Parameters

Shorten parameter names

In your DAW, the names of Floe's parameters are long and descriptive, such as "Effect Distortion On". You can switch to abbreviated names if you need the names to show in a smaller width, for example, "Dist On". Enable this option on Floe's preferences panel. You might need to close and re-open your DAW for this change to take effect.

Parameter table

For reference purposes, this section lists all of Floe's parameters in case you need to look up specific IDs or details. For more of a usage guide, consult the documentation pages on layers, effects, looping, etc.

Module	Name	ID	Abbreviated Name	Description
Layer 1	Volume	160	L1 Volume	The Layer Volume sets the level of this layer. The marks on the slider show the level of each sounding voice: its velocity, key range fade and any MPE volume expression. Tip: to change how velocity relates to volume, edit the velocity to volume curve on the CONFIG tab.
Layer 1	Mute	161	L1 Mute	Mute silences this layer. Handy for hearing how the other layers sit together while you're designing a sound. A muted layer keeps running in the background exactly as if you could hear it, so when you unmute, the sound carries on seamlessly from wherever it has naturally got to. If you're trying to save CPU, unload the Instrument instead. If a layer is still audible after muting it, check whether it's also soloed: Solo takes priority over Mute.
Layer 1	Solo	162	L1 Solo	Solo lets you hear this layer on its own. Any layer that isn't soloed goes quiet. Handy for focusing on one part of a sound while you're designing it. Silenced layers keep running in the background exactly as if you could hear them, so when you unsolo, they carry on seamlessly from wherever they have naturally got to. If you're trying to save CPU, unload their Instruments instead. If a layer has gone quiet unexpectedly, check whether another layer is soloed. And if a muted layer is still audible, that's because Solo takes priority over Mute.
Layer 1	Pan	163	L1 Pan	Pan places this layer in the stereo field, anywhere from fully left to fully right. It uses a constant-power pan law (-3 dB at centre), so the layer stays at the same perceived loudness wherever you put it. Pan is applied after the Stereo control, so you can narrow a wide sound first and then place it as a single point.
Layer 1	Detune Cents	164	L1 Detune Cents	Detune fine-tunes this layer's pitch in cents (100 cents is one semitone). This works by speeding up or slowing down the audio.
Layer 1	Pitch Semitones (Legacy)	165	L1 Pitch Semitones (Legacy)	Legacy layer pitch in semitones. Kept for backwards-compatibility with DAW automation
Layer 1/Playback/Loop	Start	167	L1Lp Start	Set the loop start point, where the loop begins within the sample. While a note is held, playback loops between here and the loop end.
Layer 1/Playback/Loop	End	168	L1Lp End	Set the loop end point, where the loop finishes within the sample. While a note is held, playback loops between the loop start and here.
Layer 1/Playback/Loop	Crossfade Size	169	L1Lp Crossfade Size	Set the size of the loop crossfade, which blends audio across the loop point so the loop doesn't click. A small amount usually helps, especially for sustained or tonal sounds. Floe keeps the crossfade within the loop and the sample, so it shrinks automatically if you make the loop too small for it.
Layer 1/Playback/Loop	Sample Start Offset	171	L1Lp Sample Start Offset	Change the starting point of the sample
Layer 1/Playback/Loop	Reverse On	172	L1Lp Reverse On	Play the Instrument's samples backwards, from the end to the start. It works in every play mode and whether looping is on or off. The waveform display flips to match, so playback always runs from left to right (unless in the reverse portion of a ping-pong loop).
Layer 1/Main/Volume Envelope	On	173	L1Vol On	Switch the volume envelope on or off. It's typically best left on. When it's off, every note plays its sample straight through to the end, however briefly you press the key. Handy for one-shot sounds that should always be heard in full. Looping is disabled while the envelope is off, since nothing would ever bring a looping note to an end. Careful: with the envelope off, notes can't be cut short, so voices pile up if you play quickly, which costs CPU.
Layer 1/Main/Volume Envelope	Attack	174	L1Vol Attack	Attack sets how long each note takes to fade in. A few milliseconds is enough to avoid clicks if you've moved the sample start point.
Layer 1/Main/Volume Envelope	Decay	175	L1Vol Decay	Decay sets how long the note takes to fall to the Sustain level after the attack.
Layer 1/Main/Volume Envelope	Sustain	176	L1Vol Sustain	Sustain sets the level the note holds at while the key is down. At 0 dB, Decay has nothing to do.
Layer 1/Main/Volume Envelope	Release	177	L1Vol Release	Release sets how long the note takes to fade out after you lift the key.
Layer 1/Main/Filter	On	178	L1Filt On	Switch the filter on or off. It's a clean, digital-sounding state-variable filter (12 dB per octave). Every voice gets its own copy, so the filter envelope and the LFO (on the LFO tab) can sweep each note independently. Tip: for broader tone shaping, the EQ tab has a three-band equaliser.
Layer 1/Main/Filter	Legacy Cutoff Frequency	179	L1Filt Legacy Cutoff Frequency	Legacy cutoff parameter. Kept for backwards-compatibility with DAW automation
Layer 1/Main/Filter	Legacy Resonance	180	L1Filt Legacy Resonance	Legacy resonance parameter. Kept for backwards-compatibility with DAW automation
Layer 1/Main/Filter	Legacy Type	181	L1Filt Legacy Type	Legacy filter type parameter. Kept for backwards-compatibility with DAW automation
Layer 1/Main/Filter	Envelope Amount	182	L1Filt Envelope Amount	Envelope Amount sets how strongly the filter envelope (shown to the right) moves the cutoff on every note. At 0% the envelope does nothing. Turn it up and the cutoff follows the envelope's shape, rising and falling with it. Turn it down and the cutoff moves the opposite way, falling as the envelope rises. The envelope is centred on the Cutoff setting: the top half of the display pushes the cutoff above it, the bottom half pulls it below. A negative amount flips this. For example, with a low-pass filter, a long attack opens the sound up gradually at the start of each note.
Layer 1/Main/Filter	Attack	183	L1Filt Attack	Attack sets how long the filter envelope takes to reach its peak.
Layer 1/Main/Filter	Decay	184	L1Filt Decay	Decay sets how long the filter envelope takes to fall to the Sustain level after the attack.
Layer 1/Main/Filter	Sustain	185	L1Filt Sustain	Sustain sets the level the filter envelope holds at while the key is down.
Layer 1/Main/Filter	Release	186	L1Filt Release	Release sets how long the filter envelope takes to fall back after you lift the key.
Layer 1/LFO	On	187	L1Lfo On	Switch this layer's LFO on or off. Enable Floe's LFO (low frequency oscillator) for adding movement to a one of this layer's controls (such as the volume or filter cutoff).
Layer 1/LFO	Legacy Shape	188	L1Lfo Legacy Shape	Legacy LFO shape parameter. Kept for backwards-compatibility with DAW automation
Layer 1/LFO	Mode	189	L1Lfo Mode	Choose where the LFO starts when you play a new note. With Retrigger, every note starts the LFO from the beginning of its cycle. With Free, a new note joins in wherever this layer's sounding notes have reached, so every note modulates precisely together.
Layer 1/LFO	Amount	190	L1Lfo Amount	Amount sets how far the LFO moves its target. 0% is no movement at all and 100% is the full range for that target: silence to full level for Volume, a semitone either way for Pitch, and so on. Negative values flip the shape upside down, so a falling sawtooth becomes a rising one. For random Shapes this only makes a difference when Variation is set to one of the Identical options. The LFO display shows the shape at the current Amount.
Layer 1/LFO	Target (Legacy)	191	L1Lfo Target (Legacy)	Legacy LFO target parameter. Kept for backwards-compatibility with DAW automation
Layer 1/LFO	Time (Tempo Synced) (Legacy)	192	L1Lfo Time (Tempo Synced) (Legacy)	Legacy LFO rate. Kept for backwards-compatibility with DAW automation
Layer 1/LFO	Time (Hz)	193	L1Lfo Time (Hz)	Time sets how fast the LFO cycles, in Hz (cycles per second). Tip: for movement that stays in time with your track, switch Sync on and choose a note length instead.
Layer 1/LFO	Sync On	194	L1Lfo Sync On	Sync ties the LFO's speed to your DAW's tempo. When it's on, Time is chosen as a note length that follows the tempo; when it's off, Time is set freely in Hz. Both settings are remembered, so you can flick between them without losing either.
Layer 1/EQ	On	195	L1Eq On	Switch on this layer's three-band equaliser to shape its tone before it's mixed with the other layers.
Layer 1/EQ/Band 1	Legacy Frequency	196	L1EqB1 Legacy Frequency	Legacy band 1 frequency parameter. Kept for backwards-compatibility with DAW automation
Layer 1/EQ/Band 1	Legacy Resonance	197	L1EqB1 Legacy Resonance	Legacy resonance parameter. Kept for backwards-compatibility with DAW automation
Layer 1/EQ/Band 1	Gain	198	L1EqB1 Gain	Gain sets how far this band boosts or cuts at its frequency. Only the Peak, Low-shelf and High-shelf types use Gain. The notch and pass filters always cut by their own fixed shape, so with those the knob is inactive.
Layer 1/EQ/Band 1	Legacy Type	199	L1EqB1 Legacy Type	Legacy type parameter. Kept for backwards-compatibility with DAW automation
Layer 1/EQ/Band 2	Legacy Frequency	200	L1EqB2 Legacy Frequency	Legacy band 2 frequency parameter. Kept for backwards-compatibility with DAW automation
Layer 1/EQ/Band 2	Legacy Resonance	201	L1EqB2 Legacy Resonance	Legacy resonance parameter. Kept for backwards-compatibility with DAW automation
Layer 1/EQ/Band 2	Gain	202	L1EqB2 Gain	Gain sets how far this band boosts or cuts at its frequency. Only the Peak, Low-shelf and High-shelf types use Gain. The notch and pass filters always cut by their own fixed shape, so with those the knob is inactive.
Layer 1/EQ/Band 2	Legacy Type	203	L1EqB2 Legacy Type	Legacy type parameter. Kept for backwards-compatibility with DAW automation
Layer 1/Config	Legacy Velocity Mapping	204	L1 Legacy Velocity Mapping	Choose how MIDI velocity should affect the volume of this layer. There are 6 modes that can be selected for this parameter via the buttons on the GUI. By setting one layer to be quiet at high velocities and another layer to be quiet at low velocities you can create an instrument that sounds different based on how hard the notes are played. (0) Ignore velocity, always play full volume. (1) Loudest at high velocity, quietist at low velocity (2) Loudest at low velocity, quietist at high velocity (3) Loudest at high velocity, quietist at middle velocity and below (4) Loudest at middle velocity, quietist at both high and low velocities (5) Loudest at bottom velocity, quietist at middle velocity and above,
Layer 1/Config	Keytrack On	205	L1 Keytrack On	With Keytrack on, this layer follows the keyboard: higher keys play higher pitches. Switch it off and every key plays the sample at its recorded pitch, which might be what you want for drum hits, loops and sound effects that shouldn't be transposed. Some sample libraries may override this - marking individual samples as always or never keytracked.
Layer 1/Config	Legacy Monophonic On	206	L1 Legacy Monophonic On	Only allow one voice of each sound to play at a time
Layer 1/Config	MIDI Transpose On	208	L1 MIDI Transpose On	Transpose shifts this layer up or down in semitones by changing which samples get triggered, rather than by speeding the audio up or down. On a multi-sampled Instrument that keeps the character of the sound intact, so it's the better choice for large shifts. The key range isn't affected: you play the same keys as before, they just reach for different samples. Tip: the Pitch control at the top of the layer transposes by re-pitching the audio instead. That's the one to reach for on a single-sample Instrument, and Detune beside it covers amounts smaller than a semitone.
Layer 1/Playback/Loop	Loop Mode	209	L1Lp Loop Mode	Select the Loop Mode for this layer. Floe can loop a portion of the sound for as long as you hold a note, so even a short sample can sustain indefinitely. Some Instruments come with loop points built in, while others let you set your own on the waveform. You can also turn looping off. There's 2 modes: 'standard' wrap-around loops jump from the loop end back to the start; 'ping-pong' loops bounce back and forth, alternating playback direction. The options that are available depend on the Instrument: library authors can provide built-in loops, allow or disallow custom loops, or require that certain sounds always loop.
Layer 1/Config	Key Range Low	210	L1 Key Range Low	This layer only plays within the given range of keys, letting you give each layer its own portion of the keyboard. Key Fade below softens the edges of the range, so the layer eases in and out instead of switching on abruptly. Tip: see each layer's range on the bar above the keyboard in the bottom panel. Hover it to enlarge it, and use the octave arrows beside the keyboard to scroll beyond the keys shown.
Layer 1/Config	Key Range High	211	L1 Key Range High	This layer only plays within the given range of keys, letting you give each layer its own portion of the keyboard. Key Fade below softens the edges of the range, so the layer eases in and out instead of switching on abruptly. Tip: see each layer's range on the bar above the keyboard in the bottom panel. Hover it to enlarge it, and use the octave arrows beside the keyboard to scroll beyond the keys shown.
Layer 1/Config	Key Range Low Fade	212	L1 Key Range Low Fade	Key Fade eases the layer in and out at the edges of its key range instead of letting it switch on abruptly. Both values are in semitones: the left one fades up from Range Low, the right one fades down from Range High. Give two layers overlapping fades and they crossfade into one another as you play up the keyboard. Tip: see each layer's range on the bar above the keyboard in the bottom panel. Hover it to enlarge it, and use the octave arrows beside the keyboard to scroll beyond the keys shown.
Layer 1/Config	Key Range High Fade	213	L1 Key Range High Fade	Key Fade eases the layer in and out at the edges of its key range instead of letting it switch on abruptly. Both values are in semitones: the left one fades up from Range Low, the right one fades down from Range High. Give two layers overlapping fades and they crossfade into one another as you play up the keyboard. Tip: see each layer's range on the bar above the keyboard in the bottom panel. Hover it to enlarge it, and use the octave arrows beside the keyboard to scroll beyond the keys shown.
