Hands-on · Every feature

How to use OSE.

A working walkthrough of all eight tools. Each one sits next to the real app screen, exactly as it looks on your phone. Tap it, turn the knobs, play the keys, then follow the steps to do the thing you came for.

Play Module

The synth, end to end.

OseSynth wrapped in a keyboard you can perform on. Split it into two voices, transpose, shape the sound, add FX, load any SoundFont, swap the keys for drum pads, or play an ethnic scale.

Live mockup. Tap the SYNTH / FX / PLAY tabs, turn the knobs, play the keys.

Split the keyboard into two voices

  1. Tap the instrument-name panel that reads "‹ OUTHENTIC SYNTH ›" (or the Edit pencil in the top bar) to open the INSTRUMENT EDITOR dialog.
  2. The first layer card shows the current sound. Scroll to the bottom and tap the ghost "+ ADD LAYER" card; the ADD LAYER picker opens.
  3. In the picker, search or browse the folders and tap a second sound source. It drops in as Layer 2 with its own colour.
  4. On Layer 1's card, drag the two thumbs of the KEY RANGE slider to set its low and high note (the readout shows e.g. "C2 - B3"). Do the same on Layer 2 for the upper half.
  5. To set a range by playing, long-press the KEY RANGE slider near a thumb until it reads "PRESS KEY -> LO" / "PRESS KEY -> HI", then press the key you want as the boundary.
  6. Optionally rename each layer in the field under its instrument name, then tap SAVE AS MULTI (portrait: the gold button at the bottom; landscape: top-right).
1 KEYS ▾ KEY RANGE C2-B3 2 PAD ▾ KEY RANGE C4-C6

Double-tap a KEY RANGE slider to reset it: full keyboard for a single edit, or the layer's default split for a multi.

Transpose and change pitch

  1. For a per-layer shift, open the INSTRUMENT EDITOR and drag that layer's TRANSPOSE slider; the readout shows the offset in semitones (-24 to +24, e.g. "+12" for one octave up). Double-tap the slider to snap back to 0.
  2. To set the pitch-wheel range, open the SYNTH main tab, tap the VOICE sub-tab, and turn the PB RANGE knob (0 to 24 semitones). The same value lives in Settings under SYNTH as "pitch-bend range".
  3. Bend live by dragging the sprung Pitch wheel on the left of the zoom row; it returns to zero when you let go.
  4. To move octaves on screen without retuning, drag the sky-blue rectangle on the OSENavigator mini-map, or tap a spot on it to jump the visible keyboard there.

PB RANGE and the SYNTH/VOICE controls apply to the OseSynth voice only; when a SoundFont is loaded the SYNTH tab and that Settings panel grey out.

Add effects with the FX tab

  1. Tap the FX main tab on the DSP card. Its sub-tabs are IN · EQ · AMP · FX · OUT.
  2. IN sets input gain with level meters; leave it near unity unless the chain is clipping.
  3. EQ is a 5-band parametric; drag each band's gain and frequency to shape tone.
  4. AMP carries drive, tremolo and a compressor for glue and grit.
  5. Tap FX for the time effects: dial the Delay (toggle BPM sync to lock it to tempo), the Reverb amount and decay, and the Chorus depth and rate.
  6. OUT holds output gain, master volume, peak meters, a limiter (catch the peaks) and pan.

Touch any FX knob and the floating HUD pill at the top of the card shows the parameter name, value and a fill bar for about a second.

Play an ethnic or microtonal scale

  1. Open the INSTRUMENT EDITOR and find the layer you want to retune.
  2. In that layer card's header, tap the small music-note SCALE button (next to the colour swatch). The SCALE bottom sheet slides up.
  3. Pick a tonic from the root strip at the top, then scroll the sections: Standard, Arabic Maqamat, Indian Ragas, World.
  4. Tap a scale row, for example "Maqam Bayati" (Half-flat 2nd) or "Raga Yaman"; it applies instantly and the sheet closes.
  5. A gold dot appears on that layer's SCALE button to mark a non-default tuning. Choose STANDARD to return the layer to 12-TET.
SCALE D E F G ARABIC MAQAMAT Maqam Bayati Half-flat 2nd Maqam Rast Half-flat 3rd + 7th Maqam Hijaz 12-TET - augmented 2nd

Scales are per layer, so a multi can stack a Bayati oud over a 12-TET strings pad at the same time.

Switch from keyboard to drum pads

  1. Open the INSTRUMENT EDITOR. In the title-bar chrome, tap the PLAY SURFACE menu button and choose DRUM PADS (PIANO is the other option).
  2. Close the editor: the keyboard, navigator and sustain pedal disappear and a pad grid replaces them, one pad per layer, each tinted with its layer colour and labelled with the layer name.
  3. Tap a pad to fire its sound. With more than 8 sounds the grid paginates 8 per page (4 x 2) with swipe dots below.
  4. To reorder, tap the ARRANGE toggle (it sits where the sustain pedal was). Tap a source pad, then a target pad, to swap them. The label reads DONE while active; tap it again to finish.
KICK SNARE HAT CLAP TOM RIM RIDE CRASH

Drum-pad mode is stored on the preset, so a kit always opens as pads and a synth always opens as keys.

Load a different instrument or SoundFont

  1. From the top bar, open the INSTRUMENT HUB (the preset picker).
  2. Use the chip strip to filter: the star for favourites, then All, Outhentic (built-ins), User, and Multi presets. Type in the search field to narrow the list.
  3. Browse the folder headers and instrument cards below; each card carries its skin colour and name. Tap a card to load it.
  4. To bring in your own sound, tap Import and pick a .sf2 or .sf3 SoundFont file; it lands under the User section.
  5. Long-press any card to favourite it, move it to a folder, or delete it.

Built-in Outhentic instruments are read-only; edit one and the save button becomes "Save as New Preset" so the factory patch stays intact.

Step through presets with the name chevrons

  1. Look at the instrument-name panel under the top bar, reading "‹ OUTHENTIC SYNTH ›".
  2. Tap the right chevron "›" to load the next preset in the list, or the left chevron "‹" for the previous one.
  3. The name updates and the whole surface re-skins to the new instrument's colour as you step.
  4. Tap the name itself (not a chevron) to open the full INSTRUMENT EDITOR for the current preset.

Chevron-stepping is the fastest way to audition sounds while keeping a hand on the keyboard.

Shape the sound on the SYNTH sub-tabs

  1. Tap the SYNTH main tab (shown when the OseSynth voice is loaded), then move across its sub-tabs OSC · FILTER · ENV · MOD · VOICE.
  2. OSC: pick a wave for OSC A and OSC B in the waveform pickers, set each one's semitone, fine and level, then add SUB and NOISE level to taste.
  3. FILTER: drag cutoff and resonance, set envelope amount (bipolar), choose the mode segment LP/HP/BP, slope 12 or 24 dB, plus drive and keyboard tracking.
  4. ENV: shape the AMP and FILTER ADSR envelopes (each has a live dot showing the active stage), curves, and the optional pitch and noise envelopes.
  5. MOD: set LFO 1 and LFO 2 rate, target and sync.
  6. VOICE: set polyphony (1 to 32 voices), unison count and detune, glide time and trigger mode, PB RANGE and play mode.

