The name Moog is basically synonymous with bass. The company has pumped out countless synths over the years from the iconic Minimoog Model D, to foot-operated Taurus, to the modern-classic Sub Phatty that deliver incredible low-end. Now its plumbing those depths even further, but in plug-in form, with the Mariana, which obviously gets its name from the Mariana Trench, the deepest place on Earth.

The architecture of Mariana is different from almost any other Moog out there, in physical or virtual form. It's a dual-layer synth, with both layers feature two oscillators and a sub oscillator for some seriously thick tones. Each layer also has two filters, a low-pass and a high-pass, plus a dedicate filter just for the sub. In addition to those core sound-sculpting tools, there's three LFOs, three envelops and two random generators per layer, plus a saturation circuit, a compressor, chorus and delay effects. 

When combined with the powerful modulation system that lets you control almost any part of the synth with any other part you get an incredibly rich and complex instrument — especially considering the price. Mariana is $30 on iOS or $99 for Windows or macOS, though it's 50-percent off as part of an introductory offer ($15 and $49, respectively).

Mariana does live up to its name. I got to play with it for a couple of days and, boy howdy, is it bassy. It stacks up quite nicely against other bass-focused virtual synths and Moog emulations from other companies. It can delivery enough sub bass to literally rattle your skull, without getting super muddy. Obviously that can vary a bit from patch to patch, but for the most part the sound engine delivers on its promise.

While most of the roughly 200 presets are focused on bass, there are a handful that explore other sonic territory. There are some particularly solid plucky leads that hit with all the oomph of the bassier patches, they just shine in the higher registers. Some presets showoff the wilder side of Mariana that can take advantage of the robust modulation features to spit out some wild-sounding effects and decidedly un-Moog-like tones.

Mariana also has MPE support. While it's a nice feature, it's also of limited use here. While you can switch it to duophonic mode and play the two synth layers independently, it's primarily a monophonic instrument. And while being able to perform slides simply by running my finger over the Push or Seaboard is nice, it doesn't really take advantage of the polyphonic part of MIDI Polyphonic Expression. 

Moog

What Mariana does lack, is a sequencer, arpeggiator or a deep list of effects. That's not necessarily a bad thing, though. Chances are, if you're using it in a DAW as a VST then you've got plenty of options for those things. So, while a lot of other plugin makers are loading up their virtual instruments with all sorts of features, Moog stayed focused on the synth itself. 

It's not without its quirks, however. While the interface is easy to navigate once you've gotten used to it, I'm still not a huge fan of skeuomorphic designs in general. And while I'm willing to cut Moog some slack on that front since it's trying to maintain a consistent aesthetic that capitalizes on its long legacy of analog synths, there are some slightly questionable choices. For one, the two separate slide out panels on either side for modulation controls seem like they could easily be combined. And the buttons to expose them are separated from the rest of the synth's controls — a dedicated tab within the main UI alongside the synth and mixer sections would probably make more sense.

It's also nigh impossible to read a knob's position by default. The tiny dot that indicates what a parameter is set to all but disappears on smaller notebook screens (and I can't even imagine how hard it would be to make out on a phone). There is an option called "knob position highlight" in the settings that extends a line from the center of the knob that's much easier to see. But I encountered a bug where, every time I'd minimize the window for Mariana in my DAW the lines would disappear. I'd have to go back into the settings to disable, then reenable it to make them pop back up. Besides, that should probably be on by default.

Lastly, it's worth mentioning that Mariana is an absolute resource hog. Admittedly my studio laptop — a roughly five-year-old Dell XPS with an eighth gen Core i7 —isn't exactly top of the line anymore, but I never saw my CPU usage dip below 50 percent in Ableton while Mariana was loaded, and it routinely spiked to around 80 percent while actually playing, leading to a number of audio artifacts. For comparison I can generally load six or seven instances of Arturia's Pigments or Analog Lab V without even crossing the 25 percent threshhold. And it's only with all of those actually playing that I climb above 50 percent. 

Still, Mariana sounds great. And there's a lot of power under the hood. If Moog can get its resource usage under control in a future update it would be well worth the price.

In 2022 Polyend announced the Play, a fascinating sample-based groovebox and MIDI sequencer that was pretty much universally beloved by anyone who could get their hands on one. The pandemic fueled chip shortage made them pretty hard to come by, at least initially. But my, how things have changed in a little over a year. In just around 18 months, the company has managed to bring the cost of the Play down from $799 to just $499. More exciting though, is the availability of the Polyend Play+. 

The updated version is dramatically more powerful than the original. It still has eight tracks of sample playback and eight tracks of polyphonic MIDI sequencing. But, it now supports stereo sample playback and there are four built-in synth engines that can be controlled by the dedicated MIDI tracks. There's also support for audio over USB-C. And impressively, it's multitrack with 14 individual stereo tracks available for each of the eight sample channels, the three synth slots, the reverb and delay sends, plus a master audio out.