Layer 1/Config	Pitch Bend Range	214	L1 Pitch Bend Range	Pitch Bend Range sets how far the pitch wheel bends this layer, in semitones. Each layer has its own, so for example, a lead can bend a whole tone while the pad underneath can be set to zero to ignore the wheel entirely. Bending re-pitches the audio by speeding it up or slowing it down, so large bends will noticeably change the character of the sound. With MPE enabled, this governs the wheel on the master channel; the per-note bend of each individual note follows the range the controller asks for.
Layer 1/Config	Monophonic Mode	215	L1 Monophonic Mode	Monophonic decides what happens when notes on this layer overlap. Left off, the layer is polyphonic and every note you play gets a voice of its own; the other two modes hold it to one note at a time, in different ways. It's set per layer, so a monophonic lead can sit on top of a polyphonic pad in the same preset. The arpeggiator handles its own notes, so this has no effect while the arpeggiator is running on this layer.
Layer 1/Playback	Play Mode	216	L1 Play Mode	Select the Play Mode for this layer: the engine it uses to play its Instrument. Standard Playback plays each sample straight through: the playhead moves steadily from start to end, with options for looping and reversing along the way. The granular modes instead rebuild the sound from a stream of tiny snippets called grains. In Granular Playback, the point grains are drawn from moves through the sample at a rate you set with Speed, giving a time-stretch-like effect. In Granular Fixed, you place that point yourself with Position, letting you freeze on one part of the sample and explore its texture.
Layer 1/Playback/Granular	Length	217	L1Grn Length	Length sets how long each grain lasts, from a few milliseconds up to a second. Short grains chop the sound into a fine, buzzy texture that keeps little of the original's shape. Long grains preserve much more of the sample's natural character. Density and Smooth are both measured relative to Length, so changing it here changes how they feel too.
Layer 1/Playback/Granular	Speed	218	L1Grn Speed	Speed sets how fast the playhead travels through the sample in Granular Playback mode. Grains are drawn from wherever the playhead is. 100% is the sample's original speed. Turn it down to slow the sound to a crawl or stop it altogether, or up to race through at up to eight times normal speed. The playhead still respects the sample start, looping and Reverse settings. In Granular Fixed, this knob is replaced by Position.
Layer 1/Playback/Granular	Position	219	L1Grn Position	Position chooses where in the sample grains are drawn from, shown as the highlighted region on the waveform. Grains come from here for as long as you hold the note, so you can freeze on one moment of the sound and sustain it indefinitely. Tip: you can create movement with this parameter by setting the LFO's target to Grain Position, or by assigning this knob to a macro.
Layer 1/Playback/Granular	Density	220	L1Grn Density	Density sets how many grains overlap at once, relative to their Length. At 0%, each grain starts as the previous one ends, so they follow on one after another. Turning it up starts new grains sooner, stacking more and more of them on top of each other. Low values give an open texture where individual grains can be picked out. High values pile up so many grains that they smear into a thick, continuous wash.
Layer 1/Playback/Granular	Spread	221	L1Grn Spread	Spread widens the area of the sample that grains can start from. Each new grain begins somewhere between the playhead and a point up to this far past it, measured as a percentage of the whole sample. Small values keep every grain close to the playhead for a focused, precise sound. Large values scatter grains across a wide stretch of the sample.
Layer 1/Playback/Granular	Smooth	222	L1Grn Smooth	Smooth shapes the envelope of each grain: how gently it fades in and out, relative to its Length. At 0% grains start and stop abruptly, giving a hard, percussive edge. At 100% the fade-in and fade-out meet in the middle, so neighbouring grains blend into each other for a seamless texture.
Layer 1/Playback/Granular	Pan	223	L1Grn Pan	Pan randomises where each grain sits in the stereo field. Every new grain is given its own position, picked at random within the range you set here. At 0% every grain plays dead centre. At 100% grains can land anywhere from fully left to fully right, spreading the cloud from one side to the other. A quick way to create an interestingly wide stereo image.
Layer 1/Playback/Granular	Detune	224	L1Grn Detune	Detune randomises the pitch of each grain. Every new grain is nudged sharp or flat by a random amount within the range you set here. At 0% all grains play in tune. At 100% each grain can be up to a semitone sharp or flat. Small amounts thicken the sound like a chorus; larger amounts get progressively more smeared and out of tune.
Layer 1/Playback/Granular	Direction	225	L1Grn Direction	Direction gives each grain a chance of playing the opposite way to the main playhead. At 0% every grain follows the playhead's direction. At 100% each grain is equally likely to play forwards or backwards. In between, you can dial in a blend of the two for meandering, less predictable tones.
Layer 1/Playback/Granular	Harmony	226	L1Grn Harmony	Harmony gives each grain a chance of playing at a musical interval above or below the note you played, so a single note can bloom into a chord or a shimmering octave. At 0% every grain plays at the root. Turning it up shifts more of the grains, until at 100% every grain picks at random from the root and the intervals you've chosen. Choose which intervals are allowed with the Intervals menu next to this knob: pick a preset such as Octaves or Major Triad, or toggle individual semitones yourself.
Layer 1/LFO	Legacy Shape V2	227	L1Lfo Legacy Shape V2	Legacy LFO shape parameter (v2). Kept for backwards-compatibility with DAW automation
Layer 1/LFO	Target	228	L1Lfo Target	Choose the Target: what the LFO modulates. The modulation is applied relative to the target's current knob/slider. For example, when Volume is chosen, the movement will occur around wherever the layer's volume slider is currently set. Hover over each option for details.
Layer 1/Main/Filter	Resonance	229	L1Filt Resonance	Resonance emphasises the frequencies at the cutoff. At 0% the slope is smooth and rounded; at 100% it peaks by around 20 dB, without ever self-oscillating. For the band-pass, notch and band-shelving types it also narrows the band, and for Peak it sets the size of the boost.
Layer 1/Arp	Note Order	230	L1Arp Note Order	Order sets how the notes you're holding are shared out across the steps: climbing, falling, bouncing between the two, picked at random, or one of the less common shapes. Chord is the odd one out — it plays every held note together on each step, which is ideal for rhythmic stabs and percussion. Not available in Fixed Notes mode.
Layer 1/Arp	Trigger	231	L1Arp Trigger	Trigger decides what a new note does to a pattern that's already running. Free lets it carry on, so you can change chord underneath without breaking the groove. Retrigger restarts it from step 1 every time you press a note, which keeps the pattern locked to your playing.
Layer 1/Arp	Rate (Legacy)	232	L1Arp Rate (Legacy)	Legacy arpeggiator rate. Kept for backwards-compatibility with DAW automation
Layer 1/Arp	Length	233	L1Arp Length	Length sets how many steps the pattern runs through before it loops back to the start. Steps beyond the length are hidden from the sequencer but keep their settings, so you can shorten a pattern and lengthen it again without losing anything.
Layer 1/Arp	Arpeggiator Mode	234	L1Arp Arpeggiator Mode	Choose where the steps get their notes from. Played Notes arpeggiates whatever you're holding, giving each step one of those notes in the order set by Order. Fixed Notes ignores what you play and runs a sequence of notes you've set yourself, either by dragging each step's note or by capturing a performance with the Record button.
Layer 1/Arp	Humanise	235	L1Arp Humanise	Humanise loosens the pattern up by nudging each step's timing and velocity by a random amount. A few percent takes the machine-like edge off; higher settings give a much looser, hand-played feel, which suits percussion especially well. Steps are only ever pushed later, never earlier, and never by more than a fifth of a step.
Layer 1/Arp	Auto Rate	236	L1Arp Auto Rate	Auto Rate lets Floe pick the step rate so a sliced Instrument plays close to the speed it was recorded at, rather than leaving silent gaps between slices when your host tempo is a long way from the loop's own. While it's on, the rate Floe has chosen is shown in place of the Rate menu. The multiplier shifts that choice: 2x for double speed, 0.5x for half, with Dotted and Triplet variants for a different feel. Because the choice has to land on a tempo-synced division it moves in jumps as the tempo changes, and every layer using Auto Rate jumps at the same points so they stay in the same rhythmic relationship.
Layer 1/Arp	Polyrate	237	L1Arp Polyrate	Polyrate gives each octave of the notes you're holding its own speed, so a single chord can produce several interleaving rhythms at once. The octave starting at middle C plays at the Rate you've set, and the octaves above and below scale from there by the ratio you choose. Tip: hold two notes an octave apart to hear the effect at its clearest.
Layer 1/Arp	One Shot	238	L1Arp One Shot	With One Shot on, the pattern plays through once and stops rather than looping for as long as you hold the notes. It's handy for fills and one-off flourishes, or for letting a sliced loop play through exactly once.
Layer 1/EQ/Band 1	Resonance	239	L1EqB1 Resonance	Resonance sets how tightly the band is focused. For the Peak and Notch types it's the width, going from broad and gentle to tight and focused. The shelves use it to steepen the transition at their corner, and the pass filters use it to add a peak at the cutoff.
Layer 1/EQ/Band 2	Resonance	240	L1EqB2 Resonance	Resonance sets how tightly the band is focused. For the Peak and Notch types it's the width, going from broad and gentle to tight and focused. The shelves use it to steepen the transition at their corner, and the pass filters use it to add a peak at the cutoff.
Layer 1/Arp	Arpeggiator	241	L1Arp Arpeggiator	Switch on the arpeggiator to turn the notes you hold into a rhythmic pattern locked to your host's tempo. Each step retriggers this layer's Instrument exactly as if you'd played the note yourself, so the envelopes, filter, LFOs and effects all respond as normal. Every layer has its own arpeggiator, so you can run different patterns side by side.
Layer 1/LFO	Shape	242	L1Lfo Shape	Choose the Shape of the LFO. Alongside the classics there are a few more interesting options, such as random and plucky shapes.
Layer 1/EQ/Band 1	Type	244	L1EqB1 Type	Choose the shape of this band: a peak or shelf for boosting and cutting, a notch for removing a narrow slice, or a pass filter for rolling off one end of the spectrum. Only the Peak, Low-shelf and High-shelf types use the Gain knob; with the others it's inactive.
Layer 1/EQ/Band 2	Type	245	L1EqB2 Type	Choose the shape of this band: a peak or shelf for boosting and cutting, a notch for removing a narrow slice, or a pass filter for rolling off one end of the spectrum. Only the Peak, Low-shelf and High-shelf types use the Gain knob; with the others it's inactive.
Layer 1/EQ/Band 3	Legacy Frequency	246	L1EqB3 Legacy Frequency	Legacy band 3 frequency parameter. Kept for backwards-compatibility with DAW automation
Layer 1/EQ/Band 3	Resonance	247	L1EqB3 Resonance	Resonance sets how tightly the band is focused. For the Peak and Notch types it's the width, going from broad and gentle to tight and focused. The shelves use it to steepen the transition at their corner, and the pass filters use it to add a peak at the cutoff.
Layer 1/EQ/Band 3	Gain	248	L1EqB3 Gain	Gain sets how far this band boosts or cuts at its frequency. Only the Peak, Low-shelf and High-shelf types use Gain. The notch and pass filters always cut by their own fixed shape, so with those the knob is inactive.
Layer 1/EQ/Band 3	Type	249	L1EqB3 Type	Choose the shape of this band: a peak or shelf for boosting and cutting, a notch for removing a narrow slice, or a pass filter for rolling off one end of the spectrum. Only the Peak, Low-shelf and High-shelf types use the Gain knob; with the others it's inactive.
Layer 1/Main/Filter	Cutoff Frequency	250	L1Filt Cutoff Frequency	Cutoff Frequency sets where the filter takes effect. The filter envelope and the LFO sweep the cutoff around this value, so it's the centre of any modulation rather than the starting point.
Layer 1/EQ/Band 1	Frequency	251	L1EqB1 Frequency	Frequency sets where this band does its work: the centre of a peak or notch, the corner of a shelf, or the cutoff of a pass filter.
Layer 1/EQ/Band 2	Frequency	252	L1EqB2 Frequency	Frequency sets where this band does its work: the centre of a peak or notch, the corner of a shelf, or the cutoff of a pass filter.
Layer 1/EQ/Band 3	Frequency	253	L1EqB3 Frequency	Frequency sets where this band does its work: the centre of a peak or notch, the corner of a shelf, or the cutoff of a pass filter.
Layer 1/Main/Filter	Type	254	L1Filt Type	Select the filter type. Hover over the options in the menu for a description of each.
Layer 1	Stereo Width	255	L1 Stereo Width	Stereo narrows or widens this layer's stereo image. Negative values pull it toward mono, positive values push it wider, and 0% leaves the sound as recorded. It works by splitting the sound into mid (what both channels share) and side (what differs between them), then rebalancing the two with a constant-power crossfade. At -100% only the mid remains; at +100% only the side, so anything dead centre disappears. Mono sounds have no side, so pushing to +100% silences them.
Layer 1/Config	MPE Press Target	256	L1 MPE Press Target	Press is the channel pressure, or aftertouch, that an MPE controller sends on each note's own channel. On most keyboards it follows how hard you're pushing into the key once it's sounding. Choose what it controls on this layer here, and how strongly with Amount beside it. Press rests at nothing and climbs from there, so it only ever adds to the destination you point it at. MPE has to be switched on in the Performance Controls panel before press does anything.
Layer 1/Config	MPE Press Amount	257	L1 MPE Press Amount	Amount sets how far press moves its destination, and a negative value flips the direction so the effect runs in reverse. Past 100% the destination reaches its limit before press reaches its own, so you get the full effect from a lighter touch.
Layer 1/Config	MPE Slide Target	258	L1 MPE Slide Target	Slide is CC74, which an MPE controller sends on each note's own channel. On most keyboards it follows where your finger sits along the front-to-back axis of the key. Choose what it controls on this layer here, and how strongly with Amount beside it. Slide rests in the middle, so it pushes the destination either side of where you've set it. MPE has to be switched on in the Performance Controls panel before slide does anything.
Layer 1/Config	MPE Slide Amount	259	L1 MPE Slide Amount	Amount sets how far slide moves its destination, and a negative value flips the direction so the effect runs in reverse. Past 100% the destination reaches its limit before slide reaches its own, so you get the full effect from a smaller movement.