The DSP card is collapsed by default; drag it up (or tap the DSP toggle in the bottom bar) to expand it to about 62% of the screen for full control.

Run the arpeggiator

  1. Tap the PLAY main tab, then the ARP sub-tab.
  2. Tap the ARPEGGIATOR toggle to turn it on; hold a chord and the notes play in sequence.
  3. Pick a PATTERN: UP, DN, U/D, D/U, RND or ORD.
  4. Set the RATE (1, 1/2, 1/4, 1/8, 1/16, 1/8., 1/8T) so it locks to tempo, then choose how many OCT octaves it spans (1 to 4).
  5. Dial the GATE and SWING knobs to taste; flip RECORD ARP OUTPUT on if you want the generated notes captured to a take.

Use the metronome polygon chip in the top bar to set the tempo the synced arp rates follow.

Tune the velocity response

  1. Tap the PLAY main tab, then the VEL sub-tab.
  2. Pick a velocity preset: SOFT (eases low notes), REGULAR (linear), HARD (boosts low notes), or CUSTOM.
  3. On CUSTOM, turn the curvature knob and watch the live curve visualiser bend; this changes how touch strength maps to loudness.
  4. For a constant level regardless of touch, enable the fixed-velocity toggle and set its value (1 to 127).

Fixed velocity is handy for organ and drum sounds where every hit should be the same strength.

Use the sustain pedal and Lock

  1. Press and hold the big SUSTAIN PEDAL in the centre of the bottom bar to sustain held notes; release to let them go (momentary by default).
  2. Tap the Lock button in the bottom bar (its shackle animates closed) to latch the pedal, so a single tap holds sustain on until you tap again.
  3. Tap the settings gear at the bottom-left to open the Settings sheet for MIDI, audio output and synth defaults; tap the DSP toggle to pop out the DSP card.
  4. Use the "- DRAG +" zoom row and the drag-mode toggle to change how many keys are visible (5 to 40 white keys).

In drum-pad mode the sustain slot is replaced by the ARRANGE toggle, since pads do not sustain.

Map a hardware knob with MIDI Learn

  1. Connect a MIDI controller over USB or BLE (pair BLE devices in Settings under BLUETOOTH MIDI DEVICES).
  2. On the DSP card, long-press the control you want to map (for example FILTER cutoff, or a layer's TRANSPOSE / OUTPUT GAIN in the editor). The MIDI Learn sheet appears.
  3. Move the physical knob, fader or button you want to bind; OSE captures it and links the two.
  4. Review or clear bindings in Settings under MIDI MAPPINGS; tap a row to relearn or remove it.

Every layer registers its own learnable parameters, so the same physical knob can drive a different layer's transpose per zone.

Open the other Hubs from the top bar

  1. Tap the metronome polygon chip to open the Metronome Hub: BPM wheel, time-signature buttons, accent pattern, volume and tap-tempo.
  2. Tap the Sessions wave glyph for the Sessions Hub: your MIDI and audio takes with stars, rename, share and delete.
  3. Tap a MIDI take's Edit to open the Piano Roll Editor; tap an audio take's Edit for the Audio Editor.
  4. Tap the DSP toggle for the DSP Hub, a larger floating version of the DSP card.

Hubs opened from the Play Module appear as draggable floating dialogs, so you can tweak them without leaving the keyboard.

Audio Module

Record it, then clean it up.

A real recorder with a full DSP chain, and a non-destructive editor for the trims, fades, speed changes and repairs you actually need.

Live mockup. Flip RECORD / LIBRARY, tap the chrome icons, switch the DSP tabs.

Learn every button on the Recorder's chrome bar

  1. The black visualizer card at the top holds the EDIT pill in its top-left corner. It only lights up once a take is selected; tap it to jump into the fullscreen editor.
  2. Below the card sits the LibraryChromeBar, a row of eight icons. Left to right: Star filters the library to your favourites; Folder creates a new folder; Import loads an audio file from storage; Search reveals the search field.
  3. The four transport icons continue the row: -5s (Replay5) jumps the playhead back five seconds; Play / Pause auditions the selected take; Stop halts playback and resets to the start; +5s (Forward5) skips five seconds forward.
  4. On the Recorder lens the first four cells (Star, Folder, Import, Search) dim out because they are library-only. The four transport cells stay live so you can play back the take you just captured without leaving the recorder.

Tip: the chrome bar sits in the exact same spot on both lenses and both orientations, so your eye never has to retrack.

Pick your input, output, channel and mode

  1. Find the 2x2 source grid below the chrome bar. Tap the INPUT cell (microphone icon) to open the device dropdown. Built-in microphones collapse to a single "Internal device" row; plug in a USB interface and each input appears separately.
  2. Tap the OUTPUT cell to choose where monitoring plays back (speaker, headphones, USB).
  3. Tap the CHANNEL cell to pick the exact channel on a multi-channel USB interface. This cell only lights up when such a device is connected; otherwise it stays dim.
  4. Tap the MODE cell and pick MONO (one channel) or STEREO (two channels). On a built-in mic, leave it on the device default.

Tip: choose your channel on the interface before you arm, so the meters reflect the right input.

Set MONITOR and PRINT before you record

  1. Look at the DSP card's bottom strip. On the right sit two pills: MONITOR and PRINT. They are completely independent toggles and any combination is valid.
  2. Turn MONITOR on to open an audio output and hear yourself through the DSP chain live as you play. This is for confidence monitoring; it does not change the file.
  3. Turn PRINT on to bake the DSP chain into the recorded file. Leave it off to keep the file dry (raw capture).
  4. The default is both OFF, which gives you silent capture: you do not hear yourself and the chain does not print. The helper text on the left of the strip tells you the current state, for example "IN - silent capture - file stays dry".

Tip: PRINT bakes on leave, not on stop. Stopping a take is for staying and listening to what you just played.

Record a take with the REC pill

  1. Pick your input and mode, then tap the big red REC pill anchored at the bottom of the screen.
  2. If you set a pre-roll in Settings (OFF / 3 / 5 / 10 seconds), a giant accent countdown number overlays the screen first. Tap anywhere during the countdown to cancel.
  3. While recording, the visualizer card draws the live waveform, fresh peak buckets growing past a centred playhead, and the pill's wordmark switches from REC to STOP.
  4. Tap STOP to end the take. The visualizer flips to show the finished take's waveform, scrubbable by drag, and the EDIT pill lights up.

Tip: pre-roll, effect-tail length and "block calls during recording" all live in Settings - RECORDING SETTINGS.

Shape the sound with the recorder DSP chain

  1. The DSP card carries a five-tab strip: IN - EQ - AMP - FX - OUT. Tap a tab to switch panels; the active tab paints with a thin accent underline.
  2. IN sets input gain and shows the live level meters. Set gain here so peaks sit comfortably below clipping.
  3. EQ is a 5-band parametric. AMP carries drive, tremolo and a compressor. FX holds delay (with BPM sync), reverb and chorus.
  4. OUT exposes output gain, master volume, peak meters, a limiter and pan. Touch any control and a floating HUD pill shows its name and value, then fades after about a second.

Tip: this is the same full DSP panel the Play Module uses - no abridged mobile version.

