 Tape Echo

Rate

Choose the echo timing.

Heads

Select the available tape-head configuration to change the repeat pattern.

Feedback

Set how much echo recirculates.

Age

Increase the aged tape character. Listen for the change in texture as well as repeat level.

03 Granular Delay

Time

Choose a tempo-related delay division.

Size

Set the grain size in the delay texture.

Scatter

Disperse grain timing/placement for less uniform repeats.

Pitch

Choose −12, −7, 0, +7 or +12 semitones for pitched delay texture.

Feedback

Set recirculation. Use lower values while experimenting with pitch and scatter.

04 Reverb

Pre-delay

Separate the initial sound from the reverb's onset.

Size

Adjust the perceived scale of the space.

Decay

Set the length of the reverb tail.

Mod frequency / depth

Add movement to the reverb texture.

Low Damp / High Damp

Control the tonal balance of the reverb decay.

05 Granular Reverb (Granular in the FX menu)

Grains

Set the number of grains used in the effect texture.

Size

Change their size and the density/character of the resulting ambience.

Detune

Spread pitch for a less static tail.

Feedback

Extend the evolving texture through recirculation.

Reverse

Use reverse playback for a different grain character.

01 Panner

Rate / Sync

Set free or tempo-synchronised motion.

Shape

Choose Sine, Triangle, Square or Random.

Depth

Control the extent of panning.

Offset

Move the centre of the pan movement. Wide movement may be less apparent in mono.

02 Ring Mod

Frequency

Set the modulation frequency. Low settings can pulse; higher settings create non-harmonic metallic tones.

Depth

Set modulation intensity.

Spread

Change stereo relationship for a wider result.

Wave

Choose Sine, Triangle or Pulse as the modulation waveform.

03 Phaser

Rate / Depth

Set the speed and extent of the sweep.

Feedback

Emphasise the phased character.

Stages

Choose 4, 6, 8 or 12 stages for a different notch structure.

04 Flanger

Rate / Sync

Set free or tempo-related sweep speed.

Depth / Offset

Set sweep extent and its base position.

Width

Control stereo spread.

Feedback

Intensify the comb-filter character.

Low Damp / High Damp

Adjust the tonal balance of the effect.

05 Vintage Chorus

Rate / Depth

Set speed and intensity of the chorus motion.

Low Damp / High Damp

Shape its spectral balance.

Drive

Add saturation character.

Noise

Blend in the effect's noise character. A patch may remain noisy even without a played note when noise-producing effects are active.

01 Account and library

Sign In / Sign Out

The available account action follows your sign-in state. Use the same account that owns the intended licence.

Sync

Refresh account/licence content after purchases or changes. A connection failure is not proof that your password is wrong.

Library → Change

Choose the content location. Keep it on an available, writable drive; moving the location does not magically repair missing source files.

Account help

If a guest purchase used a different email, check the licence email on the purchase confirmation before trying another password.

02 Performance preferences

MPE Mode

MPE allows separate expression for individual notes by placing them on different MIDI channels. Off disables Flite's additional MPE member-channel pitch handling. Lower uses channel 1 as the master with member channels 2–16; Upper uses channel 16 as master with member channels 1–15. Match the zone used by your controller and make sure the DAW preserves the separate channels.

MPE Pitch Range

Choose ±12, ±24, ±48 or ±96 semitones for member-channel pitch bend; the fresh setting is ±48. The controller and Flite must use the same range. For example, a controller sending bends for ±48 will play the wrong intervals if Flite is set to ±12. This is not the range of notes a source can play.

Velocity Response

Choose the curve applied to the Velocity modulation source. This is not a MIDI velocity-layer remapper or a master loudness control: the audible result depends on the assigned destination and its modulation amount. Dedicated velocity-sensitive controls can have their own response.

Options in this dropdown:

• Legacy — Pass velocity through unchanged. A half-strength note supplies approximately 50% modulation-source value, preserving the original response.
• Soft — Lift low and middle velocities with a square-root curve. A half-strength note supplies about 71%, making stronger modulation easier to reach with a lighter touch. With a negative assignment, that stronger response moves the destination down rather than up.
• Punch — Reduce low and middle velocities with a squared curve. A half-strength note supplies about 25%, leaving more contrast between gentle notes and hard hits.
• S-Curve — Use a smooth curve that reduces values below halfway and raises values above halfway, while keeping halfway at 50%. It flattens the response near the extremes and increases contrast around the middle.

Pressure and Slide

Assign Aftertouch/pressure and Slide to destinations such as cutoff or colour in Modulation Overview. Slide uses CC74. Enabling MPE does not automatically choose a timbral destination for these gestures.

MPE setup check

Enable MPE output on the controller and the DAW track, select the matching Lower or Upper zone in Flite, and match the pitch range. Hold two notes and bend one: only that note should bend. Then assign pressure or Slide to an obvious destination and test each gesture separately. If every note moves together, check that the host is not merging MIDI channels.

03 Appearance

UI Size

Choose 80% through 150% in 10% steps. This affects interface dimensions, not sound quality.

Play Macros Styling

Choose DEFAULT or WHITE RIMS. White Rims is the fresh-install default.

Debug CPU display

Some development builds include a CPU readout. It is not a standard release-build feature and is not directly equivalent to the DAW's CPU meter.

01 No sound or unexpected sound

No MIDI activity

Check the DAW track input, monitoring, channel and whether notes reach the plugin.

MIDI but no sound

Check source mutes/levels, key and velocity zones, engine A/B, sequencer state, sample availability, envelope sustain, filters and output.

Sequence will not stop

Check global Hold, sustained input notes and MIDI sustain. Long envelope releases and effect tails can sound after notes stop.

Parameter moves by itself

Check macros and Modulation Overview. Disable routes one at a time to isolate the source.

Clicks

Check sample/loop boundaries, short attack/release times, discontinuous modulation and clipping before attributing every click to CPU.

02 Performance and files

High CPU

Compare at the same sample rate, buffer size, voice count and patch. Reduce unison, grain overlap, long releases and heavy effect combinations one at a time. A DAW's realtime meter is not a universal whole-computer CPU percentage.

Missing sounds

Verify the library location, installed packs and original user files. Restore from backup rather than deleting and resaving blindly.

API generation fails

Check connection, key permissions, credits and provider availability. Do not paste your API key into a support message.

Old projects

Open a copy first after updating. Flite 2.1 preserves the established plugin identity and legacy parameter mappings, but required external audio must still exist.

Support information

Send Flite version, operating system, DAW/version, plugin format, sample rate, buffer size and reproducible steps. Include the smallest shareable example; omit passwords and API keys.

03 Terms used in this manual

Preset / instrument / sample

A preset is the complete Flite sound; an instrument defines a source's playback and mapping; a sample is audio material.

Root / key range

Root is the sample's pitch reference. Key range decides which notes trigger it.

Voice / grain

A voice is a sounding note instance; a grain is a short audio fragment inside granular playback.

Macro / modulation

A macro is a performance control for assigned ranges. Modulation is parameter movement driven by a source such as an LFO, envelope or controller.

Mix / output

Mix balances dry and wet audio. Output changes the level leaving a stage.

Rate / duration

Rate says how often something repeats; duration says how long an event or segment lasts.