What's new in Beatline

• A place to design sounds, with nothing else in the way. The Synth Lab is a screen of its own — the full synth, a keyboard, and no arrangement to worry about. Open it from the landing page, from the hub sidebar, or from the ⋯ menu in the studio. No account needed to play with it.
• Patches other people made. The Lab lists what the community has published. Click a name to load it, Fork to take it apart and make it yours, and ♥ to say you liked it. Publishing is free — a patch is a few hundred bytes, and a feed nobody can post to isn't a feed.
• Every published patch gets its own link. Share it anywhere and it opens as a proper page — name, author, and a button that drops the sound straight into the Lab.
• The synth got a redesign. Each oscillator now draws its own waveform, and turning unison and detune visibly widens the sound. Each filter draws its frequency response, so you can see the resonance peak instead of guessing at a number. Envelopes and LFOs moved behind a side-tabbed rail — one editor at a time, with a dot on any modulator that's actually routed somewhere, so the rail doubles as a map of the patch.
• Patches are files now. Import… and Export sit at the bottom of the synth — in the Lab and in the studio. Beatline's own format round-trips exactly. You can also export a .vital file to open a sound in Vital, and import one back: oscillator levels, tuning, unison, filter type and cutoff, and the amp envelope all come across, and anything that couldn't be translated is listed for you rather than silently dropped.
• Serum and Sylenth1 presets can't be converted — by anyone. Those files are a private format only the plugin itself can read. Drop one in and Beatline now tells you which plugin it belongs to and why it can't be used, instead of failing with nothing to go on.

The synth no longer offers a "Sample" switch where there's nothing to switch to. In a project with samples loaded it's still there; in the Lab, and in a project without any, it stays out of the way.

• The editors are windows, not walls. The piano roll, the synth, the effects rack and the sample editor used to darken the whole studio and block everything behind them. Now each one is a window you can move, resize, and leave open while you work on something else — drag several out at once and arrange them how you like. Escape closes the top one.
• Exports show their progress, and can be cancelled. Rendering a song or a set of stems now opens a dialog with a real progress bar and a Cancel button, so a long render is something you can watch and something you can change your mind about.
• Changing the tempo mid-playback actually changes the tempo. It used to do nothing until you stopped and started again — the arrangement kept running at the old speed while the BPM readout said otherwise. Now the transport retunes on the spot, without the playhead jumping.
• The playlist has its own grid. A Grid selector next to Snap, from four bars down to a 1/32, with triplets. Clips, pages and automation all snap to it, and the timeline draws the division you picked. It's separate from the piano roll's grid, so setting one no longer changes the other.
• Automation curves bend. Every segment has a handle at its midpoint — drag it to bend the curve between two points, double-click to straighten it. Works on top of the existing shapes, and it's saved with the project.
• Automation as numbers. Right-click a segment for Copy values, Paste values and Edit values…. The numbers are in real units — dB for volume, Hz for a cutoff — so a fade can be typed, pasted into a spreadsheet, or sent to someone else and pasted back exactly.
• Comments on published songs. Every published song's page now carries a comment thread. Anyone can read it; leaving one needs an account, which keeps the spam off. You can delete comments on your own songs.
• A performance readout. File → Performance opens a live look at frame rate, how much the main thread is blocked, and what the audio engine is carrying — voices, sample players and scheduled events. Useful when a project starts to feel heavy and you want to know why.

Also fixed: the on-screen keyboard in the synth could collapse to a sliver on larger patches, and a first-time visitor was dropped straight into the studio — which meant the Community feed and the Synth Lab were unreachable without an account. Both are linked from the landing page now.