Layer 1/LFO	Time (Tempo Synced)	260	L1Lfo Time (Tempo Synced)	Time sets how long one LFO cycle lasts, as a note length at your DAW's tempo. 1/4 is a quarter note; a D on the end is dotted (one and a half times as long) and a T is triplet (two thirds as long). The LFO follows tempo changes, but it isn't locked to the bar: each cycle starts from the note, as set by Mode.
Layer 1/Arp	Rate	261	L1Arp Rate	Rate sets how long each step lasts, synced to your host's tempo. Together with Length it decides how long the whole pattern takes to come round — eight steps at 1/8 fills one bar of 4/4. The T and D suffixes are triplet and dotted divisions, useful for swung or lopsided patterns.
Layer 1	Pitch Semitones	262	L1 Pitch Semitones	Pitch moves this layer up or down in semitones. This works by speeding up or slowing down the audio. Tip: for a multisampled Instrument, you might get better results from Transpose on the CONFIG tab. It changes which samples are played rather than processing them, which can sound more natural.
Layer 1/Playback/Granular	Variation	263	L1Grn Variation	Variation decides whether each note scatters its grains differently or plays back the exact same grains every time. Different on every note suits most sounds, while the Identical options let you capture a particular pattern of grains and save it with the preset. Open the menu and hover over each option for details.
Layer 1/Playback/Granular	Seed	264	L1Grn Seed	Seed picks which pattern of grains repeats. Try a few numbers until you find one you like: it's saved with the preset, so the grains you choose are the grains everyone hears. Set Variation to one of the Identical options for this to take effect.
Layer 1/LFO	Variation	265	L1Lfo Variation	Variation decides whether the random shapes move differently on each note or play back the exact same pattern every time. Different on every note suits most sounds, while the Identical options let you capture a particular pattern and save it with the preset. In Free mode, a note that joins already-sounding notes follows their pattern. Open the menu and hover over each option for details.
Layer 1/LFO	Seed	266	L1Lfo Seed	Seed picks which random pattern repeats. Try a few numbers until you find one you like: it's saved with the preset, so the movement you choose is the movement everyone hears. Set Variation to one of the Identical options for this to take effect.
Layer 1/Playback/Granular	Share Grains	267	L1Grn Share Grains	Share Grains keeps the number of grains the same whether you play one note or a chord, so the sound keeps the same density however many notes you hold. Each grain plays from one of the held notes, weaving the chord's pitches together. At low Density you can hear the grains hop between the notes of the chord.
Layer 2	Volume	320	L2 Volume	The Layer Volume sets the level of this layer. The marks on the slider show the level of each sounding voice: its velocity, key range fade and any MPE volume expression. Tip: to change how velocity relates to volume, edit the velocity to volume curve on the CONFIG tab.
Layer 2	Mute	321	L2 Mute	Mute silences this layer. Handy for hearing how the other layers sit together while you're designing a sound. A muted layer keeps running in the background exactly as if you could hear it, so when you unmute, the sound carries on seamlessly from wherever it has naturally got to. If you're trying to save CPU, unload the Instrument instead. If a layer is still audible after muting it, check whether it's also soloed: Solo takes priority over Mute.
Layer 2	Solo	322	L2 Solo	Solo lets you hear this layer on its own. Any layer that isn't soloed goes quiet. Handy for focusing on one part of a sound while you're designing it. Silenced layers keep running in the background exactly as if you could hear them, so when you unsolo, they carry on seamlessly from wherever they have naturally got to. If you're trying to save CPU, unload their Instruments instead. If a layer has gone quiet unexpectedly, check whether another layer is soloed. And if a muted layer is still audible, that's because Solo takes priority over Mute.
Layer 2	Pan	323	L2 Pan	Pan places this layer in the stereo field, anywhere from fully left to fully right. It uses a constant-power pan law (-3 dB at centre), so the layer stays at the same perceived loudness wherever you put it. Pan is applied after the Stereo control, so you can narrow a wide sound first and then place it as a single point.
Layer 2	Detune Cents	324	L2 Detune Cents	Detune fine-tunes this layer's pitch in cents (100 cents is one semitone). This works by speeding up or slowing down the audio.
Layer 2	Pitch Semitones (Legacy)	325	L2 Pitch Semitones (Legacy)	Legacy layer pitch in semitones. Kept for backwards-compatibility with DAW automation
Layer 2/Playback/Loop	Start	327	L2Lp Start	Set the loop start point, where the loop begins within the sample. While a note is held, playback loops between here and the loop end.
Layer 2/Playback/Loop	End	328	L2Lp End	Set the loop end point, where the loop finishes within the sample. While a note is held, playback loops between the loop start and here.
Layer 2/Playback/Loop	Crossfade Size	329	L2Lp Crossfade Size	Set the size of the loop crossfade, which blends audio across the loop point so the loop doesn't click. A small amount usually helps, especially for sustained or tonal sounds. Floe keeps the crossfade within the loop and the sample, so it shrinks automatically if you make the loop too small for it.
Layer 2/Playback/Loop	Sample Start Offset	331	L2Lp Sample Start Offset	Change the starting point of the sample
Layer 2/Playback/Loop	Reverse On	332	L2Lp Reverse On	Play the Instrument's samples backwards, from the end to the start. It works in every play mode and whether looping is on or off. The waveform display flips to match, so playback always runs from left to right (unless in the reverse portion of a ping-pong loop).
Layer 2/Main/Volume Envelope	On	333	L2Vol On	Switch the volume envelope on or off. It's typically best left on. When it's off, every note plays its sample straight through to the end, however briefly you press the key. Handy for one-shot sounds that should always be heard in full. Looping is disabled while the envelope is off, since nothing would ever bring a looping note to an end. Careful: with the envelope off, notes can't be cut short, so voices pile up if you play quickly, which costs CPU.
Layer 2/Main/Volume Envelope	Attack	334	L2Vol Attack	Attack sets how long each note takes to fade in. A few milliseconds is enough to avoid clicks if you've moved the sample start point.
Layer 2/Main/Volume Envelope	Decay	335	L2Vol Decay	Decay sets how long the note takes to fall to the Sustain level after the attack.
Layer 2/Main/Volume Envelope	Sustain	336	L2Vol Sustain	Sustain sets the level the note holds at while the key is down. At 0 dB, Decay has nothing to do.
Layer 2/Main/Volume Envelope	Release	337	L2Vol Release	Release sets how long the note takes to fade out after you lift the key.
Layer 2/Main/Filter	On	338	L2Filt On	Switch the filter on or off. It's a clean, digital-sounding state-variable filter (12 dB per octave). Every voice gets its own copy, so the filter envelope and the LFO (on the LFO tab) can sweep each note independently. Tip: for broader tone shaping, the EQ tab has a three-band equaliser.
Layer 2/Main/Filter	Legacy Cutoff Frequency	339	L2Filt Legacy Cutoff Frequency	Legacy cutoff parameter. Kept for backwards-compatibility with DAW automation
Layer 2/Main/Filter	Legacy Resonance	340	L2Filt Legacy Resonance	Legacy resonance parameter. Kept for backwards-compatibility with DAW automation
Layer 2/Main/Filter	Legacy Type	341	L2Filt Legacy Type	Legacy filter type parameter. Kept for backwards-compatibility with DAW automation
Layer 2/Main/Filter	Envelope Amount	342	L2Filt Envelope Amount	Envelope Amount sets how strongly the filter envelope (shown to the right) moves the cutoff on every note. At 0% the envelope does nothing. Turn it up and the cutoff follows the envelope's shape, rising and falling with it. Turn it down and the cutoff moves the opposite way, falling as the envelope rises. The envelope is centred on the Cutoff setting: the top half of the display pushes the cutoff above it, the bottom half pulls it below. A negative amount flips this. For example, with a low-pass filter, a long attack opens the sound up gradually at the start of each note.
Layer 2/Main/Filter	Attack	343	L2Filt Attack	Attack sets how long the filter envelope takes to reach its peak.
Layer 2/Main/Filter	Decay	344	L2Filt Decay	Decay sets how long the filter envelope takes to fall to the Sustain level after the attack.
Layer 2/Main/Filter	Sustain	345	L2Filt Sustain	Sustain sets the level the filter envelope holds at while the key is down.
Layer 2/Main/Filter	Release	346	L2Filt Release	Release sets how long the filter envelope takes to fall back after you lift the key.
Layer 2/LFO	On	347	L2Lfo On	Switch this layer's LFO on or off. Enable Floe's LFO (low frequency oscillator) for adding movement to a one of this layer's controls (such as the volume or filter cutoff).
Layer 2/LFO	Legacy Shape	348	L2Lfo Legacy Shape	Legacy LFO shape parameter. Kept for backwards-compatibility with DAW automation
Layer 2/LFO	Mode	349	L2Lfo Mode	Choose where the LFO starts when you play a new note. With Retrigger, every note starts the LFO from the beginning of its cycle. With Free, a new note joins in wherever this layer's sounding notes have reached, so every note modulates precisely together.
Layer 2/LFO	Amount	350	L2Lfo Amount	Amount sets how far the LFO moves its target. 0% is no movement at all and 100% is the full range for that target: silence to full level for Volume, a semitone either way for Pitch, and so on. Negative values flip the shape upside down, so a falling sawtooth becomes a rising one. For random Shapes this only makes a difference when Variation is set to one of the Identical options. The LFO display shows the shape at the current Amount.
Layer 2/LFO	Target (Legacy)	351	L2Lfo Target (Legacy)	Legacy LFO target parameter. Kept for backwards-compatibility with DAW automation
Layer 2/LFO	Time (Tempo Synced) (Legacy)	352	L2Lfo Time (Tempo Synced) (Legacy)	Legacy LFO rate. Kept for backwards-compatibility with DAW automation
Layer 2/LFO	Time (Hz)	353	L2Lfo Time (Hz)	Time sets how fast the LFO cycles, in Hz (cycles per second). Tip: for movement that stays in time with your track, switch Sync on and choose a note length instead.
Layer 2/LFO	Sync On	354	L2Lfo Sync On	Sync ties the LFO's speed to your DAW's tempo. When it's on, Time is chosen as a note length that follows the tempo; when it's off, Time is set freely in Hz. Both settings are remembered, so you can flick between them without losing either.
Layer 2/EQ	On	355	L2Eq On	Switch on this layer's three-band equaliser to shape its tone before it's mixed with the other layers.
Layer 2/EQ/Band 1	Legacy Frequency	356	L2EqB1 Legacy Frequency	Legacy band 1 frequency parameter. Kept for backwards-compatibility with DAW automation
Layer 2/EQ/Band 1	Legacy Resonance	357	L2EqB1 Legacy Resonance	Legacy resonance parameter. Kept for backwards-compatibility with DAW automation
Layer 2/EQ/Band 1	Gain	358	L2EqB1 Gain	Gain sets how far this band boosts or cuts at its frequency. Only the Peak, Low-shelf and High-shelf types use Gain. The notch and pass filters always cut by their own fixed shape, so with those the knob is inactive.
Layer 2/EQ/Band 1	Legacy Type	359	L2EqB1 Legacy Type	Legacy type parameter. Kept for backwards-compatibility with DAW automation
Layer 2/EQ/Band 2	Legacy Frequency	360	L2EqB2 Legacy Frequency	Legacy band 2 frequency parameter. Kept for backwards-compatibility with DAW automation
Layer 2/EQ/Band 2	Legacy Resonance	361	L2EqB2 Legacy Resonance	Legacy resonance parameter. Kept for backwards-compatibility with DAW automation
Layer 2/EQ/Band 2	Gain	362	L2EqB2 Gain	Gain sets how far this band boosts or cuts at its frequency. Only the Peak, Low-shelf and High-shelf types use Gain. The notch and pass filters always cut by their own fixed shape, so with those the knob is inactive.
Layer 2/EQ/Band 2	Legacy Type	363	L2EqB2 Legacy Type	Legacy type parameter. Kept for backwards-compatibility with DAW automation
Layer 2/Config	Legacy Velocity Mapping	364	L2 Legacy Velocity Mapping	Choose how MIDI velocity should affect the volume of this layer. There are 6 modes that can be selected for this parameter via the buttons on the GUI. By setting one layer to be quiet at high velocities and another layer to be quiet at low velocities you can create an instrument that sounds different based on how hard the notes are played. (0) Ignore velocity, always play full volume. (1) Loudest at high velocity, quietist at low velocity (2) Loudest at low velocity, quietist at high velocity (3) Loudest at high velocity, quietist at middle velocity and below (4) Loudest at middle velocity, quietist at both high and low velocities (5) Loudest at bottom velocity, quietist at middle velocity and above,
Layer 2/Config	Keytrack On	365	L2 Keytrack On	With Keytrack on, this layer follows the keyboard: higher keys play higher pitches. Switch it off and every key plays the sample at its recorded pitch, which might be what you want for drum hits, loops and sound effects that shouldn't be transposed. Some sample libraries may override this - marking individual samples as always or never keytracked.
Layer 2/Config	Legacy Monophonic On	366	L2 Legacy Monophonic On	Only allow one voice of each sound to play at a time
Layer 2/Config	MIDI Transpose On	368	L2 MIDI Transpose On	Transpose shifts this layer up or down in semitones by changing which samples get triggered, rather than by speeding the audio up or down. On a multi-sampled Instrument that keeps the character of the sound intact, so it's the better choice for large shifts. The key range isn't affected: you play the same keys as before, they just reach for different samples. Tip: the Pitch control at the top of the layer transposes by re-pitching the audio instead. That's the one to reach for on a single-sample Instrument, and Detune beside it covers amounts smaller than a semitone.
Layer 2/Playback/Loop	Loop Mode	369	L2Lp Loop Mode	Select the Loop Mode for this layer. Floe can loop a portion of the sound for as long as you hold a note, so even a short sample can sustain indefinitely. Some Instruments come with loop points built in, while others let you set your own on the waveform. You can also turn looping off. There's 2 modes: 'standard' wrap-around loops jump from the loop end back to the start; 'ping-pong' loops bounce back and forth, alternating playback direction. The options that are available depend on the Instrument: library authors can provide built-in loops, allow or disallow custom loops, or require that certain sounds always loop.