Manage your takes in the Library lens

  1. Tap the LIBRARY tab in the segmented chip at the top. The visualizer and chrome bar stay put; below them is a scrollable gallery of every take, grouped by folder.
  2. Each row shows the take's name, tempo, duration, an accent play glyph and a star. Tap the name to rename it inline; tap the star to favourite it.
  3. Tap the row's ... overflow for Move-to-folder, Rename, Share and Delete. Use the chrome bar's Star icon to filter the list to favourites only.
  4. To start a fresh take, tap the red REC FAB floating at the bottom-right; it flips you straight back to the Recorder with capture armed.

Tip: tap a take's mini-viz or its EDIT pill to open it fullscreen in the Audio Editor.

Slow a file down without changing its pitch

  1. Open the take in the Audio Editor (tap its EDIT pill). In the icon-only fold strip below the toolbar, open the SPEED & PITCH fold.
  2. Drag the speed wheel down to 50% to halve the playback speed. The pitch stays exactly where it was - the phase-locked phase-vocoder decouples time from pitch and preserves transients.
  3. To change key without changing speed, drag the semitone wheel (for example down 2 semitones), then fine-tune with the cents slider.
  4. Press Play. Speed and pitch are independent, so you can drill a fast riff at 70% in your own key, then ramp the speed back up once you have it.
SPEED & PITCH 70% SPEED -2 SEMITONE CENTS +8 c

Tip: this is the same stretch engine the Practice Module uses - there is no separate "practice quality" tier.

Add FX in the editor and bounce them in

  1. Open the DSP fold from the fold strip. It carries the same five sub-tabs as the recorder: IN - EQ - AMP - FX - OUT.
  2. Start playback, then tweak any knob: on the FX sub-tab add delay, reverb or chorus and you will hear the change in real time as the file plays.
  3. Use EQ to carve frequencies, AMP for drive or compression, OUT for limiting and pan. The chain is virtual - nothing is written to the file yet.
  4. When you are happy, switch to the OUT sub-tab and tap the BOUNCE pill to bake the whole DSP chain into the file.
IN EQ AMP FX OUT DELAY REVERB CHORUS BOUNCE

Tip: BOUNCE on the OUT tab commits the DSP chain together with any pending trims, cuts and fades.

Trim a take with the clip handles

  1. The clip's start and end are thin precision pillars with chunky 28x24dp tap caps. Drag a cap inward to crop the take's head or tail.
  2. Drag a cap outward, even past t=0, to extend the clip with silence. Nothing is destroyed - every edit writes to a sidecar file until you Bounce.
  3. Toggle the Snap tool in the toolbar. The editor walks the peak buckets and magnetically locks the handle to the nearest silence-to-signal boundary within a 16dp threshold.
  4. With Snap on, trim a take's leading silence in two drags: pull the start cap inward and it clicks to where the sound actually begins.

Tip: clip-handle trims are non-destructive - extend the clip back out later and the trimmed audio returns.

Cut, fade and loop a region

  1. Tap Select in the toolbar's first verb row (Select - Cut - Copy - Paste - Delete) and rubber-band a region across the waveform. Long-press the middle of the selection (about 500ms) to drag the whole thing.
  2. With a region selected use Cut, Copy, Paste or the danger-red Delete. Paste stays accent-tinted while the clipboard holds content.
  3. Use the second verb row (Silence - Fade In - Fade Out - Undo - Redo - Revert) to mute the selection or ramp its level. Silence and fades preserve the playhead so the viewport does not jump to the start.
  4. Open the LOOPS & MARKERS fold to set a loop region and drop marker pins. The loop wraps sample-perfect (the sample after the loop end is the loop start, no audible gap); markers are tick-based, draggable, and the lane animates in when you add the first one.
Select Cut Copy Paste Delete Silence Fade In Fade Out Revert

Tip: the loop region is independent of the selection - you can audition a loop while a different region stays selected for editing.

Declip, declick, decrackle, denoise and normalize

  1. Open the REPAIR fold. A sub-tab strip runs across the top: De-Clip - De-Click - De-Crackle - De-Noise - Normalize. Tap the one that matches the problem.
  2. De-Clip rebuilds the flattened tops of waveforms that were recorded too hot. De-Click removes short impulsive pops (mouth clicks, edit ticks); De-Crackle targets the dense fizz of vinyl or a bad cable.
  3. De-Noise reduces steady background hiss and hum (one macro knob driving an MCRA noise estimate, Ephraim-Malah suppression and transient protection). Normalize raises overall level to a target loudness or peak.
  4. For each repair, turn the single macro knob to set how aggressive the fix is, then tap the APPLY pill. The result writes into the virtual edit list - audition it, and tweak again if needed.
De-Clip De-Click De-Crackle De-Noise Normalize AMOUNT 64% DE-NOISE macro knob + APPLY APPLY

Tip: start with a light amount and APPLY; over-aggressive denoise can dull the sound. You can Revert later if you overdo it.

Bounce your edits, or Revert to the original

  1. Every edit you make - trims, cuts, fades, repairs, the DSP chain - stays virtual. The source file is untouched while you work.
  2. When you want to commit, tap BOUNCE (the OUT sub-tab of the DSP fold, or via the bounce panel). It stashes the original and writes the rendered result over the source file.
  3. Changed your mind? Tap the danger-red Revert in the second toolbar row to restore the stashed original.
  4. Closing the editor does not bake. You can leave and come back later; your virtual edits are still there, waiting.

Tip: Bounce commits everything pending in one pass - cuts, fades and the DSP chain together - so you only render once.

MIDI Module

A stylus-first piano roll.

Sketch a part, refine a take, record straight into an existing clip, and edit every CC lane. Built around stylus input but happy with a finger.

Live mockup. Tap a take, scrub the preview, open the chrome bar.

Open a take into the Piano Roll

  1. From the home grid tap the MIDI tile. The module opens on the Library: a mini visualiser card up top, the LibraryChromeBar, and the take gallery grouped by folder.
  2. Find the take you want in the gallery. Tap its row's play glyph first if you want to hear it before editing.
  3. Tap the EDIT pill in the top-left corner of the mini visualiser, or tap anywhere on the visualiser canvas. The module flips to the fullscreen Piano Roll Editor with that take loaded.
  4. You land on the note canvas: lane stripes behind the notes, octave labels (C4, C5) down the left edge, the centred playhead, and the tools strip below.

The Library remembers its scroll position. Edit a take, tap back, and the list returns exactly where you left it.

Draw, select and edit notes

  1. Open the EDIT fold (the leftmost icon-only tab at the bottom). It carries twelve verbs in two rows: Draw, Lasso, Cut, Copy, Paste, Delete then Quant, Q End, Legato, Fold, Undo, Redo.
  2. Tap Draw, then drag on an empty lane to paint a note; its length follows the grid. With Draw off, drag a note body to move it or drag its right edge to resize.
  3. Tap Lasso, then drag a rectangle over notes to select them. Use Cut, Copy and Paste on the selection; Paste drops at the playhead. Tap Delete to remove selected notes (it turns red when a selection exists).
  4. Tap Quant to snap selected note starts to the grid; Q End snaps note ends; Legato extends each note to the start of the next note on its pitch.
  5. Tap Fold to collapse the canvas to only the pitch rows that carry notes, so a sparse part fills the screen. Tap it again to restore the full keyboard range.
DrawLassoCutCopyPasteDeleteQuantQ EndLegatoFoldUndoRedoEDIT fold - twelve verbs, two rows of six

Record-in-place into an existing clip

  1. Open the take in the Piano Roll and scrub the timeline so the centred playhead sits exactly where the new notes should begin.
  2. In the grid-snap tools strip find the small red REC pill (it lives in the strip, not in the transport row). Tap it to arm record-in-place into the open clip.
  3. Tap the RECORD MIDI chip in the top bar to jump to the Play Module - live MIDI capture happens at the synth, not in the editor.
  4. Play your part. The notes flow straight into the open clip at the playhead through the live sink. No new gallery take is created and nothing is destructively overwritten.
  5. Add or delete notes while the clip plays back; the new event set is audible immediately with no cold-start click.