The synths are limited to eight voices collectively, but you can divide them up over three tracks however you see fit. So you can have a monophonic bass, a duophonic lead and then have a five note polyphonic track for chords. The four different engines are ACD, FAT, VAP and WTFM. The first three are different flavors of virtual analog synths, with ACD delivering simple single oscillator not unlike Roland's famed SH-101. While FAT and VAP are more complicated, with the former delivering thick three-oscillator tones, and the latter having a pretty extensive modulation matrix for evolving pads. WTFM, is a two operator FM synth that, at least based on the samples posted on Polyend's site, is far more capable and versatile than you'd expect.

While you can do some menu diving and customize the synth patches to your liking. There are plenty of presets, each with macro controls for quickly dialing in something pleasing. That is the big selling point of the Play in general, its immediacy. There's still the semi-generative pattern filling options, and that includes being able to auto-generate bass and chord progressions using the synth engines. 

One of the more intriguing things, however, is that Polyend is allowing owners of the original Play to trade theirs in for the Play+ for $399. This gives people who shelled out for a unit an upgrade path to the new more powerful hardware, but also reduces waste (and potentially saves Polyend some money) by allowing it to sell those returned units as refurbished down the road. 

The Polyend Play+ is available now for $799. 

I am, primarily, a guitarist. Dabbling in keys and synths has always felt a bit unnatural from a physical standpoint. A keyboard doesn’t respond the way a fretted instrument does. This isn’t surprising, nor is it a bad thing. It’s just not what I’m used to. The better part of a decade into my journey with synthesizers, I still find myself wiggling my fingers as if it’s going to create vibrato, or trying to “bend” one note while keeping the other rooted to create shifting harmonies.

I’ve tried my share of MPE (MIDI Polyphonic Expression) controllers, which can capture some of that nuance. But the Roli Seaboard Rise 2 is the first I’ve played that manages to deliver all of that expressiveness without also being an unmitigated headache in some way. It’s probably my new favorite MIDI controller. But, I still have a hard time recommending it to most people.

The immediately obvious issue is the price. $1,399 is a lot of money for a MIDI controller. There are some MIDI controllers that come close, but they generally have more generous software bundles; more extensive controls (including faders, knobs and pads); transport controls for your DAW; built-in arpeggiators or sequencers; and screens for viewing parameters and browsing presets.

Of course, what those controllers usually lack is MPE functionality. And it’s not like the Seaboard Rise 2 isn’t a premium device. It’s constructed almost entirely from metal, save for the silicone keybed and the small selection of controls to its left. It feels extremely durable, and I’m pretty sure I’d have to go out of my way to do any significant damage to it. Despite that, it’s also surprisingly thin and light. At roughly 33 inches, it’s slightly longer than your average 49-key controller, but it’s less than an inch thick and only a hair over 12 pounds. And that’s despite having a battery that can last eight hours when connected over Bluetooth. For comparison, Arturia’s batteryless Keylab 49 MKII is nearly 3 inches thick and tips the scales at 14 pounds.

Terrence O'Brien / Engadget

I’d stop shy of calling it portable, but it’s certainly luggable. I’ve moved it around my home studio quite a bit and it seems easy enough to drag to a gig, especially if you pick up the $100 soft case.

You’re not buying the Seaboard Rise 2 for the portability, though. You’re here for the continuous “Keywave2” surface. And let me tell you, once you get over how strange it feels it’s pretty incredible.

It’s important to note that I’ve never played the original Seaboard Rise. But I have used many other MPE controllers, including Roli’s Blocks lineup. They’ve all had some sort of significant shortcoming, and the Roli Blocks were borderline unusable. Almost everything I’ve tried has felt either like a novelty or a prototype, rather than a consumer-ready product. (The two exceptions to this being the latest Ableton Push and the Expressive E Osmose, though they’re very different devices with drawbacks of their own.) So, while I’m fascinated with MPE and think there’s a lot of potential in the technology, I came into this review with pretty low expectations.

Terrence O'Brien / Engadget

But, the Seaboard Rise 2 feels like the first time a company has gotten almost everything right in a standalone MPE MIDI controller. The subtle “Precision Frets” make feeling your way around the keyboard much easier. I am not a skilled pianist or keyboard player who’s doing lightning-quick scale runs based entirely on muscle memory. Still, I welcomed their addition. They made it a lot more obvious when I should stop a slide and helped me make sure my strikes were centered on the keys so I didn’t end up sounding out of tune.