Layer 2/Config	Key Range Low	370	L2 Key Range Low	This layer only plays within the given range of keys, letting you give each layer its own portion of the keyboard. Key Fade below softens the edges of the range, so the layer eases in and out instead of switching on abruptly. Tip: see each layer's range on the bar above the keyboard in the bottom panel. Hover it to enlarge it, and use the octave arrows beside the keyboard to scroll beyond the keys shown.
Layer 2/Config	Key Range High	371	L2 Key Range High	This layer only plays within the given range of keys, letting you give each layer its own portion of the keyboard. Key Fade below softens the edges of the range, so the layer eases in and out instead of switching on abruptly. Tip: see each layer's range on the bar above the keyboard in the bottom panel. Hover it to enlarge it, and use the octave arrows beside the keyboard to scroll beyond the keys shown.
Layer 2/Config	Key Range Low Fade	372	L2 Key Range Low Fade	Key Fade eases the layer in and out at the edges of its key range instead of letting it switch on abruptly. Both values are in semitones: the left one fades up from Range Low, the right one fades down from Range High. Give two layers overlapping fades and they crossfade into one another as you play up the keyboard. Tip: see each layer's range on the bar above the keyboard in the bottom panel. Hover it to enlarge it, and use the octave arrows beside the keyboard to scroll beyond the keys shown.
Layer 2/Config	Key Range High Fade	373	L2 Key Range High Fade	Key Fade eases the layer in and out at the edges of its key range instead of letting it switch on abruptly. Both values are in semitones: the left one fades up from Range Low, the right one fades down from Range High. Give two layers overlapping fades and they crossfade into one another as you play up the keyboard. Tip: see each layer's range on the bar above the keyboard in the bottom panel. Hover it to enlarge it, and use the octave arrows beside the keyboard to scroll beyond the keys shown.
Layer 2/Config	Pitch Bend Range	374	L2 Pitch Bend Range	Pitch Bend Range sets how far the pitch wheel bends this layer, in semitones. Each layer has its own, so for example, a lead can bend a whole tone while the pad underneath can be set to zero to ignore the wheel entirely. Bending re-pitches the audio by speeding it up or slowing it down, so large bends will noticeably change the character of the sound. With MPE enabled, this governs the wheel on the master channel; the per-note bend of each individual note follows the range the controller asks for.
Layer 2/Config	Monophonic Mode	375	L2 Monophonic Mode	Monophonic decides what happens when notes on this layer overlap. Left off, the layer is polyphonic and every note you play gets a voice of its own; the other two modes hold it to one note at a time, in different ways. It's set per layer, so a monophonic lead can sit on top of a polyphonic pad in the same preset. The arpeggiator handles its own notes, so this has no effect while the arpeggiator is running on this layer.
Layer 2/Playback	Play Mode	376	L2 Play Mode	Select the Play Mode for this layer: the engine it uses to play its Instrument. Standard Playback plays each sample straight through: the playhead moves steadily from start to end, with options for looping and reversing along the way. The granular modes instead rebuild the sound from a stream of tiny snippets called grains. In Granular Playback, the point grains are drawn from moves through the sample at a rate you set with Speed, giving a time-stretch-like effect. In Granular Fixed, you place that point yourself with Position, letting you freeze on one part of the sample and explore its texture.
Layer 2/Playback/Granular	Length	377	L2Grn Length	Length sets how long each grain lasts, from a few milliseconds up to a second. Short grains chop the sound into a fine, buzzy texture that keeps little of the original's shape. Long grains preserve much more of the sample's natural character. Density and Smooth are both measured relative to Length, so changing it here changes how they feel too.
Layer 2/Playback/Granular	Speed	378	L2Grn Speed	Speed sets how fast the playhead travels through the sample in Granular Playback mode. Grains are drawn from wherever the playhead is. 100% is the sample's original speed. Turn it down to slow the sound to a crawl or stop it altogether, or up to race through at up to eight times normal speed. The playhead still respects the sample start, looping and Reverse settings. In Granular Fixed, this knob is replaced by Position.
Layer 2/Playback/Granular	Position	379	L2Grn Position	Position chooses where in the sample grains are drawn from, shown as the highlighted region on the waveform. Grains come from here for as long as you hold the note, so you can freeze on one moment of the sound and sustain it indefinitely. Tip: you can create movement with this parameter by setting the LFO's target to Grain Position, or by assigning this knob to a macro.
Layer 2/Playback/Granular	Density	380	L2Grn Density	Density sets how many grains overlap at once, relative to their Length. At 0%, each grain starts as the previous one ends, so they follow on one after another. Turning it up starts new grains sooner, stacking more and more of them on top of each other. Low values give an open texture where individual grains can be picked out. High values pile up so many grains that they smear into a thick, continuous wash.
Layer 2/Playback/Granular	Spread	381	L2Grn Spread	Spread widens the area of the sample that grains can start from. Each new grain begins somewhere between the playhead and a point up to this far past it, measured as a percentage of the whole sample. Small values keep every grain close to the playhead for a focused, precise sound. Large values scatter grains across a wide stretch of the sample.
Layer 2/Playback/Granular	Smooth	382	L2Grn Smooth	Smooth shapes the envelope of each grain: how gently it fades in and out, relative to its Length. At 0% grains start and stop abruptly, giving a hard, percussive edge. At 100% the fade-in and fade-out meet in the middle, so neighbouring grains blend into each other for a seamless texture.
Layer 2/Playback/Granular	Pan	383	L2Grn Pan	Pan randomises where each grain sits in the stereo field. Every new grain is given its own position, picked at random within the range you set here. At 0% every grain plays dead centre. At 100% grains can land anywhere from fully left to fully right, spreading the cloud from one side to the other. A quick way to create an interestingly wide stereo image.
Layer 2/Playback/Granular	Detune	384	L2Grn Detune	Detune randomises the pitch of each grain. Every new grain is nudged sharp or flat by a random amount within the range you set here. At 0% all grains play in tune. At 100% each grain can be up to a semitone sharp or flat. Small amounts thicken the sound like a chorus; larger amounts get progressively more smeared and out of tune.
Layer 2/Playback/Granular	Direction	385	L2Grn Direction	Direction gives each grain a chance of playing the opposite way to the main playhead. At 0% every grain follows the playhead's direction. At 100% each grain is equally likely to play forwards or backwards. In between, you can dial in a blend of the two for meandering, less predictable tones.
Layer 2/Playback/Granular	Harmony	386	L2Grn Harmony	Harmony gives each grain a chance of playing at a musical interval above or below the note you played, so a single note can bloom into a chord or a shimmering octave. At 0% every grain plays at the root. Turning it up shifts more of the grains, until at 100% every grain picks at random from the root and the intervals you've chosen. Choose which intervals are allowed with the Intervals menu next to this knob: pick a preset such as Octaves or Major Triad, or toggle individual semitones yourself.
Layer 2/LFO	Legacy Shape V2	387	L2Lfo Legacy Shape V2	Legacy LFO shape parameter (v2). Kept for backwards-compatibility with DAW automation
Layer 2/LFO	Target	388	L2Lfo Target	Choose the Target: what the LFO modulates. The modulation is applied relative to the target's current knob/slider. For example, when Volume is chosen, the movement will occur around wherever the layer's volume slider is currently set. Hover over each option for details.
Layer 2/Main/Filter	Resonance	389	L2Filt Resonance	Resonance emphasises the frequencies at the cutoff. At 0% the slope is smooth and rounded; at 100% it peaks by around 20 dB, without ever self-oscillating. For the band-pass, notch and band-shelving types it also narrows the band, and for Peak it sets the size of the boost.
Layer 2/Arp	Note Order	390	L2Arp Note Order	Order sets how the notes you're holding are shared out across the steps: climbing, falling, bouncing between the two, picked at random, or one of the less common shapes. Chord is the odd one out — it plays every held note together on each step, which is ideal for rhythmic stabs and percussion. Not available in Fixed Notes mode.
Layer 2/Arp	Trigger	391	L2Arp Trigger	Trigger decides what a new note does to a pattern that's already running. Free lets it carry on, so you can change chord underneath without breaking the groove. Retrigger restarts it from step 1 every time you press a note, which keeps the pattern locked to your playing.
Layer 2/Arp	Rate (Legacy)	392	L2Arp Rate (Legacy)	Legacy arpeggiator rate. Kept for backwards-compatibility with DAW automation
Layer 2/Arp	Length	393	L2Arp Length	Length sets how many steps the pattern runs through before it loops back to the start. Steps beyond the length are hidden from the sequencer but keep their settings, so you can shorten a pattern and lengthen it again without losing anything.
Layer 2/Arp	Arpeggiator Mode	394	L2Arp Arpeggiator Mode	Choose where the steps get their notes from. Played Notes arpeggiates whatever you're holding, giving each step one of those notes in the order set by Order. Fixed Notes ignores what you play and runs a sequence of notes you've set yourself, either by dragging each step's note or by capturing a performance with the Record button.
Layer 2/Arp	Humanise	395	L2Arp Humanise	Humanise loosens the pattern up by nudging each step's timing and velocity by a random amount. A few percent takes the machine-like edge off; higher settings give a much looser, hand-played feel, which suits percussion especially well. Steps are only ever pushed later, never earlier, and never by more than a fifth of a step.
Layer 2/Arp	Auto Rate	396	L2Arp Auto Rate	Auto Rate lets Floe pick the step rate so a sliced Instrument plays close to the speed it was recorded at, rather than leaving silent gaps between slices when your host tempo is a long way from the loop's own. While it's on, the rate Floe has chosen is shown in place of the Rate menu. The multiplier shifts that choice: 2x for double speed, 0.5x for half, with Dotted and Triplet variants for a different feel. Because the choice has to land on a tempo-synced division it moves in jumps as the tempo changes, and every layer using Auto Rate jumps at the same points so they stay in the same rhythmic relationship.
Layer 2/Arp	Polyrate	397	L2Arp Polyrate	Polyrate gives each octave of the notes you're holding its own speed, so a single chord can produce several interleaving rhythms at once. The octave starting at middle C plays at the Rate you've set, and the octaves above and below scale from there by the ratio you choose. Tip: hold two notes an octave apart to hear the effect at its clearest.
Layer 2/Arp	One Shot	398	L2Arp One Shot	With One Shot on, the pattern plays through once and stops rather than looping for as long as you hold the notes. It's handy for fills and one-off flourishes, or for letting a sliced loop play through exactly once.
Layer 2/EQ/Band 1	Resonance	399	L2EqB1 Resonance	Resonance sets how tightly the band is focused. For the Peak and Notch types it's the width, going from broad and gentle to tight and focused. The shelves use it to steepen the transition at their corner, and the pass filters use it to add a peak at the cutoff.
Layer 2/EQ/Band 2	Resonance	400	L2EqB2 Resonance	Resonance sets how tightly the band is focused. For the Peak and Notch types it's the width, going from broad and gentle to tight and focused. The shelves use it to steepen the transition at their corner, and the pass filters use it to add a peak at the cutoff.
Layer 2/Arp	Arpeggiator	401	L2Arp Arpeggiator	Switch on the arpeggiator to turn the notes you hold into a rhythmic pattern locked to your host's tempo. Each step retriggers this layer's Instrument exactly as if you'd played the note yourself, so the envelopes, filter, LFOs and effects all respond as normal. Every layer has its own arpeggiator, so you can run different patterns side by side.
Layer 2/LFO	Shape	402	L2Lfo Shape	Choose the Shape of the LFO. Alongside the classics there are a few more interesting options, such as random and plucky shapes.
Layer 2/EQ/Band 1	Type	404	L2EqB1 Type	Choose the shape of this band: a peak or shelf for boosting and cutting, a notch for removing a narrow slice, or a pass filter for rolling off one end of the spectrum. Only the Peak, Low-shelf and High-shelf types use the Gain knob; with the others it's inactive.
Layer 2/EQ/Band 2	Type	405	L2EqB2 Type	Choose the shape of this band: a peak or shelf for boosting and cutting, a notch for removing a narrow slice, or a pass filter for rolling off one end of the spectrum. Only the Peak, Low-shelf and High-shelf types use the Gain knob; with the others it's inactive.
Layer 2/EQ/Band 3	Legacy Frequency	406	L2EqB3 Legacy Frequency	Legacy band 3 frequency parameter. Kept for backwards-compatibility with DAW automation
Layer 2/EQ/Band 3	Resonance	407	L2EqB3 Resonance	Resonance sets how tightly the band is focused. For the Peak and Notch types it's the width, going from broad and gentle to tight and focused. The shelves use it to steepen the transition at their corner, and the pass filters use it to add a peak at the cutoff.
Layer 2/EQ/Band 3	Gain	408	L2EqB3 Gain	Gain sets how far this band boosts or cuts at its frequency. Only the Peak, Low-shelf and High-shelf types use Gain. The notch and pass filters always cut by their own fixed shape, so with those the knob is inactive.
Layer 2/EQ/Band 3	Type	409	L2EqB3 Type	Choose the shape of this band: a peak or shelf for boosting and cutting, a notch for removing a narrow slice, or a pass filter for rolling off one end of the spectrum. Only the Peak, Low-shelf and High-shelf types use the Gain knob; with the others it's inactive.
Layer 2/Main/Filter	Cutoff Frequency	410	L2Filt Cutoff Frequency	Cutoff Frequency sets where the filter takes effect. The filter envelope and the LFO sweep the cutoff around this value, so it's the centre of any modulation rather than the starting point.
Layer 2/EQ/Band 1	Frequency	411	L2EqB1 Frequency	Frequency sets where this band does its work: the centre of a peak or notch, the corner of a shelf, or the cutoff of a pass filter.
Layer 2/EQ/Band 2	Frequency	412	L2EqB2 Frequency	Frequency sets where this band does its work: the centre of a peak or notch, the corner of a shelf, or the cutoff of a pass filter.
Layer 2/EQ/Band 3	Frequency	413	L2EqB3 Frequency	Frequency sets where this band does its work: the centre of a peak or notch, the corner of a shelf, or the cutoff of a pass filter.