Record-in-place is what makes the MIDI Module a real editor and not just a take browser. Everything stays on one timeline.

Set the grid and snap division

  1. In the tools strip, tap the GRID chip to pick the snap division. The list runs 1/4, 1/8, 1/16, 1/32, 1/64 plus the triplet grids 1/8T, 1/16T, 1/32T.
  2. The chosen division now governs drawing length, note moves, resizes and the Quant verbs - everything rounds to that grid.
  3. Tap the SNAP toggle on the right of the strip to turn grid-snapping off entirely for free placement, or back on to re-magnetise.
  4. Watch the bars/time readout in the middle of the strip to see your position, shown as 2.3.1 or as a timecode. Tap it to switch formats; long-press it to seek directly.

SNAP controls both note snapping and playhead snapping at once, so a clean grid keeps your scrubbing on the beat too.

Loop a region and drop markers

  1. Open the LOOPS & MARKERS fold (third tab). It carries loop start/end and marker add/delete/jump controls.
  2. The loop start and end edges render as sky-blue pillars at canvas centre. Drag them to set the region; they grid-snap when SNAP is on, free when off.
  3. Use marker add to drop a tick-based marker into the 56dp marker lane above the canvas. The lane animates in when you add the first one.
  4. Use marker jump to move the playhead between markers, or marker delete to clear one.
MARKER LANEsky-blue loop pillars - centred playhead - note pills on lane stripes

Edit a CC automation lane

  1. Tap the CC fold (rightmost tab). A lane-dropdown switcher opens above the canvas.
  2. Pick the lane to edit: velocity, pitch-bend, sustain, aftertouch, or any CC 0-127. Each carries its own identity colour - velocity orange, pitch-bend purple, sustain sky, aftertouch gold, generic CC mint.
  3. The chosen lane draws above the note canvas. Drag to draw the automation curve; pitch-bend shows diamond markers on its curve.
  4. For pitch-bend, set the range chip (the default is plus or minus 2 semitones) so your drawn values map to the right depth.
CC: VELOCITYvelocity lane (orange) - drag bars to shape dynamics

Change tempo versus arm the click

  1. These are two separate controls on purpose: arming the metronome click and changing the project tempo are different intents.
  2. To hear a click while you work, tap the MET-arm chip in the tools strip. It shows the adaptive polygon and BPM number from the Play Module top bar; the polygon's sides match the time-signature numerator.
  3. To change the project tempo, use the TEMPO chip beside the arm - it reads BPM and time signature (BPM dot TS). Long-press it to open the numeric editor.
  4. To choose how a clip reads tempo, use the Tempo Mode toggle: LOCK keeps the clip at its recorded tempo, FOLLOW snaps notes to the project tempo grid.

Arming the click does not change tempo, and changing tempo does not start the click. Keep the two chips straight and you avoid the classic mix-up.

Time-stretch and transpose a take

  1. Tap the SPEED & PITCH fold (second tab). It stacks three rows: time-stretch percentage, pitch shift in semitones, and fine cents.
  2. Use the time-stretch row to slow down or speed up the whole take without changing pitch.
  3. Use the semitone row to transpose every note up or down; the range clamps to plus or minus 24 semitones and notes that would push off the keyboard are held at the edge.
  4. Use the fine cents row for sub-semitone tuning. There is a reset control to return transpose to zero.
TIME STRETCH-+100%PITCH (semitones)-++0 stFINE (cents)-++0 c

Trim with non-destructive clip handles

  1. Find the clip's start and end edges on the canvas - the 1.5dp pillars with the 28 by 24dp caps, the same treatment as the Audio Editor.
  2. Drag an edge inward to shorten the clip. Notes that fall outside the new boundary hide but are not deleted; they survive in the underlying recording.
  3. Drag the same edge back outward later and those out-of-clip notes reappear exactly where they were.
  4. Clip trims snap to bar boundaries when SNAP is on, so you extend or shorten by whole bars rather than half a bar.

Trimming is non-destructive. If a recorded take overshoots, pull the right handle in to tidy the clip without losing a single note.

Import a .mid file

  1. From the Library state, find the Import cell on the right end of the LibraryChromeBar.
  2. Tap it to open the system single-file picker (the old in-app folder-grant dialog has been retired).
  3. Choose a .mid file from your device. It lands in the take gallery as a new take.
  4. Tap its EDIT pill to open it in the Piano Roll, then draw, quantize or record-in-place over it like any other take.

All file imports across OSE use the same system single-file picker, so the flow is identical to importing audio elsewhere.

Manage your takes

  1. In the Library, each take row shows its name, tempo, duration, an accent play glyph, a star and a three-dot overflow.
  2. Tap the name to rename it in place. Tap the star to flag a favourite; the Star cell in the LibraryChromeBar filters to favourites only.
  3. Tap the Folder cell to organise, or open a row's overflow for Move-to-folder, Rename, Share and Delete.
  4. Tap the Search cell to filter the gallery by name when it appears on demand.

The in-progress live capture from the Play Hub does not show here - that ghost row lives in the Sessions Hub. This library shows committed takes only.

Bind a control with MIDI Learn

  1. Open the take or stay in the Library; MIDI Learn works across OSE.
  2. Long-press any knob, slider or toggle to enter MIDI Learn for that control.
  3. Move the hardware knob, fader or pedal you want to assign. The binding is captured and is channel-aware.
  4. Check or clear all current bindings from the Settings sheet (open it from the gear in the top bar). Bindings are global, so they carry across modules.

A foot-pedal bound to transport lets you start record-in-place or jump markers hands-free while you keep both hands on the keys.

Practice Module

Slow the song down to learn it.

Drop in any audio, slow it to 70% without changing the pitch, drop it to a comfortable key, and loop the hard bar until it is in your hands.

Live mockup. Tap OPEN on the visualiser, use the transport.

Bring a song in to practise

  1. On the PRACTICE screen, find the LibraryChromeBar under the mini-visualiser.
  2. Tap the Import cell on the far right of the bar and pick an audio file from your device.
  3. The file lands in the take gallery below, sharing the same library as the Audio Module.
  4. Already have takes from the Audio Module? They show up here automatically - no re-importing needed.

Tip: Practice has no REC button on purpose. Record in the Audio Module; the take appears in Practice the moment you save it.