The squishy silicone keybed also provides excellent feedback. Most other MPE devices I’ve used have very little travel, if any at all. You might as well be trying to play on a coffee table. Not the Seaboard. The “keys” (if you can really call them that) jut up, giving you a sense for where to put your fingers. The surface gently resists and bunches up under your finger when you’re performing slides, delivering much needed tactile feedback. There’s a lot of depth to the surface, too; this isn’t just a thin silicone skin laid over the top of some sensors. It’s not quite as satisfying as feeling a key bottom out beneath your fingers, but it’s actually easier to coax nuance out of the velocity and aftertouch than on more traditional controllers.

That ability to get subtle shifts in timbre, tone and pitch are what make MPE, and the Seaboard in particular, special. With the right combination of hardware or software, each note played can have its own unique expression. A basic example of this being controlling the filter cutoff of a synth patch with the slide parameter on the Seaboard. That means as you move your finger from the bottom of the control surface to the top, the filter opens up to create a brighter sound. But in this case you can raise the cutoff on the higher notes only to emphasize the melody, while keeping the lower register muted and droning.

Terrence O'Brien / Engadget

Giving each note its own unique velocity, cutoff, et cetera can add incredible depth to even the most simplistic performance. In a more advanced example of how this might work, imagine a software instrument based on orchestral strings. On something like the Seaboard Rise 2, quickly tapping the keys and immediately pulling off could be used to play pizzicato for stabbing chords. But lightly pressing into the silicone surface would produce a slower attack, allowing you to play languid melodies over the top of sharp harmonies. Sliding your finger up to the top could add gentle vibrato to emphasize particular notes, and dragging it left or right would produce realistic glides that are normally only possible on an unfretted, stringed instrument, not a keyboard.

I highlight that example because the Seaboard seems especially suited to scoring work. While it’s fine for playing your typical lead and bass patches, it separates itself from the pack once you start exploring sounds that are slower and have more evolution. The slight dissonance I could introduce by moving one finger just slightly off the center of a key created this spooky atmosphere that I kept getting lost in. Maybe it was just the season I was doing most of my testing during, but all I kept thinking about was how much I wanted to score a horror movie.

Terrence O'Brien / Engadget

Clearly Roli knows this is a strength, because a lot of the presets in its Equator 2 softsynth seem geared toward soundtrack work. Normally, the plugin costs $249, but thankfully it’s included for free with the Seaboard Rise 2. It easily does the best job of showcasing the controller’s various powers. The unfortunate thing is, only a little over a third of the presets are MPE-compatible. And while it’s certainly a powerful instrument, Equator 2 has a number of quirks that keep it from feeling fully polished.

Perhaps the biggest of those issues is that, when you first install it, many of the factory presets are completely broken and nonfunctional. That’s because there are two additional libraries you need to install. But these are in a drop-down list, and there is zero indication that anything else is needed until you actually open the app and it repeatedly tells you that files are missing. I uninstalled and reinstalled Equator and all its preset packs, hoping that would fix the issue. It was only after some Googling that I discovered there were more required downloads hiding right inside the Roli Connect app.

The Roli Dashboard at least feels a little less slapdash, and it’s arguably a more essential part of the experience. This is where you’ll do all the necessary configuring, like choosing whether the Seaboard is in MPE mode or standard MIDI, selecting what MIDI CCs the XY pad controls and setting the sensitivity levels of things like glide and slide. You’ll basically always want to have the Dashboard open because, the unfortunate truth is, MPE is still kind of messy. Non-MPE-compatible instruments and plugins might not work right if you don’t switch the Rise to single channel mode. I’ve found getting MPE-enabled plugins to work properly in Ableton Live 11 a little tricky.

Even when you do get an MPE-enabled instrument (hardware or software) paired up with a controller like the Seaboard Rise, you’ll probably need to do some finetuning to get them completely in sync. For example, you’ll have to make sure the pitch bend range in both the Dashboard and whatever you’re controlling match up. If the Seaboard is set for a 48-note range, but, let’s say, Pigments is set for only two, slides will never land where you expect them and even narrowly missing the deadcenter of a key will result in chords that are painfully out of tune.

When everything works, though, it’s pretty special. The Seaboard Rise 2 is easier to play and more versatile than any other MPE MIDI controller I’ve tried. It’s probably the most successful showcase of what is possible with the technology.

Sure, it’s expensive, can be finicky to configure, and there are limited options for instruments that take advantage of its full expressive capabilities. But MPE-capable softsynths are likely only going to grow in popularity over the next few years. Most people should probably hold out and see what the consensus from reviewers is on the more affordable Seaboard Block M. But if you just want the best MPE MIDI controller you can currently buy and don’t mind shelling out for a premium device, the Roli Seaboard Rise 2 is it.

I am, primarily, a guitarist. Dabbling in keys and synths has always felt a bit unnatural from a physical standpoint. A keyboard doesn’t respond the way a fretted instrument does. This isn’t surprising, nor is it a bad thing. It’s just not what I’m used to. The better part of a decade into my journey with synthesizers, I still find myself wiggling my fingers as if it’s going to create vibrato, or trying to “bend” one note while keeping the other rooted to create shifting harmonies.