Layer 2/Main/Filter	Type	414	L2Filt Type	Select the filter type. Hover over the options in the menu for a description of each.
Layer 2	Stereo Width	415	L2 Stereo Width	Stereo narrows or widens this layer's stereo image. Negative values pull it toward mono, positive values push it wider, and 0% leaves the sound as recorded. It works by splitting the sound into mid (what both channels share) and side (what differs between them), then rebalancing the two with a constant-power crossfade. At -100% only the mid remains; at +100% only the side, so anything dead centre disappears. Mono sounds have no side, so pushing to +100% silences them.
Layer 2/Config	MPE Press Target	416	L2 MPE Press Target	Press is the channel pressure, or aftertouch, that an MPE controller sends on each note's own channel. On most keyboards it follows how hard you're pushing into the key once it's sounding. Choose what it controls on this layer here, and how strongly with Amount beside it. Press rests at nothing and climbs from there, so it only ever adds to the destination you point it at. MPE has to be switched on in the Performance Controls panel before press does anything.
Layer 2/Config	MPE Press Amount	417	L2 MPE Press Amount	Amount sets how far press moves its destination, and a negative value flips the direction so the effect runs in reverse. Past 100% the destination reaches its limit before press reaches its own, so you get the full effect from a lighter touch.
Layer 2/Config	MPE Slide Target	418	L2 MPE Slide Target	Slide is CC74, which an MPE controller sends on each note's own channel. On most keyboards it follows where your finger sits along the front-to-back axis of the key. Choose what it controls on this layer here, and how strongly with Amount beside it. Slide rests in the middle, so it pushes the destination either side of where you've set it. MPE has to be switched on in the Performance Controls panel before slide does anything.
Layer 2/Config	MPE Slide Amount	419	L2 MPE Slide Amount	Amount sets how far slide moves its destination, and a negative value flips the direction so the effect runs in reverse. Past 100% the destination reaches its limit before slide reaches its own, so you get the full effect from a smaller movement.
Layer 2/LFO	Time (Tempo Synced)	420	L2Lfo Time (Tempo Synced)	Time sets how long one LFO cycle lasts, as a note length at your DAW's tempo. 1/4 is a quarter note; a D on the end is dotted (one and a half times as long) and a T is triplet (two thirds as long). The LFO follows tempo changes, but it isn't locked to the bar: each cycle starts from the note, as set by Mode.
Layer 2/Arp	Rate	421	L2Arp Rate	Rate sets how long each step lasts, synced to your host's tempo. Together with Length it decides how long the whole pattern takes to come round — eight steps at 1/8 fills one bar of 4/4. The T and D suffixes are triplet and dotted divisions, useful for swung or lopsided patterns.
Layer 2	Pitch Semitones	422	L2 Pitch Semitones	Pitch moves this layer up or down in semitones. This works by speeding up or slowing down the audio. Tip: for a multisampled Instrument, you might get better results from Transpose on the CONFIG tab. It changes which samples are played rather than processing them, which can sound more natural.
Layer 2/Playback/Granular	Variation	423	L2Grn Variation	Variation decides whether each note scatters its grains differently or plays back the exact same grains every time. Different on every note suits most sounds, while the Identical options let you capture a particular pattern of grains and save it with the preset. Open the menu and hover over each option for details.
Layer 2/Playback/Granular	Seed	424	L2Grn Seed	Seed picks which pattern of grains repeats. Try a few numbers until you find one you like: it's saved with the preset, so the grains you choose are the grains everyone hears. Set Variation to one of the Identical options for this to take effect.
Layer 2/LFO	Variation	425	L2Lfo Variation	Variation decides whether the random shapes move differently on each note or play back the exact same pattern every time. Different on every note suits most sounds, while the Identical options let you capture a particular pattern and save it with the preset. In Free mode, a note that joins already-sounding notes follows their pattern. Open the menu and hover over each option for details.
Layer 2/LFO	Seed	426	L2Lfo Seed	Seed picks which random pattern repeats. Try a few numbers until you find one you like: it's saved with the preset, so the movement you choose is the movement everyone hears. Set Variation to one of the Identical options for this to take effect.
Layer 2/Playback/Granular	Share Grains	427	L2Grn Share Grains	Share Grains keeps the number of grains the same whether you play one note or a chord, so the sound keeps the same density however many notes you hold. Each grain plays from one of the held notes, weaving the chord's pitches together. At low Density you can hear the grains hop between the notes of the chord.
Layer 3	Volume	480	L3 Volume	The Layer Volume sets the level of this layer. The marks on the slider show the level of each sounding voice: its velocity, key range fade and any MPE volume expression. Tip: to change how velocity relates to volume, edit the velocity to volume curve on the CONFIG tab.
Layer 3	Mute	481	L3 Mute	Mute silences this layer. Handy for hearing how the other layers sit together while you're designing a sound. A muted layer keeps running in the background exactly as if you could hear it, so when you unmute, the sound carries on seamlessly from wherever it has naturally got to. If you're trying to save CPU, unload the Instrument instead. If a layer is still audible after muting it, check whether it's also soloed: Solo takes priority over Mute.
Layer 3	Solo	482	L3 Solo	Solo lets you hear this layer on its own. Any layer that isn't soloed goes quiet. Handy for focusing on one part of a sound while you're designing it. Silenced layers keep running in the background exactly as if you could hear them, so when you unsolo, they carry on seamlessly from wherever they have naturally got to. If you're trying to save CPU, unload their Instruments instead. If a layer has gone quiet unexpectedly, check whether another layer is soloed. And if a muted layer is still audible, that's because Solo takes priority over Mute.
Layer 3	Pan	483	L3 Pan	Pan places this layer in the stereo field, anywhere from fully left to fully right. It uses a constant-power pan law (-3 dB at centre), so the layer stays at the same perceived loudness wherever you put it. Pan is applied after the Stereo control, so you can narrow a wide sound first and then place it as a single point.
Layer 3	Detune Cents	484	L3 Detune Cents	Detune fine-tunes this layer's pitch in cents (100 cents is one semitone). This works by speeding up or slowing down the audio.
Layer 3	Pitch Semitones (Legacy)	485	L3 Pitch Semitones (Legacy)	Legacy layer pitch in semitones. Kept for backwards-compatibility with DAW automation
Layer 3/Playback/Loop	Start	487	L3Lp Start	Set the loop start point, where the loop begins within the sample. While a note is held, playback loops between here and the loop end.
Layer 3/Playback/Loop	End	488	L3Lp End	Set the loop end point, where the loop finishes within the sample. While a note is held, playback loops between the loop start and here.
Layer 3/Playback/Loop	Crossfade Size	489	L3Lp Crossfade Size	Set the size of the loop crossfade, which blends audio across the loop point so the loop doesn't click. A small amount usually helps, especially for sustained or tonal sounds. Floe keeps the crossfade within the loop and the sample, so it shrinks automatically if you make the loop too small for it.
Layer 3/Playback/Loop	Sample Start Offset	491	L3Lp Sample Start Offset	Change the starting point of the sample
Layer 3/Playback/Loop	Reverse On	492	L3Lp Reverse On	Play the Instrument's samples backwards, from the end to the start. It works in every play mode and whether looping is on or off. The waveform display flips to match, so playback always runs from left to right (unless in the reverse portion of a ping-pong loop).
Layer 3/Main/Volume Envelope	On	493	L3Vol On	Switch the volume envelope on or off. It's typically best left on. When it's off, every note plays its sample straight through to the end, however briefly you press the key. Handy for one-shot sounds that should always be heard in full. Looping is disabled while the envelope is off, since nothing would ever bring a looping note to an end. Careful: with the envelope off, notes can't be cut short, so voices pile up if you play quickly, which costs CPU.
Layer 3/Main/Volume Envelope	Attack	494	L3Vol Attack	Attack sets how long each note takes to fade in. A few milliseconds is enough to avoid clicks if you've moved the sample start point.
Layer 3/Main/Volume Envelope	Decay	495	L3Vol Decay	Decay sets how long the note takes to fall to the Sustain level after the attack.
Layer 3/Main/Volume Envelope	Sustain	496	L3Vol Sustain	Sustain sets the level the note holds at while the key is down. At 0 dB, Decay has nothing to do.
Layer 3/Main/Volume Envelope	Release	497	L3Vol Release	Release sets how long the note takes to fade out after you lift the key.
Layer 3/Main/Filter	On	498	L3Filt On	Switch the filter on or off. It's a clean, digital-sounding state-variable filter (12 dB per octave). Every voice gets its own copy, so the filter envelope and the LFO (on the LFO tab) can sweep each note independently. Tip: for broader tone shaping, the EQ tab has a three-band equaliser.
Layer 3/Main/Filter	Legacy Cutoff Frequency	499	L3Filt Legacy Cutoff Frequency	Legacy cutoff parameter. Kept for backwards-compatibility with DAW automation
Layer 3/Main/Filter	Legacy Resonance	500	L3Filt Legacy Resonance	Legacy resonance parameter. Kept for backwards-compatibility with DAW automation
Layer 3/Main/Filter	Legacy Type	501	L3Filt Legacy Type	Legacy filter type parameter. Kept for backwards-compatibility with DAW automation
Layer 3/Main/Filter	Envelope Amount	502	L3Filt Envelope Amount	Envelope Amount sets how strongly the filter envelope (shown to the right) moves the cutoff on every note. At 0% the envelope does nothing. Turn it up and the cutoff follows the envelope's shape, rising and falling with it. Turn it down and the cutoff moves the opposite way, falling as the envelope rises. The envelope is centred on the Cutoff setting: the top half of the display pushes the cutoff above it, the bottom half pulls it below. A negative amount flips this. For example, with a low-pass filter, a long attack opens the sound up gradually at the start of each note.
Layer 3/Main/Filter	Attack	503	L3Filt Attack	Attack sets how long the filter envelope takes to reach its peak.
Layer 3/Main/Filter	Decay	504	L3Filt Decay	Decay sets how long the filter envelope takes to fall to the Sustain level after the attack.
Layer 3/Main/Filter	Sustain	505	L3Filt Sustain	Sustain sets the level the filter envelope holds at while the key is down.
Layer 3/Main/Filter	Release	506	L3Filt Release	Release sets how long the filter envelope takes to fall back after you lift the key.
Layer 3/LFO	On	507	L3Lfo On	Switch this layer's LFO on or off. Enable Floe's LFO (low frequency oscillator) for adding movement to a one of this layer's controls (such as the volume or filter cutoff).
Layer 3/LFO	Legacy Shape	508	L3Lfo Legacy Shape	Legacy LFO shape parameter. Kept for backwards-compatibility with DAW automation
Layer 3/LFO	Mode	509	L3Lfo Mode	Choose where the LFO starts when you play a new note. With Retrigger, every note starts the LFO from the beginning of its cycle. With Free, a new note joins in wherever this layer's sounding notes have reached, so every note modulates precisely together.
Layer 3/LFO	Amount	510	L3Lfo Amount	Amount sets how far the LFO moves its target. 0% is no movement at all and 100% is the full range for that target: silence to full level for Volume, a semitone either way for Pitch, and so on. Negative values flip the shape upside down, so a falling sawtooth becomes a rising one. For random Shapes this only makes a difference when Variation is set to one of the Identical options. The LFO display shows the shape at the current Amount.
Layer 3/LFO	Target (Legacy)	511	L3Lfo Target (Legacy)	Legacy LFO target parameter. Kept for backwards-compatibility with DAW automation
Layer 3/LFO	Time (Tempo Synced) (Legacy)	512	L3Lfo Time (Tempo Synced) (Legacy)	Legacy LFO rate. Kept for backwards-compatibility with DAW automation
Layer 3/LFO	Time (Hz)	513	L3Lfo Time (Hz)	Time sets how fast the LFO cycles, in Hz (cycles per second). Tip: for movement that stays in time with your track, switch Sync on and choose a note length instead.
Layer 3/LFO	Sync On	514	L3Lfo Sync On	Sync ties the LFO's speed to your DAW's tempo. When it's on, Time is chosen as a note length that follows the tempo; when it's off, Time is set freely in Hz. Both settings are remembered, so you can flick between them without losing either.
Layer 3/EQ	On	515	L3Eq On	Switch on this layer's three-band equaliser to shape its tone before it's mixed with the other layers.
Layer 3/EQ/Band 1	Legacy Frequency	516	L3EqB1 Legacy Frequency	Legacy band 1 frequency parameter. Kept for backwards-compatibility with DAW automation
Layer 3/EQ/Band 1	Legacy Resonance	517	L3EqB1 Legacy Resonance	Legacy resonance parameter. Kept for backwards-compatibility with DAW automation
Layer 3/EQ/Band 1	Gain	518	L3EqB1 Gain	Gain sets how far this band boosts or cuts at its frequency. Only the Peak, Low-shelf and High-shelf types use Gain. The notch and pass filters always cut by their own fixed shape, so with those the knob is inactive.
Layer 3/EQ/Band 1	Legacy Type	519	L3EqB1 Legacy Type	Legacy type parameter. Kept for backwards-compatibility with DAW automation
Layer 3/EQ/Band 2	Legacy Frequency	520	L3EqB2 Legacy Frequency	Legacy band 2 frequency parameter. Kept for backwards-compatibility with DAW automation
Layer 3/EQ/Band 2	Legacy Resonance	521	L3EqB2 Legacy Resonance	Legacy resonance parameter. Kept for backwards-compatibility with DAW automation
Layer 3/EQ/Band 2	Gain	522	L3EqB2 Gain	Gain sets how far this band boosts or cuts at its frequency. Only the Peak, Low-shelf and High-shelf types use Gain. The notch and pass filters always cut by their own fixed shape, so with those the knob is inactive.