Open a take into the editor

  1. Tap a take in the gallery to load it into the mini-visualiser at the top.
  2. Hit the mint OPEN pill in the visualiser's top-left corner (you can also tap anywhere on the visualiser).
  3. The fullscreen Audio Editor lifts in with the take loaded, landing in the SPEED & PITCH and LOOPS & MARKERS folds.
  4. Use the fold tab strip to switch between EDIT, SPEED & PITCH, and LOOPS & MARKERS.

Tip: The pill reads OPEN, not EDIT - same surface, different intent. You are opening a song to play along with, not chopping up a recording.

Slow a song down without changing pitch

  1. Open the take, then tap the SPEED & PITCH fold tab.
  2. Roll the SPEED wheel down to 70% (the readout reads as a percent; range is 25% to 200%).
  3. Tap the - / + buttons either side for fine 1% steps.
  4. Press Play - the part runs slower while the pitch stays exactly where it was, thanks to the phase-locked stretch engine.
SPEED & PITCH-SPEED%607080+PITCH 0¢0♯pitch holdswhile speeddrops

Tip: Start at 70%, get it under your fingers, then nudge the wheel back up 5% at a time until you are at full speed.

Transpose to a comfortable key

  1. In the SPEED & PITCH fold, find the PITCH row below the speed row.
  2. Tap the ♭ (flat) button to drop a whole semitone, or ♯ (sharp) to raise one - the tag reads PITCH +2, PITCH -3, and so on, up to plus or minus 12 semitones.
  3. Roll the wheel for fine cents tuning within the current semitone (-50 to +50 cents).
  4. The tempo stays put while the key moves - perfect when a song sits too high or low for your voice.

Tip: Combine it with slow-down. Drop SPEED to 70% and PITCH down 2 semitones in one pass to learn a piece that is in the wrong key and too fast at once.

Loop a hard bar

  1. Open the take and tap the LOOPS & MARKERS fold tab.
  2. Drop a marker pin (named A, B, C... automatically) at the start of the difficult bar, then another at the end.
  3. Move the playhead to the bar start and tap Loop In; move to the bar end and tap Loop Out.
  4. Press Play - the region repeats, wrapping sample-perfect with no gap at the seam.
LOOPS & MARKERSABloop wraps sample-perfect

Tip: The loop endpoints sit at the playhead, not on the markers, so you can loop any span - even bars 5 to 8 across markers that blanket the whole song.

Bind a foot pedal with MIDI Learn

  1. Connect your USB or Bluetooth MIDI pedal, then open Settings (gear) and confirm MIDI Learn is on under SYSTEM.
  2. In the editor, long-press the control you want to bind - the Loop toggle, or the next-marker button.
  3. Tap the pedal once while the control is armed; the pedal is now bound to it.
  4. From then on a pedal tap can start the loop, stop it, or jump you to the next marker - hands stay on the instrument.

Tip: Long-press almost any control in the editor to MIDI-bind it. Bind speed or pitch to a knob for live, hands-free drilling.

Share one library with the Audio Module

  1. Record or import a take in the Audio Module - it shows up in Practice automatically.
  2. Open it in Practice and pin a marker on a tricky passage.
  3. Reopen the same take from the Audio Module later - the marker is still there, carried over.
  4. Folders, search, stars, and the overflow menu (rename, move, share, delete) behave identically in both; only the accent colour differs (mint here, red there).

Tip: There is no separate practice-quality tier. Every take gets the full transient-preserving stretch engine, the same one the Audio Editor uses everywhere.

Know when to OPEN versus EDIT

  1. In Practice, the pill reads OPEN and the title is PRACTICE in mint - you are opening a song to play along with.
  2. In the Audio Module, the same pill reads EDIT in red - you are reshaping a recording.
  3. Both land you in the exact same fullscreen Audio Editor; OPEN simply drops you straight into the SPEED & PITCH and LOOPS & MARKERS folds.
  4. All editor verbs (Cut, Copy, Paste, Silence, Fade, Undo, Redo, Revert) are present either way - the typical Practice flow just rarely needs more than slow-down plus loop.

Tip: SoundFonts and synth presets are never involved in Practice. It is purely about audio files you bring in or recorded elsewhere in OSE.

Metronome

A polygon you can feel.

Custom time signatures, per-beat accents, instrument-aware presets, and a tempo polygon whose shape is the time signature. The same engine drives tempo everywhere in OSE.

Live mockup. Tap START, tap a beat to accent it, drag the BPM.

Set the tempo

  1. Drag the BPM scrubber wheel in the controls card left or right; each step is 1 BPM and ticks haptically as it moves.
  2. Tap the minus or plus pill on either side of the wheel to nudge 1 BPM at a time.
  3. Press and hold a pill (past about 400ms) to jump in 5-BPM grid steps.
  4. Tap the big BPM digit at the top-left of the face to open a numeric keypad and type an exact value.

Tip: the wheel and pills span 30-300 BPM; the typed keypad accepts 20-300.

- 118 120 122 + BPM SCRUBBER

Tap in a tempo by ear

  1. Tap the TAP button in time with the music you are matching, at least twice.
  2. OSE averages your last four taps and sets the BPM to that pace, clamped to 30-300.
  3. Keep tapping to refine; the running average tightens with each tap.
  4. Pause for more than two seconds and the next tap starts a fresh measurement.

Tip: tap a steady four or eight beats for a reading you can trust, not just two.

Set a custom time signature

  1. On the time-signature row, use the minus and plus BEATS pills to set beats per bar (1 to 16).
  2. Pick the note value with the NOTE chips: 4, 8, or 16.
  3. Or tap the large meter readout at the top-right of the face to open the TIME SIGNATURE sheet and spin the BEATS and NOTE wheels.
  4. Watch the polygon at the centre redraw: its number of sides equals the beats-per-bar, so 5/4 becomes a pentagon, 6/8 a hexagon.

Tip: 1 and 2 beats have no polygon to draw, so the shape falls back to a circle.

5 / 4 METER 5 / 4 PENTAGON

Accent or mute individual beats

  1. Look at the beat strip below the header: one numbered column per beat in the bar.
  2. Tap a beat column to cycle its state: normal (mid-height) to accent (tall, filled green) to silent (short, faint).
  3. Tap again to wrap back around to normal.
  4. Build any pattern you like, for example accent beat 1 and mute beat 3 for a lilting feel.

Tip: column height tells you the state at a glance: tall is accented, short and dim is silent.

1 2 3 4

Choose the note value (subdivision feel)

  1. On the time-signature row, the NOTE chips set what each beat is worth: a quarter (4), an eighth (8), or a sixteenth (16).
  2. Tap 8 to count a bar of eighth-note beats, for example 6/8 compound time.
  3. The selected chip fills with the green accent so you always see the current note value.
  4. The polygon and beat strip adapt instantly to the new meter.

Tip: pair a high beats-per-bar with the 8 or 16 note value to drill fast compound passages.

Set the click volume

  1. In portrait, find the CLICK VOLUME slider inside the controls card and drag it from 0 to 100 percent.
  2. A feedback popup flashes the live percentage as you drag.
  3. Double-tap the slider to snap it back to the default 80 percent.
  4. In landscape, the same control lives as the VOL chip in the top bar next to PRESETS.

Tip: under the volume slider, the OUTPUT picker lets you send the click to USB or Bluetooth instead of the phone speaker.