• Sharing no longer asks you to sign up. Finish something, hit File → Share Song (link), and you get a public link straight away — no account, no email, no waiting. The link has a real page with a player, so it works anywhere you paste it: a group chat, a forum, a tweet, a Discord server.
• The community feed is free for everyone. Publishing a song to the public feed used to be a Pro feature. It isn't any more — anyone can publish, and every published song gets its own page, an embeddable player for blogs and forums, and a play count that updates as people listen.
• Your links wait for you if you sign up later. Songs you shared while signed out belong to the browser you made them in. Sign in whenever you like and they move onto your account automatically — nothing to copy, nothing to re-upload. Until then the Community tab tells you plainly that they live in this browser only.
• Still yours to unpublish. Signed in or not, the Community tab lists your own songs with the same toggles — public or private, remixable or not — so putting a track up is never a one-way door.

Pro keeps unlimited cloud projects, your personal sound library, collaboration, and larger uploads for long or high-quality renders. Making music, sharing it and publishing it are free.

• A search box in the Browser. One filter across the samples in your project, your cloud library and every starter pack — matching packs open themselves, so a library you have to scroll becomes one you can search.
• Find sounds online. Search a catalogue of millions of Creative-Commons sounds (Openverse, which indexes Freesound, Wikimedia and more) without leaving the studio. Click a result to preview it, ＋ to pull it into the project as a normal sample — droppable on the playlist, playable as an instrument, editable in Edison.
• Highlights to start from — Kicks, Snares, Hats, 808s, Impacts, Risers, Vinyl, Ambience and more, one click each, so the panel is worth opening before you know what to search for. Come up empty in the local filter and the online search picks up what you typed.
• Licences handled properly. Searches default to CC0 — public domain, use it in anything, credit nobody. Widen it and CC BY / BY-SA sounds appear marked ◈, and each one carries its credit line into the project (hover the sample) so you still know what to credit weeks later, even after saving and reopening.

No account, no API key, and nothing routed through our servers — your browser talks to the catalogue directly.

• Fixed: a sample dropped on the playlist could stay silent. Pressing ▶ on the Page used to leave the spacebar pointed at pages, and a page is notes only — so the next Space over the playlist replayed a page instead of the arrangement, and the audio clip you were staring at made no sound. The two transports are properly independent now: only the SONG/PAGE badge decides what Space plays.
• Fixed: a sample's mixer track now rules its clips too. Give a sample's Page row an insert and the clips of that sample on the playlist follow it — fader, inserts, mute and all — instead of staying on their lane's channel. Play the same sound as a note or as a clip and it goes through the same strip, in the mix and in the bounce.

• The Page has its own play button. It loops the page you're working on, from its start to its end, and it never runs alongside the playlist — starting one stops the other, and each play button only lights for its own transport.
• The piano roll plays what you're editing. Its play button (and the spacebar, while it's open) loops that page, never the arrangement underneath it.
• Instrument picker in the roll. A dropdown at the top switches which channel you're writing for — synth, sampler, whatever it is — with a dot marking the channels that already have notes on this page. No more closing the roll to change instrument.
• Pages on the playlist behave like clips. Click selects one so you can move, copy or delete it; double-click opens its piano roll. The lane headers lost their piano-roll button — instruments live in the Page, and lanes are for arrangement.
• Clone a page with the ⧉ button next to ＋: an independent copy of its notes, named the next number up, dropped in right after the original on the playlist. Edit the clone all you like — the original stays as it was.
• Enter finishes a rename. Naming a page (or a channel, or a lane) and pressing Enter hands the keyboard back, so the next spacebar plays instead of typing a space into the name.
• The roll's long shortcut line now lives behind a ? button, giving the grid back the space it was using.