Layer 3/EQ/Band 2	Legacy Type	523	L3EqB2 Legacy Type	Legacy type parameter. Kept for backwards-compatibility with DAW automation
Layer 3/Config	Legacy Velocity Mapping	524	L3 Legacy Velocity Mapping	Choose how MIDI velocity should affect the volume of this layer. There are 6 modes that can be selected for this parameter via the buttons on the GUI. By setting one layer to be quiet at high velocities and another layer to be quiet at low velocities you can create an instrument that sounds different based on how hard the notes are played. (0) Ignore velocity, always play full volume. (1) Loudest at high velocity, quietist at low velocity (2) Loudest at low velocity, quietist at high velocity (3) Loudest at high velocity, quietist at middle velocity and below (4) Loudest at middle velocity, quietist at both high and low velocities (5) Loudest at bottom velocity, quietist at middle velocity and above,
Layer 3/Config	Keytrack On	525	L3 Keytrack On	With Keytrack on, this layer follows the keyboard: higher keys play higher pitches. Switch it off and every key plays the sample at its recorded pitch, which might be what you want for drum hits, loops and sound effects that shouldn't be transposed. Some sample libraries may override this - marking individual samples as always or never keytracked.
Layer 3/Config	Legacy Monophonic On	526	L3 Legacy Monophonic On	Only allow one voice of each sound to play at a time
Layer 3/Config	MIDI Transpose On	528	L3 MIDI Transpose On	Transpose shifts this layer up or down in semitones by changing which samples get triggered, rather than by speeding the audio up or down. On a multi-sampled Instrument that keeps the character of the sound intact, so it's the better choice for large shifts. The key range isn't affected: you play the same keys as before, they just reach for different samples. Tip: the Pitch control at the top of the layer transposes by re-pitching the audio instead. That's the one to reach for on a single-sample Instrument, and Detune beside it covers amounts smaller than a semitone.
Layer 3/Playback/Loop	Loop Mode	529	L3Lp Loop Mode	Select the Loop Mode for this layer. Floe can loop a portion of the sound for as long as you hold a note, so even a short sample can sustain indefinitely. Some Instruments come with loop points built in, while others let you set your own on the waveform. You can also turn looping off. There's 2 modes: 'standard' wrap-around loops jump from the loop end back to the start; 'ping-pong' loops bounce back and forth, alternating playback direction. The options that are available depend on the Instrument: library authors can provide built-in loops, allow or disallow custom loops, or require that certain sounds always loop.
Layer 3/Config	Key Range Low	530	L3 Key Range Low	This layer only plays within the given range of keys, letting you give each layer its own portion of the keyboard. Key Fade below softens the edges of the range, so the layer eases in and out instead of switching on abruptly. Tip: see each layer's range on the bar above the keyboard in the bottom panel. Hover it to enlarge it, and use the octave arrows beside the keyboard to scroll beyond the keys shown.
Layer 3/Config	Key Range High	531	L3 Key Range High	This layer only plays within the given range of keys, letting you give each layer its own portion of the keyboard. Key Fade below softens the edges of the range, so the layer eases in and out instead of switching on abruptly. Tip: see each layer's range on the bar above the keyboard in the bottom panel. Hover it to enlarge it, and use the octave arrows beside the keyboard to scroll beyond the keys shown.
Layer 3/Config	Key Range Low Fade	532	L3 Key Range Low Fade	Key Fade eases the layer in and out at the edges of its key range instead of letting it switch on abruptly. Both values are in semitones: the left one fades up from Range Low, the right one fades down from Range High. Give two layers overlapping fades and they crossfade into one another as you play up the keyboard. Tip: see each layer's range on the bar above the keyboard in the bottom panel. Hover it to enlarge it, and use the octave arrows beside the keyboard to scroll beyond the keys shown.
Layer 3/Config	Key Range High Fade	533	L3 Key Range High Fade	Key Fade eases the layer in and out at the edges of its key range instead of letting it switch on abruptly. Both values are in semitones: the left one fades up from Range Low, the right one fades down from Range High. Give two layers overlapping fades and they crossfade into one another as you play up the keyboard. Tip: see each layer's range on the bar above the keyboard in the bottom panel. Hover it to enlarge it, and use the octave arrows beside the keyboard to scroll beyond the keys shown.
Layer 3/Config	Pitch Bend Range	534	L3 Pitch Bend Range	Pitch Bend Range sets how far the pitch wheel bends this layer, in semitones. Each layer has its own, so for example, a lead can bend a whole tone while the pad underneath can be set to zero to ignore the wheel entirely. Bending re-pitches the audio by speeding it up or slowing it down, so large bends will noticeably change the character of the sound. With MPE enabled, this governs the wheel on the master channel; the per-note bend of each individual note follows the range the controller asks for.
Layer 3/Config	Monophonic Mode	535	L3 Monophonic Mode	Monophonic decides what happens when notes on this layer overlap. Left off, the layer is polyphonic and every note you play gets a voice of its own; the other two modes hold it to one note at a time, in different ways. It's set per layer, so a monophonic lead can sit on top of a polyphonic pad in the same preset. The arpeggiator handles its own notes, so this has no effect while the arpeggiator is running on this layer.
Layer 3/Playback	Play Mode	536	L3 Play Mode	Select the Play Mode for this layer: the engine it uses to play its Instrument. Standard Playback plays each sample straight through: the playhead moves steadily from start to end, with options for looping and reversing along the way. The granular modes instead rebuild the sound from a stream of tiny snippets called grains. In Granular Playback, the point grains are drawn from moves through the sample at a rate you set with Speed, giving a time-stretch-like effect. In Granular Fixed, you place that point yourself with Position, letting you freeze on one part of the sample and explore its texture.
Layer 3/Playback/Granular	Length	537	L3Grn Length	Length sets how long each grain lasts, from a few milliseconds up to a second. Short grains chop the sound into a fine, buzzy texture that keeps little of the original's shape. Long grains preserve much more of the sample's natural character. Density and Smooth are both measured relative to Length, so changing it here changes how they feel too.
Layer 3/Playback/Granular	Speed	538	L3Grn Speed	Speed sets how fast the playhead travels through the sample in Granular Playback mode. Grains are drawn from wherever the playhead is. 100% is the sample's original speed. Turn it down to slow the sound to a crawl or stop it altogether, or up to race through at up to eight times normal speed. The playhead still respects the sample start, looping and Reverse settings. In Granular Fixed, this knob is replaced by Position.
Layer 3/Playback/Granular	Position	539	L3Grn Position	Position chooses where in the sample grains are drawn from, shown as the highlighted region on the waveform. Grains come from here for as long as you hold the note, so you can freeze on one moment of the sound and sustain it indefinitely. Tip: you can create movement with this parameter by setting the LFO's target to Grain Position, or by assigning this knob to a macro.
Layer 3/Playback/Granular	Density	540	L3Grn Density	Density sets how many grains overlap at once, relative to their Length. At 0%, each grain starts as the previous one ends, so they follow on one after another. Turning it up starts new grains sooner, stacking more and more of them on top of each other. Low values give an open texture where individual grains can be picked out. High values pile up so many grains that they smear into a thick, continuous wash.
Layer 3/Playback/Granular	Spread	541	L3Grn Spread	Spread widens the area of the sample that grains can start from. Each new grain begins somewhere between the playhead and a point up to this far past it, measured as a percentage of the whole sample. Small values keep every grain close to the playhead for a focused, precise sound. Large values scatter grains across a wide stretch of the sample.
Layer 3/Playback/Granular	Smooth	542	L3Grn Smooth	Smooth shapes the envelope of each grain: how gently it fades in and out, relative to its Length. At 0% grains start and stop abruptly, giving a hard, percussive edge. At 100% the fade-in and fade-out meet in the middle, so neighbouring grains blend into each other for a seamless texture.
Layer 3/Playback/Granular	Pan	543	L3Grn Pan	Pan randomises where each grain sits in the stereo field. Every new grain is given its own position, picked at random within the range you set here. At 0% every grain plays dead centre. At 100% grains can land anywhere from fully left to fully right, spreading the cloud from one side to the other. A quick way to create an interestingly wide stereo image.
Layer 3/Playback/Granular	Detune	544	L3Grn Detune	Detune randomises the pitch of each grain. Every new grain is nudged sharp or flat by a random amount within the range you set here. At 0% all grains play in tune. At 100% each grain can be up to a semitone sharp or flat. Small amounts thicken the sound like a chorus; larger amounts get progressively more smeared and out of tune.
Layer 3/Playback/Granular	Direction	545	L3Grn Direction	Direction gives each grain a chance of playing the opposite way to the main playhead. At 0% every grain follows the playhead's direction. At 100% each grain is equally likely to play forwards or backwards. In between, you can dial in a blend of the two for meandering, less predictable tones.
Layer 3/Playback/Granular	Harmony	546	L3Grn Harmony	Harmony gives each grain a chance of playing at a musical interval above or below the note you played, so a single note can bloom into a chord or a shimmering octave. At 0% every grain plays at the root. Turning it up shifts more of the grains, until at 100% every grain picks at random from the root and the intervals you've chosen. Choose which intervals are allowed with the Intervals menu next to this knob: pick a preset such as Octaves or Major Triad, or toggle individual semitones yourself.
Layer 3/LFO	Legacy Shape V2	547	L3Lfo Legacy Shape V2	Legacy LFO shape parameter (v2). Kept for backwards-compatibility with DAW automation
Layer 3/LFO	Target	548	L3Lfo Target	Choose the Target: what the LFO modulates. The modulation is applied relative to the target's current knob/slider. For example, when Volume is chosen, the movement will occur around wherever the layer's volume slider is currently set. Hover over each option for details.
Layer 3/Main/Filter	Resonance	549	L3Filt Resonance	Resonance emphasises the frequencies at the cutoff. At 0% the slope is smooth and rounded; at 100% it peaks by around 20 dB, without ever self-oscillating. For the band-pass, notch and band-shelving types it also narrows the band, and for Peak it sets the size of the boost.
Layer 3/Arp	Note Order	550	L3Arp Note Order	Order sets how the notes you're holding are shared out across the steps: climbing, falling, bouncing between the two, picked at random, or one of the less common shapes. Chord is the odd one out — it plays every held note together on each step, which is ideal for rhythmic stabs and percussion. Not available in Fixed Notes mode.
Layer 3/Arp	Trigger	551	L3Arp Trigger	Trigger decides what a new note does to a pattern that's already running. Free lets it carry on, so you can change chord underneath without breaking the groove. Retrigger restarts it from step 1 every time you press a note, which keeps the pattern locked to your playing.
Layer 3/Arp	Rate (Legacy)	552	L3Arp Rate (Legacy)	Legacy arpeggiator rate. Kept for backwards-compatibility with DAW automation
Layer 3/Arp	Length	553	L3Arp Length	Length sets how many steps the pattern runs through before it loops back to the start. Steps beyond the length are hidden from the sequencer but keep their settings, so you can shorten a pattern and lengthen it again without losing anything.
Layer 3/Arp	Arpeggiator Mode	554	L3Arp Arpeggiator Mode	Choose where the steps get their notes from. Played Notes arpeggiates whatever you're holding, giving each step one of those notes in the order set by Order. Fixed Notes ignores what you play and runs a sequence of notes you've set yourself, either by dragging each step's note or by capturing a performance with the Record button.
Layer 3/Arp	Humanise	555	L3Arp Humanise	Humanise loosens the pattern up by nudging each step's timing and velocity by a random amount. A few percent takes the machine-like edge off; higher settings give a much looser, hand-played feel, which suits percussion especially well. Steps are only ever pushed later, never earlier, and never by more than a fifth of a step.
Layer 3/Arp	Auto Rate	556	L3Arp Auto Rate	Auto Rate lets Floe pick the step rate so a sliced Instrument plays close to the speed it was recorded at, rather than leaving silent gaps between slices when your host tempo is a long way from the loop's own. While it's on, the rate Floe has chosen is shown in place of the Rate menu. The multiplier shifts that choice: 2x for double speed, 0.5x for half, with Dotted and Triplet variants for a different feel. Because the choice has to land on a tempo-synced division it moves in jumps as the tempo changes, and every layer using Auto Rate jumps at the same points so they stay in the same rhythmic relationship.
Layer 3/Arp	Polyrate	557	L3Arp Polyrate	Polyrate gives each octave of the notes you're holding its own speed, so a single chord can produce several interleaving rhythms at once. The octave starting at middle C plays at the Rate you've set, and the octaves above and below scale from there by the ratio you choose. Tip: hold two notes an octave apart to hear the effect at its clearest.
Layer 3/Arp	One Shot	558	L3Arp One Shot	With One Shot on, the pattern plays through once and stops rather than looping for as long as you hold the notes. It's handy for fills and one-off flourishes, or for letting a sliced loop play through exactly once.
Layer 3/EQ/Band 1	Resonance	559	L3EqB1 Resonance	Resonance sets how tightly the band is focused. For the Peak and Notch types it's the width, going from broad and gentle to tight and focused. The shelves use it to steepen the transition at their corner, and the pass filters use it to add a peak at the cutoff.
Layer 3/EQ/Band 2	Resonance	560	L3EqB2 Resonance	Resonance sets how tightly the band is focused. For the Peak and Notch types it's the width, going from broad and gentle to tight and focused. The shelves use it to steepen the transition at their corner, and the pass filters use it to add a peak at the cutoff.
Layer 3/Arp	Arpeggiator	561	L3Arp Arpeggiator	Switch on the arpeggiator to turn the notes you hold into a rhythmic pattern locked to your host's tempo. Each step retriggers this layer's Instrument exactly as if you'd played the note yourself, so the envelopes, filter, LFOs and effects all respond as normal. Every layer has its own arpeggiator, so you can run different patterns side by side.
Layer 3/LFO	Shape	562	L3Lfo Shape	Choose the Shape of the LFO. Alongside the classics there are a few more interesting options, such as random and plucky shapes.
Layer 3/EQ/Band 1	Type	564	L3EqB1 Type	Choose the shape of this band: a peak or shelf for boosting and cutting, a notch for removing a narrow slice, or a pass filter for rolling off one end of the spectrum. Only the Peak, Low-shelf and High-shelf types use the Gain knob; with the others it's inactive.
Layer 3/EQ/Band 2	Type	565	L3EqB2 Type	Choose the shape of this band: a peak or shelf for boosting and cutting, a notch for removing a narrow slice, or a pass filter for rolling off one end of the spectrum. Only the Peak, Low-shelf and High-shelf types use the Gain knob; with the others it's inactive.