Start, stop, and read the orbiting dot

  1. Tap the full-width START button at the bottom; it turns red and reads STOP while running.
  2. Watch the bright dot orbit the polygon's perimeter, landing on each vertex exactly on the beat.
  3. See the polygon pulse by about four percent on every tick, and the live beat column brighten in the strip.
  4. Tap STOP to halt the click; leaving the module also stops it automatically.

Tip: count the vertices the dot visits per loop and you have read the time signature without looking at the numbers.

4 / 4 STOP

Save and recall presets

  1. Dial in a tempo, meter, accent pattern, and volume you want to keep.
  2. Tap PRESETS to open the picker, then choose Save current and give it a name.
  3. Tap any saved preset later to load its full setup at once.
  4. Long-press a preset entry to rename it.

Tip: this is the same preset list the Play Module's Metronome Hub uses, so a preset saved here shows up there too.

Share the tempo across OSE

  1. Whatever BPM you set here is the same engine that drives the Play Hub's MET-arm chip and the Piano Roll's tempo readout.
  2. Change the tempo in the Play Module's Metronome Hub and the standalone module follows, and vice versa.
  3. Edit the BPM on the Piano Roll's tempo wheel to retune the open clip; the metronome clicks in that clip's meter.
  4. Accents and presets are shared too, so your click pattern is consistent everywhere.

Tip: in the Play Hub, count-in uses this same metronome for a one-bar lead-in before recording.

Bind tap-tempo to a foot pedal

  1. Open the Play Module's Metronome Hub, where the TAP button carries a MIDI-learn binding.
  2. Long-press the TAP button to enter MIDI Learn for the Tap Tempo trigger.
  3. Press your foot pedal or controller; OSE captures that message and binds it.
  4. Now tapping the pedal in time sets the tempo hands-free on stage.

Tip: MIDI Learn lives under the SYSTEM section of Settings if you want to review or clear bindings.

Read the live tempo marking

  1. Look at the eyebrow under the BPM digit; it reads BPM - and a tempo word like ANDANTE.
  2. Change the BPM and the word updates instantly to match the new pace.
  3. Use the markings to cross-reference a score: largo under 60, andante under 108, allegro under 156, presto under 200.
  4. Above 200 it reads PRESTISSIMO; the very slowest band is LARGHISSIMO.

Tip: the full ladder is larghissimo, largo, larghetto, adagio, andante, moderato, allegro, vivace, presto, prestissimo.

96 BPM - ANDANTE
Tuner

Cents-accurate, and forgiving.

A chromatic tuner styled after a vintage hardware unit. Snap-in-tune locks the readout inside 3 cents so a 1-cent wobble does not chase the needle around.

Live mockup. Tap the sensitivity chips and the reference-tone buttons.

Grant the mic and pick your input

  1. Open the TUNER tile from the home grid. The note-name display lights up the moment a pitch is detected.
  2. If you have not granted microphone permission yet, accept the system prompt - the settings gear only appears once the mic is allowed.
  3. Tap the gear, open the input device picker, and choose the input that matches your physical source.
  4. On a USB interface, use the channel chooser to point at the exact channel your instrument is on. Switching device or channel mid-session restarts the engine cleanly.

Tip: phantom Android inputs (telephony, remote-submix) are filtered out, so you only see real microphones and instrument inputs.

Read the meter face

  1. Play a steady note and watch the half-arc dial. The ghost label shows the detected pitch (e.g. A4) with a smaller Hz readout beneath it.
  2. Read the needle against the centre tick: left of centre is flat, right of centre is sharp.
  3. Use the triangle markers at +-25 cents to gauge how far off you are at a glance.
  4. Confirm the cents number on the strip below the dial for the exact deviation.
A4440.0 Hz

Trust the green snap-in-tune lock

  1. Tune toward the note until the deviation falls inside +-3 cents.
  2. Watch the needle snap to centre, the cents readout paint LED green, and the ring around the dial light up - a clear "you are there" instead of a forever-twitching needle.
  3. A single-cent wobble will not pull the needle around; the lock is forgiving on purpose, sitting just inside the 5-6 cent just-noticeable-difference for pitch.
  4. To see raw drift, open the gear, find Tuning aid, and switch "Snap to centre when in tune" off - the needle then tracks every micro-flutter.

Tip: snap is UI-only - the engine always reports the true cents internally. Default is ON.

Calibrate the reference A4 with CALIB

  1. Find the CALIBRATION readout below the dial, showing CALIB / A4 440.
  2. Tap - to lower the reference by 1 Hz or + to raise it; the value updates in real time and is clamped to 415-466 Hz.
  3. For a precise value, tap the readout pill to open a number wheel and dial it in directly.
  4. Match an ensemble reference (e.g. 442 Hz) before tuning so the whole section agrees.
CALIBRATION-A4440+

Play a reference tone

  1. On the reference row, tap the tuning-fork button (FORK) for a percussive plucked "ding" at the current calibration pitch - good for matching by ear without continuous output.
  2. Tap the speaker button (SPEAKER) to toggle a sustained sine at the reference pitch when you need a steady tone for a full bar's worth of tuning.
  3. Tap SPEAKER again to stop the sustained tone.
  4. Adjust CALIB first - both buttons play whatever the reference is currently set to.

Tip: both outputs run at the device's native output sample rate, so cheap converters cannot resample the reference off pitch.

Watch harmonics settle on the spectrum ribbon

  1. Find the spectrum ribbon between the meter face and the LED strip - 32 log-spaced live FFT bands.
  2. Pluck or bow a string and watch the bands light up across the ribbon.
  3. Let the harmonic content settle into a stable shape before you trust the needle - useful on rich strings where the fundamental takes a moment to dominate.
  4. If the ribbon stays noisy and jumpy, your input is weak or noisy; adjust sensitivity (next card) or move closer to the mic.

Set the detection sensitivity

  1. On the SENSITIVITY card, pick a preset chip - VERY SENSITIVE, SENSITIVE, MEDIUM, DULL, or VERY DULL (more signal bars on the icon means more sensitive).
  2. Go more sensitive (LOW threshold) for a quiet source so faint notes still register.
  3. Go duller (HIGH threshold) when room noise or a loud stage keeps triggering false readings.
  4. Leave it on MEDIUM for normal close-mic tuning; this is the one setting you retune mid-session.

Tip: sensitivity changes how aggressive the YIN pitch detector is - if the note name flickers, step it duller.

Choose notation, temperament, and transposition

  1. Open the gear. Under Music notation, set Note names to English-Sharp, English-Flat, German, or Solfege.
  2. Under Temperament, pick from Equal, Just, Pythagorean, and the other historical entries (grouped so the list does not read as a flat wall).
  3. Under Transposition, set +-12 semitones so a transposing instrument (e.g. Bb trumpet, Eb alto) reads the written note rather than concert pitch.
  4. Optionally open Stretch (inharmonicity) for a Railsback piano curve - leave it OFF for wind, brass, voice, or fretted instruments.

Tip: set transposition once for your horn and the meter speaks your language - no mental math while you tune.