• Master sits on the left. It leads the mixer instead of hiding off the right-hand end, and stays pinned there while the rest of the channels scroll past it.
• Route channels into each other. Every mixer strip has an output picker at its foot. Send the kick, snare and hats to one channel and that strip's fader, pan and inserts rule the whole kit — FL-style insert routing. Everything still loads pointing at Master, so nothing changes until you move it.
• Bus strips. "+ Bus" in the mixer header adds a strip that exists purely to be routed into — no playlist lane, no channel rack row. Double-click any strip's name to rename it; right-click for its menu.
• Solo understands routing. Soloing a channel keeps the bus it feeds open, and soloing a bus keeps everything feeding it alive, so solo means what it says.
• Sidechain Duck insert. A dedicated ducker: pick a trigger channel, set Amount, Threshold, Attack, Release and Lookahead, and watch the gain-reduction meter pump. Point a bass at the kick and it steps out of the way — no automation required.
• Multiband compressor with a live spectrum display: three bands, draggable crossovers, a threshold line you can drag inside each band, and per-band level and gain-reduction meters, so you can see which part of the sound is being worked.

Routing applies to MP3 export as well as playback, and the mixer graph is kept loop-free: a route that would send a channel back into itself isn't offered.

• Mobile view. Open Beatline on a phone and it offers to switch to a touch studio built for the format — the desktop layout stays one tap away.
• One landscape screen. Channels down the left, their 16-step lanes to the right, a playable keyboard docked at the bottom and the mixer behind a button. Turn the phone sideways and it's there.
• Channel rack. Tap steps to build a beat, mute per channel, set pattern length from 1 to 8 bars, and page through the sounds browser to add channels.
• 18 stock instruments. Kick, snare, clap, hats, toms, basses, keys, leads and pads — all built on the synth engine, so nothing to download.
• Your own samples. Import audio straight from your phone, or pull one-shots and loops from the built-in library; each becomes a playable channel.
• Touch piano roll. Tap a block in the playlist (or a channel's ⚙) to write notes — draw, drag, resize, erase, with a live playhead.
• Mixer + automation. Faders, pan, mute/solo, meters and effect inserts; hold a fader or pan control to automate it and draw the curve over your song.
• Recording. Arm record and play the keys — held notes land in the pattern while the loop runs, or step-record one note at a time while stopped.
• Undo/redo in the transport bar, and one-tap MP3 export or share from the menu.

Under the hood: looped playback now re-reads the arrangement at every pass, so steps you tap in while the loop runs are heard immediately — on desktop too.

• Step sequencer panel for drum-style pattern editing next to the playlist.
• MIDI file import and export — dependency-free SMF reading and writing.
• WAM 2.0 plugin hosting — third-party web audio plugins as inserts, including in offline export. Behind a hidden flag while it's road-tested.
• Performance telemetry so slow devices show up in the numbers, not just in complaints.

• Compressor and limiter inserts with a live gain-reduction meter.
• Sidechain ducking — point a compressor at another channel's signal.
• Stop really stops: effect tails, previews and held voices all go quiet.
• Friendlier cloud saves when the same account has the project open twice.

• Select-all and group move across the playlist.
• Automation segments became bounded clips — deleting a stretch really removes it.
• Mixer clip LEDs, note-length memory and piano-roll grid divisions.
• Deeper zoom, fixed stale pattern paste, and silence on leaving the studio.
• FL-style transport: double-tap space stops at 0:00, Home returns to the start.

• A project hub as the front door — open, duplicate and manage your work.
• Beatline Pro: collaboration, a personal preset library and showcase publishing, with a 7-day trial and a yearly plan.
• Remix links, featured songs, starter templates and embeddable players.
• Legal pages, content reports and save-conflict handling.
• Admin surface, smoke tests and crash telemetry behind the scenes.

• Accounts and cloud projects — save once, open anywhere.
• Public song pages with per-song link previews, plus a projects gallery.
• Landing page, SEO and the first pass at billing.

• Free starter library of drums, 808s, loops, FX and vocal chops.
• Patterns as clips — write once, place anywhere on the timeline.
• Sampler with resample and stretch pitching, plus a seamless loop engine.
• Microphone recording, MIDI keyboard input, WAV export and mixer meters.
• Loop regions, note velocity and a piano roll that got a lot friendlier.
• Installable as an app (PWA).

• The playlist, the synth, the mixer and the audio engine — Beatline's first public deploy.