Layer 3/EQ/Band 3	Legacy Frequency	566	L3EqB3 Legacy Frequency	Legacy band 3 frequency parameter. Kept for backwards-compatibility with DAW automation
Layer 3/EQ/Band 3	Resonance	567	L3EqB3 Resonance	Resonance sets how tightly the band is focused. For the Peak and Notch types it's the width, going from broad and gentle to tight and focused. The shelves use it to steepen the transition at their corner, and the pass filters use it to add a peak at the cutoff.
Layer 3/EQ/Band 3	Gain	568	L3EqB3 Gain	Gain sets how far this band boosts or cuts at its frequency. Only the Peak, Low-shelf and High-shelf types use Gain. The notch and pass filters always cut by their own fixed shape, so with those the knob is inactive.
Layer 3/EQ/Band 3	Type	569	L3EqB3 Type	Choose the shape of this band: a peak or shelf for boosting and cutting, a notch for removing a narrow slice, or a pass filter for rolling off one end of the spectrum. Only the Peak, Low-shelf and High-shelf types use the Gain knob; with the others it's inactive.
Layer 3/Main/Filter	Cutoff Frequency	570	L3Filt Cutoff Frequency	Cutoff Frequency sets where the filter takes effect. The filter envelope and the LFO sweep the cutoff around this value, so it's the centre of any modulation rather than the starting point.
Layer 3/EQ/Band 1	Frequency	571	L3EqB1 Frequency	Frequency sets where this band does its work: the centre of a peak or notch, the corner of a shelf, or the cutoff of a pass filter.
Layer 3/EQ/Band 2	Frequency	572	L3EqB2 Frequency	Frequency sets where this band does its work: the centre of a peak or notch, the corner of a shelf, or the cutoff of a pass filter.
Layer 3/EQ/Band 3	Frequency	573	L3EqB3 Frequency	Frequency sets where this band does its work: the centre of a peak or notch, the corner of a shelf, or the cutoff of a pass filter.
Layer 3/Main/Filter	Type	574	L3Filt Type	Select the filter type. Hover over the options in the menu for a description of each.
Layer 3	Stereo Width	575	L3 Stereo Width	Stereo narrows or widens this layer's stereo image. Negative values pull it toward mono, positive values push it wider, and 0% leaves the sound as recorded. It works by splitting the sound into mid (what both channels share) and side (what differs between them), then rebalancing the two with a constant-power crossfade. At -100% only the mid remains; at +100% only the side, so anything dead centre disappears. Mono sounds have no side, so pushing to +100% silences them.
Layer 3/Config	MPE Press Target	576	L3 MPE Press Target	Press is the channel pressure, or aftertouch, that an MPE controller sends on each note's own channel. On most keyboards it follows how hard you're pushing into the key once it's sounding. Choose what it controls on this layer here, and how strongly with Amount beside it. Press rests at nothing and climbs from there, so it only ever adds to the destination you point it at. MPE has to be switched on in the Performance Controls panel before press does anything.
Layer 3/Config	MPE Press Amount	577	L3 MPE Press Amount	Amount sets how far press moves its destination, and a negative value flips the direction so the effect runs in reverse. Past 100% the destination reaches its limit before press reaches its own, so you get the full effect from a lighter touch.
Layer 3/Config	MPE Slide Target	578	L3 MPE Slide Target	Slide is CC74, which an MPE controller sends on each note's own channel. On most keyboards it follows where your finger sits along the front-to-back axis of the key. Choose what it controls on this layer here, and how strongly with Amount beside it. Slide rests in the middle, so it pushes the destination either side of where you've set it. MPE has to be switched on in the Performance Controls panel before slide does anything.
Layer 3/Config	MPE Slide Amount	579	L3 MPE Slide Amount	Amount sets how far slide moves its destination, and a negative value flips the direction so the effect runs in reverse. Past 100% the destination reaches its limit before slide reaches its own, so you get the full effect from a smaller movement.
Layer 3/LFO	Time (Tempo Synced)	580	L3Lfo Time (Tempo Synced)	Time sets how long one LFO cycle lasts, as a note length at your DAW's tempo. 1/4 is a quarter note; a D on the end is dotted (one and a half times as long) and a T is triplet (two thirds as long). The LFO follows tempo changes, but it isn't locked to the bar: each cycle starts from the note, as set by Mode.
Layer 3/Arp	Rate	581	L3Arp Rate	Rate sets how long each step lasts, synced to your host's tempo. Together with Length it decides how long the whole pattern takes to come round — eight steps at 1/8 fills one bar of 4/4. The T and D suffixes are triplet and dotted divisions, useful for swung or lopsided patterns.
Layer 3	Pitch Semitones	582	L3 Pitch Semitones	Pitch moves this layer up or down in semitones. This works by speeding up or slowing down the audio. Tip: for a multisampled Instrument, you might get better results from Transpose on the CONFIG tab. It changes which samples are played rather than processing them, which can sound more natural.
Layer 3/Playback/Granular	Variation	583	L3Grn Variation	Variation decides whether each note scatters its grains differently or plays back the exact same grains every time. Different on every note suits most sounds, while the Identical options let you capture a particular pattern of grains and save it with the preset. Open the menu and hover over each option for details.
Layer 3/Playback/Granular	Seed	584	L3Grn Seed	Seed picks which pattern of grains repeats. Try a few numbers until you find one you like: it's saved with the preset, so the grains you choose are the grains everyone hears. Set Variation to one of the Identical options for this to take effect.
Layer 3/LFO	Variation	585	L3Lfo Variation	Variation decides whether the random shapes move differently on each note or play back the exact same pattern every time. Different on every note suits most sounds, while the Identical options let you capture a particular pattern and save it with the preset. In Free mode, a note that joins already-sounding notes follows their pattern. Open the menu and hover over each option for details.
Layer 3/LFO	Seed	586	L3Lfo Seed	Seed picks which random pattern repeats. Try a few numbers until you find one you like: it's saved with the preset, so the movement you choose is the movement everyone hears. Set Variation to one of the Identical options for this to take effect.
Layer 3/Playback/Granular	Share Grains	587	L3Grn Share Grains	Share Grains keeps the number of grains the same whether you play one note or a chord, so the sound keeps the same density however many notes you hold. Each grain plays from one of the held notes, weaving the chord's pitches together. At low Density you can hear the grains hop between the notes of the chord.
Effect/Distortion	Legacy Type	3	Dist Legacy Type	Legacy type parameter. Kept for backwards-compatibility with DAW automation
Effect/Distortion	Drive	4	Dist Drive	Drive sets how hard the signal is pushed into the Type's shaping curve, and is the main control for how much distortion you hear. For the Mangle types it also moves the effect itself, so the character changes as well as the intensity.
Effect/Distortion	On	5	Dist On	Enable/disable this effect.
Effect/Bitcrush	Legacy Bits	6	Bitc Legacy Bits	Legacy bits parameter. Kept for backwards-compatibility with DAW automation
Effect/Bitcrush	Legacy Sample Rate	7	Bitc Legacy Sample Rate	Legacy sample rate parameter. Kept for backwards-compatibility with DAW automation
Effect/Bitcrush	Legacy Wet	8	Bitc Legacy Wet	Legacy processed-signal volume. Kept for backwards-compatibility with DAW automation
Effect/Bitcrush	Legacy Dry	9	Bitc Legacy Dry	Legacy unprocessed-signal volume. Kept for backwards-compatibility with DAW automation
Effect/Bitcrush	On	10	Bitc On	Enable/disable this effect.
Effect/Compressor	Legacy Threshold	11	Comp Legacy Threshold	Legacy threshold parameter. Kept for backwards-compatibility with DAW automation
Effect/Compressor	Legacy Ratio	12	Comp Legacy Ratio	Legacy ratio parameter. Kept for backwards-compatibility with DAW automation
Effect/Compressor	Gain	13	Comp Gain	An additional control for volume after compression.
Effect/Compressor	Auto Gain	14	Comp Auto Gain	Automatically re-adjust the gain to stay consistent regardless of compression intensity.
Effect/Compressor	On	15	Comp On	Enable/disable this effect.
Effect/Filter	On	16	Filt On	Enable/disable this effect.
Effect/Filter	Legacy Cutoff Frequency	17	Filt Legacy Cutoff Frequency	Legacy cutoff parameter. Kept for backwards-compatibility with DAW automation
Effect/Filter	Legacy Resonance	18	Filt Legacy Resonance	Legacy resonance parameter. Kept for backwards-compatibility with DAW automation
Effect/Filter	Legacy Gain	19	Filt Legacy Gain	Legacy gain parameter. Kept for backwards-compatibility with DAW automation
Effect/Filter	Legacy Type	20	Filt Legacy Type	Legacy type parameter. Kept for backwards-compatibility with DAW automation
Effect/StereoWiden	Width	21	Ster Width	Width narrows or widens the stereo image. Negative values pull the sound towards mono, positive values push it wider, and 0% leaves it as it is. It rebalances the mid (what both channels share) against the side (what differs between them), so at -100% only the mid is left, and at +100% only the side, which makes anything dead centre disappear. Tip: each layer has its own Stereo control if you want to widen just one of them.
Effect/StereoWiden	On	22	Ster On	Enable/disable this effect.
Effect/Chorus	Rate	23	Chr Rate	The Rate sets how quickly the pitch drifts up and down. Slow rates give a gentle swelling movement, while faster rates become a shimmering warble.
Effect/Chorus	Legacy High-pass	24	Chr Legacy High-pass	Legacy high-pass parameter. Kept for backwards-compatibility with DAW automation
Effect/Chorus	Depth	25	Chr Depth	The Depth sets how far the pitch drifts away from the original. Small amounts thicken the sound, while larger amounts give an obvious, tape-like wobble. At zero, the delayed copies are still there, adding a static colouration.
Effect/Chorus	Legacy Wet	26	Chr Legacy Wet	Legacy processed-signal volume. Kept for backwards-compatibility with DAW automation
Effect/Chorus	Legacy Dry	27	Chr Legacy Dry	Legacy unprocessed-signal volume. Kept for backwards-compatibility with DAW automation
Effect/Chorus	On	28	Chr On	Enable/disable this effect.
Effect/Filter	Resonance	29	Filt Resonance	Resonance emphasises the frequencies right at the cutoff, adding a peak there on the pass filters. For Band-pass and Notch it narrows the band, for Peak it tightens the boost, and for the shelves it steepens the corner.
Effect/Filter	Gain	30	Filt Gain	Gain sets how far the Peak and shelf types boost or cut around the cutoff.
Effect/StereoWiden	Mode	31	Ster Mode	Mode sets how the widening is done. Hover over the options in the menu for a description of each.
Effect/StereoWiden	Bass Mono	32	Ster Bass Mono	Bass Mono sets the point below which the sound is summed to the centre. Holding the low end in the middle keeps kicks and basslines solid, and stops them losing power on mono systems. The two bands are split with a 24 dB per octave Linkwitz-Riley crossover, so they recombine without a dip around the crossover point.
Effect/Compressor	Type	33	Comp Type	The compressor algorithm to use. The Vintage type has a bit of character, and automatically set the attack and release. The Digital type offers more precision.
Effect/Compressor	Attack	34	Comp Attack	How quickly the compressor responds to a rise in level.
Effect/Compressor	Release	35	Comp Release	How quickly the compressor recovers after the level drops.
Effect/Compressor	Mix	36	Comp Mix	Blend between the dry input and the compressed signal.
Effect/Convolution Reverb	Legacy High-pass	65	Conv Legacy High-pass	Legacy high-pass parameter. Kept for backwards-compatibility with DAW automation
Effect/Convolution Reverb	Legacy Wet	66	Conv Legacy Wet	Legacy processed-signal volume. Kept for backwards-compatibility with DAW automation
Effect/Convolution Reverb	Legacy Dry	67	Conv Legacy Dry	Legacy unprocessed-signal volume. Kept for backwards-compatibility with DAW automation
Effect/Convolution Reverb	On	68	Conv On	Enable/disable this effect.
Effect/Reverb	Decay Time	69	Rvrb Decay Time	The Decay Time sets how long the tail takes to fade away once a sound stops. It holds steady whatever the Size, so you can choose the length of the reverb and the character of the space separately.
Effect/Reverb	Pre Low-pass Cutoff	70	Rvrb Pre Low-pass Cutoff	The Pre LP is a low-pass filter cutoff for rolling the highs off the signal on its way into the reverb, for a darker, more distant space. The dry signal keeps its full range.
Effect/Reverb	Pre High-pass Cutoff	71	Rvrb Pre High-pass Cutoff	The Pre HP is a high-pass filter cutoff for rolling the lows off the signal on its way into the reverb, keeping the tail clear so the bass stays tight and centred. The dry signal keeps its full range.
Effect/Reverb	Low-shelf Cutoff	72	Rvrb Low-shelf Cutoff	The Lo-Shelf sets the frequency below which the reverb tail is cut by the Lo-Gain amount. Turn Lo-Gain down to hear it work.
Effect/Reverb	Low Gain	73	Rvrb Low Gain	The Lo-Gain sets how much the reverb tail is cut below the Lo-Shelf frequency. The cut builds up as the tail recirculates, so the low end thins out as the reverb fades - handy for stopping long tails clouding the bass.
Effect/Reverb	High-shelf Cutoff	74	Rvrb High-shelf Cutoff	The Hi-Shelf sets the frequency above which the reverb tail is cut by the Hi-Gain amount. Turn Hi-Gain down to hear it work.
Effect/Reverb	High Gain	75	Rvrb High Gain	The Hi-Gain sets how much the reverb tail is cut above the Hi-Shelf frequency. The cut builds up as the tail recirculates, so the highs die away first, just as soft furnishings absorb them in a real room.
Effect/Reverb	Chorus Amount	76	Rvrb Chorus Amount	The Depth sets how far the reverb's reflections drift, smearing the resonances that build up in the tail. A little stops long tails ringing; more gives an obvious shimmer and movement.
Effect/Reverb	Chorus Frequency	77	Rvrb Chorus Frequency	The Mod Rate sets how quickly the drift set by Depth moves through the tail. Very slow rates give a gentle, breathing wash, while faster rates add a distinct warble.