Confirm a lock on the 3-LED strip

  1. Below the dial, read the three LEDs: flat-side red on the left, in-tune green in the centre, sharp-side red on the right.
  2. Tune until the centre green LED lights and the cents readout above reads near +0.
  3. The readout colour tracks the lock state - green when snapped, accent inside +-5 cents, dim outside.
  4. When snapped, the green LED haloes and the ring around the dial light up together - both are functional UI, not just decoration.
+0 cents

Reset everything to defaults

  1. Open the gear and scroll to the bottom of the settings sheet.
  2. Tap RESET TO DEFAULTS.
  3. This restores notation to English-Sharp, transposition to 0 semitones, temperament to Equal, sensitivity to Medium, and snap-in-tune to ON.
  4. It also returns the A4 reference to 440 Hz, so you start every fresh session from a known baseline.

Tip: reach for reset after a one-off session at an odd calibration (e.g. 442 Hz baroque pitch) so the next player is not caught out.

Signal Generator

A precise tone and noise source.

Seven waveforms, a logarithmic frequency scrubber, a sweep mode, an auto-stop timer with a fade, and offline export. It keeps playing with the screen locked.

Live mockup. Tap PLAY, pick a waveform, drag the frequency.

Pick the right waveform for the job

  1. Find the row of seven WAVE chips below the OUTPUT slider: four tone shapes on top, three noise colours below.
  2. Tap SINE for a single pure tone (one spike in the spectrum) - the cleanest reference for tuning and calibration.
  3. Tap SQUARE for a hollow, buzzy tone (an odd-harmonic stack) or TRIANGLE for a softer mellow tone.
  4. Tap SAW for the brightest, fullest harmonic content - good for stress-testing a speaker or filter.
  5. For broadband test signals, drop to the noise row: WHITE (flat energy, hissy), PINK (-3 dB per octave, sounds balanced - the room and speaker tester), BROWN (-6 dB per octave, deep rumble).
  6. The active chip fills with the teal accent. You can switch chips while playing and the engine retunes without a click.

Tip: PINK noise is the one you want for checking a room or monitor - its falling slope matches how we hear, so an even system reads as a flat line in the Meters FFT.

WAVESINETRIANGLESAWSQUAREWHITEPINKBROWN

Set the frequency exactly

  1. Read the large display near the top - it shows the current frequency and its nearest note, for example 440.00 Hz - A4.
  2. Drag the horizontal log scrubber under the readout to glide continuously across the full 20 Hz to 20 kHz range; the scale is logarithmic, so musical intervals feel evenly spaced.
  3. For an exact value, tap the readout to open a numeric editor and type the frequency you want, then confirm.
  4. Double-tap the readout to snap straight back to 440 Hz (A4).
  5. Note: if you have a noise waveform selected, the readout and scrubber grey out - frequency is meaningless for noise, so the control disables itself.

Tip: The scrubber also greys out while a sweep is running, because the sweep is driving the frequency for you - watch the readout follow it live instead.

440.00 HzA420 Hz20 kHz

Set the amplitude safely

  1. Find the OUTPUT slider beneath the WAVE chips; its label shows the level in dB (for example -6.0 dB), reading down to -inf dB at the bottom.
  2. Before you press PLAY, pull the slider well down - start quiet and bring it up, never the other way round.
  3. Press PLAY, then raise the slider gradually until you reach a comfortable, useful level for the room or device under test.
  4. Double-tap the slider to reset it to the default level if you have wandered too far.

Tip: Test tones are continuous and full-energy - they expose speakers and ears far more harshly than music. Protect your hearing and your monitors by ramping up slowly.

Auto-stop the tone with a fade

  1. Tap the collapsible TIMER block (lower area) to open its bottom sheet.
  2. Turn the timer ON, then set a DURATION - either type H:M:S or tap a preset (0.5s, 5s, 30s, 1m, 5m, 15m, 30m, 1h, 4h, 8h, 10h). The default is 5 minutes.
  3. Pick a FADE-OUT length from the fade presets (10ms, 0.5s, 1s, 3s, 10s, 30s, 1m, 5m). The default is 2 seconds.
  4. Press PLAY. The tone ramps in over the fade, holds, then ramps out and stops on its own at the duration - no hard cut.

Tip: The fade is symmetric - the same setting that ramps the tone out also ramps it in, so PLAY never slams on. If you shorten the duration below the fade, the fade auto-snaps down so it can never exceed the duration.

TIMERDURATION5mFADE-OUT2s

Glide a frequency sweep

  1. Tap the collapsible SWEEP block to open its sheet and turn sweep ON.
  2. Enter a START frequency and an END frequency (the glide runs from one to the other).
  3. Choose a DURATION from the presets: 1, 2, 5, 10, 30 or 60 seconds.
  4. Toggle the shape between LIN (linear, even Hz-per-second) and LOG (logarithmic, even octaves-per-second - the natural choice for room and speaker tests).
  5. Press PLAY. The big frequency readout follows the live instant frequency in real time so you can see exactly where the tone is at any moment.

Tip: For a room-response test, sweep 20 Hz to 20 kHz on LOG over 30 seconds - it spends equal time in every octave, which is what your measurement needs.

SWEEPSTART20 HzEND20 kHzDURATION30 sLINLOG

Export the signal to a file

  1. Tap the EXPORT button (next to the transport) to open the export dialog.
  2. Pick a DURATION for the rendered file from the preset chips.
  3. Pick a FORMAT: WAV, FLAC, MP3, OGG or M4A. WAV is selected by default.
  4. Confirm. The engine renders your exact current setup - waveform, frequency or sweep, amplitude and timer fade - offline, then writes the file.
  5. The result lands in Music/OSE/Audio; a toast confirms when it is done.

Tip: The renderer always bakes a WAV first, then transcodes. If the device lacks the encoder you picked, it falls back to WAV gracefully and the toast tells you so - you never get a failed or empty file.

EXPORTFORMATWAVFLACMP3OGGM4AExport

Route output to a specific device

  1. Tap the settings gear at the top-right of the module.
  2. Open the AUDIO section and find the output device picker.
  3. Choose the exact output you want to test or play through - for example a wired monitor instead of the system default.
  4. The signal generator now routes only to that device. This setting is per-module, so plugging in headphones for a different module mid-session will not reroute the generator.

Tip: Per-module routing means a Bluetooth speaker connecting elsewhere will not steal your test signal away from the wired monitor you actually wanted to measure.

Keep the tone alive on the lock screen

  1. Press PLAY. The generator runs as a process-singleton tied to a foreground service, so a notification appears and the audio is protected from the OS killing it.
  2. Lock the screen or switch apps - the tone keeps playing because the foreground service holds it up.
  3. To finish, return to the module and press STOP, or let the auto-stop TIMER end it; the service then tears down its notification.
  4. Leaving the module via the back arrow or the logo fades the audio out first, so exiting never produces a click.

Tip: This is exactly what makes the generator usable across the room while calibrating - or as a long, fading sleep tone overnight.

Recipe: check a room with pink noise and Meters

  1. In the Signal Generator, tap the PINK chip and bring the OUTPUT slider up to a moderate, steady level.
  2. Press PLAY so pink noise fills the room through your monitor or speaker.
  3. Open the Meters module and switch it to FFT mode.
  4. Read the trace: an even, well-behaved system shows pink noise as a flat horizontal line. Spikes mean resonances; notches mean dips you may need to treat or re-aim.

Tip: Because the generator keeps playing under a foreground service, you can leave it running while you walk over to the Meters module and even around the room.

