The Oceans 11 pastiche was where FL really hit the rocks. The closest I could get were some electronic bloops of the kind found on the old DX7 – very 80’s (and not in a good way) and not at all what I was looking for. Digging through the list of sounds, I could find nothing by way of usable, semi-ambient pads. Once the main parts were in place, however, I felt the need for a nice atmospheric pad or two, just to give a little background. Over the two days I spent with FL, I made two tracks – a version of the electro pop classic ‘Cars’ and a David Arnold-esque bit of loungey score.įor ‘Cars’, FL provided most of what I wanted. I was genuinely delighted to see this touch included, and it shows that the Fruityloops programmers are in tune with their audience (pun intended!). We’ve all seen this behavior on our computer software, but for some reason it is often missing in the mobile world. If you keep the button pressed down, the value continues to change in that direction, ramping up in speed the longer you press it.
Many values can be adjusted using a button on either side of a counter, showing the number you are changing.
There is one specific choice that the devs made which I wish could be made mandatory in all similar cases. So, a learning curve is present, and you should expect it, but you should also trust that the developers have actually created a very useable canvas for music creation. However, having played with the sequencer for a weekend, I realized that I was very quickly doing exactly what I wanted, without having to think about it anymore. If you hit ‘Done’ before ‘Draw’ your note is lost forever. Pressing the edit button in step sequencer mode will give you a new note to play with, but it doesn’t actually remain on your score until you hit the ‘Draw’ button which not only sticks that note but also provides you with a new one. This was not the only time I found myself somewhat at odds with the workflow and certain parts really seemed counter-intuitive.
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