Effect/Reverb	Size	78	Rvrb Size	The Size scales the spacing of the simulated reflections, setting how large the space feels. Small values pack them together for a boxy, coloured character; large values spread them out for something open and airy.
Effect/Reverb	Delay	79	Rvrb Delay	The Predelay holds the reverb back for a moment so the dry sound is heard on its own first. Short amounts keep the sound upfront and defined, while longer amounts push the walls further away.
Effect/Reverb	Mix	80	Rvrb Mix	Blend between the dry input and the reverb signal.
Effect/Reverb	On	81	Rvrb On	Enable/disable this effect.
Effect/Phaser	Feedback	82	Phs Feedback	Feedback routes the phased signal back into the filters, sharpening the peaks and deepening the notches. Small amounts keep it as a gentle swoosh, while higher amounts give the sweep a resonant, whistling edge.
Effect/Phaser	Mod Rate	83	Phs Mod Rate	The Rate sets how quickly the peaks sweep up and down the frequency range. Slow rates give a gentle, drifting movement, while faster rates turn the sweep into a warble.
Effect/Phaser	Center Frequency	84	Phs Center Frequency	Freq sets the centre of the sweep: the frequency that the peaks and notches travel around. Keep it low for a deep, throaty movement, or raise it to place the phasing amongst the brighter harmonics.
Effect/Phaser	Shape	85	Phs Shape	Shape sets how many peaks and notches are carved into the sound. Turned down there's a single broad one for a soft, vowel-like sweep; turned up there are more of them stacked up the spectrum for a richer, more obvious phasing.
Effect/Phaser	Mod Depth	86	Phs Mod Depth	The Depth sets how far the peaks travel either side of the Freq setting. Small amounts give a narrow, shimmering movement, while larger amounts sweep across the whole spectrum. Tip: with Depth all the way down the peaks hold still, leaving a fixed colouration that you can sweep by hand with Freq.
Effect/Phaser	Stereo Amount	87	Phs Stereo Amount	Stereo offsets the left and right sweeps from each other so the movement drifts across the stereo image. At zero both channels sweep together; at maximum they sweep in opposite directions, for a wide, swirling feel.
Effect/Phaser	Mix	88	Phs Mix	Blend between the dry input and the phased signal.
Effect/Phaser	On	89	Phs On	Enable/disable this effect.
Effect/Delay	Mode	90	Dly Mode	Mode sets how the repeats move around the stereo image. Hover over the options in the menu for a description of each.
Effect/Delay	Filter Cutoff	91	Dly Filter Cutoff	Filter sets the centre of a band-pass that the repeats run through, with Spread setting how wide that band is. The dry signal is left untouched. It sits inside the feedback loop, so every repeat is filtered again and the echoes thin out as they fade.
Effect/Delay	Filter Spread	92	Dly Filter Spread	Spread sets how wide the repeats' filter band is. Wide open leaves them close to the original sound; narrowed, they squeeze towards the Filter frequency, losing a little more of the top and bottom ends with every pass.
Effect/Delay	Time Left (ms)	93	Dly Time Left (ms)	The gap between the repeats in the left channel, set freely in milliseconds. Tip: very short times stop sounding like separate echoes and become a metallic, resonant tone instead.
Effect/Delay	Legacy Time Right (ms)	94	Dly Legacy Time Right (ms)	The gap between the repeats in the right channel, set freely in milliseconds. It's unused in Mono mode, where both channels follow Time L.
Effect/Delay	Time Left (Tempo Synced) (Legacy)	95	Dly Time Left (Tempo Synced) (Legacy)	Legacy left delay time. Kept for backwards-compatibility with DAW automation
Effect/Delay	Time Right (Tempo Synced) (Legacy)	96	Dly Time Right (Tempo Synced) (Legacy)	Legacy right delay time. Kept for backwards-compatibility with DAW automation
Effect/Delay	On	97	Dly On	Enable Tempo Sync to set the delay times as note lengths that follow the host's tempo, keeping the repeats in time with your track. With it off, the times are dialled in freely in milliseconds.
Effect/Delay	Mix	98	Dly Mix	Blend between the dry input and the delayed signal.
Effect/Delay	On	99	Dly On	Enable/disable this effect.
Effect/Delay	Feedback	100	Dly Feedback	Feedback sets how long the echoes trail on for: low amounts give a handful of repeats, while high amounts carry on long after the note has gone. It works by feeding each repeat back in to make the next one.
Effect/Filter	Type	105	Filt Type	Select the filter type. Peak, Low-shelf and High-shelf bring in the Gain knob, letting you boost as well as cut.
Effect/Filter	Cutoff Frequency	106	Filt Cutoff Frequency	Cutoff sets where the filter does its work: the point the pass filters roll off from, the centre of the band for Band-pass and Notch, or the corner for the shelves.
Effect/Chorus	High-pass	107	Chr High-pass	Remove low frequencies from the chorused copies. The dry signal is unaffected. Raise this to keep the bass tight and free from movement.
Effect/Convolution Reverb	High-pass	108	Conv High-pass	Use the high-pass to roll off the low end of the reverb to avoid muddy bass. It applies to the reverbed signal alone, before the Mix blend.
Effect/Bitcrush	Mix	109	Bitc Mix	Blend between the dry input and the bitcrushed signal.
Effect/Bitcrush	Output	110	Bitc Output	Output level after the mix.
Effect/Chorus	Mix	111	Chr Mix	Blend between the dry input and the chorused signal.
Effect/Chorus	Output	112	Chr Output	Output level after the mix.
Effect/Convolution Reverb	Mix	113	Conv Mix	Blend between the dry input and the reverb signal.
Effect/Convolution Reverb	Output	114	Conv Output	The effect's output level, applied after the Mix blend.
Effect/Distortion	Mix	115	Dist Mix	Blend between the dry input and the distorted signal. Backing it off keeps the clarity of the original sound with the distortion sitting underneath it.
Effect/StereoWiden	Mix	116	Ster Mix	Blend between the dry input and the stereo-widened signal.
Effect/Filter	Mix	117	Filt Mix	Blend between the dry input and the filtered signal.
Effect/Compressor	Threshold	118	Comp Threshold	The threshold that the audio has to pass above before the compression should start taking place.
Effect/Compressor	Ratio	119	Comp Ratio	The intensity of compression (high ratios mean more compression). Above around 2:1 begins to make the pumping effect much more noticable.
Effect/EQ	On	120	Eq On	Enable/disable this effect.
Effect/EQ	Mix	121	Eq Mix	Blend between the dry input and the equalised signal.
Effect/EQ/Band 1	Type	122	EqB1 Type	Choose the shape of this band: a peak or shelf for boosting and cutting, a notch for removing a narrow slice, or a pass filter for rolling off one end of the spectrum. Only the Peak, Low-shelf and High-shelf types use the Gain knob; with the others it's inactive.
Effect/EQ/Band 1	Frequency	123	EqB1 Frequency	Frequency sets where this band does its work: the centre of a peak or notch, the corner of a shelf, or the cutoff of a pass filter.
Effect/EQ/Band 1	Resonance	124	EqB1 Resonance	Resonance sets how tightly the band is focused. For the Peak and Notch types it's the width, going from broad and gentle to tight and focused. The shelves use it to steepen the transition at their corner, and the pass filters use it to add a peak at the cutoff.
Effect/EQ/Band 1	Gain	125	EqB1 Gain	Gain sets how far this band boosts or cuts at its frequency. Only the Peak, Low-shelf and High-shelf types use Gain. The notch and pass filters always cut by their own fixed shape, so with those the knob is inactive.
Effect/EQ/Band 2	Type	126	EqB2 Type	Choose the shape of this band: a peak or shelf for boosting and cutting, a notch for removing a narrow slice, or a pass filter for rolling off one end of the spectrum. Only the Peak, Low-shelf and High-shelf types use the Gain knob; with the others it's inactive.
Effect/EQ/Band 2	Frequency	127	EqB2 Frequency	Frequency sets where this band does its work: the centre of a peak or notch, the corner of a shelf, or the cutoff of a pass filter.
Effect/EQ/Band 2	Resonance	128	EqB2 Resonance	Resonance sets how tightly the band is focused. For the Peak and Notch types it's the width, going from broad and gentle to tight and focused. The shelves use it to steepen the transition at their corner, and the pass filters use it to add a peak at the cutoff.
Effect/EQ/Band 2	Gain	129	EqB2 Gain	Gain sets how far this band boosts or cuts at its frequency. Only the Peak, Low-shelf and High-shelf types use Gain. The notch and pass filters always cut by their own fixed shape, so with those the knob is inactive.
Effect/EQ/Band 3	Type	130	EqB3 Type	Choose the shape of this band: a peak or shelf for boosting and cutting, a notch for removing a narrow slice, or a pass filter for rolling off one end of the spectrum. Only the Peak, Low-shelf and High-shelf types use the Gain knob; with the others it's inactive.
Effect/EQ/Band 3	Frequency	131	EqB3 Frequency	Frequency sets where this band does its work: the centre of a peak or notch, the corner of a shelf, or the cutoff of a pass filter.
Effect/EQ/Band 3	Resonance	132	EqB3 Resonance	Resonance sets how tightly the band is focused. For the Peak and Notch types it's the width, going from broad and gentle to tight and focused. The shelves use it to steepen the transition at their corner, and the pass filters use it to add a peak at the cutoff.
Effect/EQ/Band 3	Gain	133	EqB3 Gain	Gain sets how far this band boosts or cuts at its frequency. Only the Peak, Low-shelf and High-shelf types use Gain. The notch and pass filters always cut by their own fixed shape, so with those the knob is inactive.
Effect/Limiter	On	140	Lmtr On	Enable/disable this effect.
Effect/Limiter	Mix	141	Lmtr Mix	Blend between the dry input and the limited signal.
Effect/Limiter	Gain	142	Lmtr Gain	Boost the level going into the limiter. The harder you push, the more it's limited, making the sound louder and denser.
Effect/Limiter	Ceiling	143	Lmtr Ceiling	The level the output is never allowed to exceed. Leaving a small margin below 0 dB gives headroom for whatever comes after Floe.
Effect/Delay	Time Left (Tempo Synced)	146	Dly Time Left (Tempo Synced)	The gap between the repeats in the left channel, as a note length that follows the host's tempo.
Effect/Delay	Time Right (Tempo Synced)	147	Dly Time Right (Tempo Synced)	The gap between the repeats in the right channel, as a note length that follows the host's tempo. It's unused in Mono mode, where both channels follow Time L.
Effect/Distortion	Auto Gain	148	Dist Auto Gain	Enable Auto Gain to hold this Legacy type's loudness steady as Drive is increased; it's the same compensation that the Bite and Mangle types always use. Presets made before Floe had this switch load with it off, so they sound just as they were made.
Effect/Distortion	Punish	149	Dist Punish	Punish stacks extra distortion stages after the first, each one driven harder than the last, for a denser, grittier, more compressed edge. Drive sets how hard the signal hits the first stage; Punish sets how much is piled on top.
Effect/Distortion	Tilt EQ	150	Dist Tilt EQ	Tilt the tone going into the distortion. Positive lifts the highs so they saturate more for a brighter result; negative lifts the lows for a warmer, fatter drive.
Effect/Distortion	Type	151	Dist Type	The Type sets the character and flavour of the distortion. The Bite types saturate and thicken the sound; the Mangle types tear it apart into something more extreme. The Legacy types are the original algorithms from Floe's early days, kept so that older presets still sound as they were made.
Effect/Distortion	Gain	152	Dist Gain	If needed, you can adjust the level of the distorted signal, applied after all the shaping and before the Mix blend. This is a flat adjustment separate from 'Auto Gain' — which smartly counteracts any change in perceived loudness as you turn up the Drive or Punish.
Effect/Bitcrush	Bits	153	Bitc Bits	Reduce the bit depth of the signal, adding a gritty digital noise that's most obvious in quiet passages and tails. At the lowest settings quiet signals quantise to silence, so feed the effect hot.
Effect/Bitcrush	Sample Rate	154	Bitc Sample Rate	Reduce the sample rate by holding each sample for longer. Lower rates fold high frequencies back down into ringing, metallic aliasing - the sound of early samplers and retro hardware.
Master	Volume	0	Mst Volume	The Master Volume is the final stage of Floe's signal chain: it sits after the effects rack, so it sets the overall level of everything just before the audio leaves Floe.
Master	Legacy Velocity To Volume Strength	1	Mst Legacy Velocity To Volume Strength	Legacy parameter. The amount that the MIDI velocity affects the volume of notes; 100% means notes will be silent when the velocity is very soft, and 0% means that notes will play full volume regardless of the velocity
Master	Timbre	2	Mst Timbre	Sweep between an instrument's crossfade layers, such as soft-to-hard or dark-to-bright variations of the same sound. Only instruments that were built with crossfade layers respond to this knob; they are highlighted while you drag it. If none of the loaded instruments have crossfade layers, the knob is inactive.
Macro	1	101	1	A macro is a single knob that moves one or more other parameters at once. Preset authors usually set these up and give them custom names, so each macro shapes the sound in a way that's tailored to that particular preset. If you want to set up your own, go to the Layers or Effects page and open the MACROS tab in the bottom panel. There you can choose what each macro controls and rename it.
Macro	2	102	2	A macro is a single knob that moves one or more other parameters at once. Preset authors usually set these up and give them custom names, so each macro shapes the sound in a way that's tailored to that particular preset. If you want to set up your own, go to the Layers or Effects page and open the MACROS tab in the bottom panel. There you can choose what each macro controls and rename it.
Macro	3	103	3	A macro is a single knob that moves one or more other parameters at once. Preset authors usually set these up and give them custom names, so each macro shapes the sound in a way that's tailored to that particular preset. If you want to set up your own, go to the Layers or Effects page and open the MACROS tab in the bottom panel. There you can choose what each macro controls and rename it.
Macro	4	104	4	A macro is a single knob that moves one or more other parameters at once. Preset authors usually set these up and give them custom names, so each macro shapes the sound in a way that's tailored to that particular preset. If you want to set up your own, go to the Layers or Effects page and open the MACROS tab in the bottom panel. There you can choose what each macro controls and rename it.