Recipe: trace room response with a sine sweep

  1. In the Signal Generator, select SINE and open the SWEEP block.
  2. Set START to 20 Hz, END to 20 kHz, DURATION to 30 seconds, and choose the LOG shape.
  3. Place a microphone in the listening position and open the Meters module in FFT mode.
  4. Press PLAY and watch the FFT trace settle as the sweep climbs - the resulting curve is your room and system response across the band.

Tip: A LOG sweep spends equal time per octave, so the low end gets the dwell time it needs - far more revealing than a linear sweep that races through the bass.

Meters

See the signal, not just hear it.

An SPL meter, an FFT spectrum and a spectrogram in one screen. For gain-staging at soundcheck and checking a room. A guide, not a calibrated instrument.

Live mockup. Switch ALL / SPL / FFT / SGM, watch the gauge.

Pick the input device for Meters

  1. Open the home grid and tap the METERS tile - it lands on the ALL view by default.
  2. Tap the settings gear in the top bar to open the settings sheet.
  3. Under the Meters-specific section, open the Input device picker and choose your source. Built-in mics collapse to one "Internal device" row; a plugged-in USB interface lists every channel.
  4. Pick the channel your signal is on. The engine restarts cleanly on the change so the new routing takes effect immediately.

Tip: the input is per-module. Changing it in Meters does not touch Tuner or Audio - each keeps its own selection.

Switch modes ALL / SPL / FFT / SGM

  1. Use the mode tab bar - ALL, SPL, FFT, SGM. In portrait it sits between the strip and the body; in landscape it rides the top bar's centre slot.
  2. Tap ALL to stack every visualisation at once - SPL gauge, FFT spectrum and spectrogram. This is the launch default.
  3. Tap SPL for the full needle gauge with AVG / MAX / MIN / DOSE tiles and the rolling history chart.
  4. Tap FFT for the live log spectrum, or SGM for the rolling spectrogram tile.
ALLSPLFFTSGM

Tip: the mode is per-session, not saved - every launch starts on ALL by design.

Read the SPL gauge and its health zones

  1. Switch to SPL mode. The big needle gauge is the hero - the needle tracks the current level live.
  2. Read the colour ring: green is Safe (below 70 dB), yellow is Caution (70-85 dB), orange is Warning (85-100 dB, the NIOSH action level), red is Danger (above 100 dB).
  3. Read the numeric tiles below - AVG, MAX, MIN and DOSE - and the context label band ("Quiet Room", "Concert", and so on).
  4. Watch where the needle settles during soundcheck; if it lives in orange, hearing protection is worth a thought.
74.0CAUTION - 70 / 85 / 100 dB

Treat SPL as reference only - not a calibrated meter

  1. Remember the phone microphone is not a calibrated sound-level meter. OSE estimates dB SPL from the mic with a model-keyed baseline plus your optional Advanced Calibration offset.
  2. Read the dB numbers and the NIOSH / WHO zone colours as an approximate, uncalibrated guide for gain-staging and curiosity.
  3. Do NOT use these readings for hearing-protection decisions, workplace-noise compliance, or any medical or legal purpose.
  4. For anything that has to be defensible, use professionally calibrated equipment instead.

Tip: the Advanced Calibration slider in settings lets you nudge the offset by up to plus or minus 10 dB if you have a known reference - but it is still an estimate.

Read the FFT spectrum and set its controls

  1. Switch to FFT mode. The neon-green trace is the live log-frequency spectrum; the sky-blue ghost line above it is the slow-decay peak hold.
  2. In the chip strip above the action buttons, tap fftSize to cycle 512, 1024, 2048, 4096, 8192, 16384 - bigger is finer frequency detail but a slower frame rate.
  3. Tap the window chip to cycle RECT, HAMMING, BLACKMAN - RECT is sharpest but leaks, BLACKMAN is cleanest for separating close tones.
  4. Tap averaging to cycle FAST, SLOW, INFINITE, and the scale chip for DECADE (log) or LINEAR. Open settings to set weighting A / C / Z (Z is labelled FLAT).
FFT 4096 - HAM - DECADEpeak

Tip: graph mode FULL adds the peak-hold ribbon and a filled gradient; SIMPLE strips it to a bare trace when you just want the shape.

Catch clipping with peak-hold and infinite hold

  1. In FFT mode, leave graph mode on FULL so the sky-blue peak-hold line is drawn. It rises instantly to peaks and decays slowly (about 3 dB per second).
  2. Tap the infinite-hold button in the action bar to freeze the peak markers permanently so brief transients cannot fade away before you see them.
  3. Play your loudest passage. If the peak line pegs at the top (0 dBFS) and stays there, you are clipping intermittently even when the live green trace looks calm.
  4. Tap Reset Stats to clear the held peaks (and the SPL AVG / MAX / MIN / DOSE) before the next pass.

Tip: infinite hold is the trap-the-clip mode - arm it, run the song once, then read the ceiling at your leisure.

Read the spectrogram (SGM)

  1. Switch to SGM mode. The tile paints frequency up the vertical axis and time across the horizontal axis, with energy mapped to colour.
  2. New columns enter at one edge and the picture scrolls; brighter colour means more energy at that frequency and moment.
  3. Look for steady horizontal bands - those are sustained tones or resonances. Vertical streaks are transients like hits and clicks.
  4. Bilinear filtering smooths the tile so it reads as a continuous gradient rather than a blocky mosaic.

Tip: a fixed bright horizontal line that never moves often means a hum or feedback frequency - find it here, then notch it on your console.

Full-screen a meter and reset the stats

  1. Pick the mode you want to focus on, then tap the full-screen button in the action bar.
  2. The tab bar and action bar hide so the active visualisation fills the whole panel - ideal for reading the FFT or gauge from across the room.
  3. Tap the X chip in the top-right corner to drop back out to the normal chrome.
  4. Tap Reset Stats at any time to clear AVG / MAX / MIN / DOSE and the held FFT peaks so a fresh measurement starts clean.

Tip: the Play / Pause FAB in the centre of the action bar freezes the live feed when you want to study a frame without it updating.

Recipe: gain-stage at soundcheck

  1. Switch to SPL mode and set weighting to A (matches human loudness) via the action bar weighting button or settings.
  2. Tap Reset Stats, then run a representative loud passage of the set.
  3. Watch the needle and the MAX tile. If the gauge consistently sits in the orange 85-100 dB band, you are at the NIOSH action level - dial back or protect ears.
  4. Flip to FFT to confirm no single band is dominating, then set your console gains so the loudest source has headroom.

Tip: use Z weighting (FLAT) when you want raw, unweighted measurement instead of perceptual loudness.

Recipe: verify a rig with pink noise

  1. Open the Signal Generator and play pink noise through the system you want to check.
  2. Switch Meters to FFT mode with the frequency scale on DECADE (log) and averaging on SLOW for a stable picture.
  3. Read the green trace - pink noise should produce a roughly flat horizontal line across the spectrum.
  4. Any big dips or peaks are the room or rig colouring the sound; that is where to reach for EQ.

Tip: bump fftSize toward 8192 and set window to BLACKMAN for a cleaner read when you are hunting a narrow notch or peak.

Want the full reference?

The Manual lists every control on every screen. The Help page collects troubleshooting for when something does not behave.

Read the manual → Help & FAQ