I’ve tried my share of MPE (MIDI Polyphonic Expression) controllers, which can capture some of that nuance. But the Roli Seaboard Rise 2 is the first I’ve played that manages to deliver all of that expressiveness without also being an unmitigated headache in some way. It’s probably my new favorite MIDI controller. But, I still have a hard time recommending it to most people.

The immediately obvious issue is the price. $1,399 is a lot of money for a MIDI controller. There are some MIDI controllers that come close, but they generally have more generous software bundles; more extensive controls (including faders, knobs and pads); transport controls for your DAW; built-in arpeggiators or sequencers; and screens for viewing parameters and browsing presets.

Of course, what those controllers usually lack is MPE functionality. And it’s not like the Seaboard Rise 2 isn’t a premium device. It’s constructed almost entirely from metal, save for the silicone keybed and the small selection of controls to its left. It feels extremely durable, and I’m pretty sure I’d have to go out of my way to do any significant damage to it. Despite that, it’s also surprisingly thin and light. At roughly 33 inches, it’s slightly longer than your average 49-key controller, but it’s less than an inch thick and only a hair over 12 pounds. And that’s despite having a battery that can last eight hours when connected over Bluetooth. For comparison, Arturia’s batteryless Keylab 49 MKII is nearly 3 inches thick and tips the scales at 14 pounds.

Terrence O'Brien / Engadget

I’d stop shy of calling it portable, but it’s certainly luggable. I’ve moved it around my home studio quite a bit and it seems easy enough to drag to a gig, especially if you pick up the $100 soft case.

You’re not buying the Seaboard Rise 2 for the portability, though. You’re here for the continuous “Keywave2” surface. And let me tell you, once you get over how strange it feels it’s pretty incredible.

It’s important to note that I’ve never played the original Seaboard Rise. But I have used many other MPE controllers, including Roli’s Blocks lineup. They’ve all had some sort of significant shortcoming, and the Roli Blocks were borderline unusable. Almost everything I’ve tried has felt either like a novelty or a prototype, rather than a consumer-ready product. (The two exceptions to this being the latest Ableton Push and the Expressive E Osmose, though they’re very different devices with drawbacks of their own.) So, while I’m fascinated with MPE and think there’s a lot of potential in the technology, I came into this review with pretty low expectations.

Terrence O'Brien / Engadget

But, the Seaboard Rise 2 feels like the first time a company has gotten almost everything right in a standalone MPE MIDI controller. The subtle “Precision Frets” make feeling your way around the keyboard much easier. I am not a skilled pianist or keyboard player who’s doing lightning-quick scale runs based entirely on muscle memory. Still, I welcomed their addition. They made it a lot more obvious when I should stop a slide and helped me make sure my strikes were centered on the keys so I didn’t end up sounding out of tune.

The squishy silicone keybed also provides excellent feedback. Most other MPE devices I’ve used have very little travel, if any at all. You might as well be trying to play on a coffee table. Not the Seaboard. The “keys” (if you can really call them that) jut up, giving you a sense for where to put your fingers. The surface gently resists and bunches up under your finger when you’re performing slides, delivering much needed tactile feedback. There’s a lot of depth to the surface, too; this isn’t just a thin silicone skin laid over the top of some sensors. It’s not quite as satisfying as feeling a key bottom out beneath your fingers, but it’s actually easier to coax nuance out of the velocity and aftertouch than on more traditional controllers.

That ability to get subtle shifts in timbre, tone and pitch are what make MPE, and the Seaboard in particular, special. With the right combination of hardware or software, each note played can have its own unique expression. A basic example of this being controlling the filter cutoff of a synth patch with the slide parameter on the Seaboard. That means as you move your finger from the bottom of the control surface to the top, the filter opens up to create a brighter sound. But in this case you can raise the cutoff on the higher notes only to emphasize the melody, while keeping the lower register muted and droning.

Terrence O'Brien / Engadget

Giving each note its own unique velocity, cutoff, et cetera can add incredible depth to even the most simplistic performance. In a more advanced example of how this might work, imagine a software instrument based on orchestral strings. On something like the Seaboard Rise 2, quickly tapping the keys and immediately pulling off could be used to play pizzicato for stabbing chords. But lightly pressing into the silicone surface would produce a slower attack, allowing you to play languid melodies over the top of sharp harmonies. Sliding your finger up to the top could add gentle vibrato to emphasize particular notes, and dragging it left or right would produce realistic glides that are normally only possible on an unfretted, stringed instrument, not a keyboard.

I highlight that example because the Seaboard seems especially suited to scoring work. While it’s fine for playing your typical lead and bass patches, it separates itself from the pack once you start exploring sounds that are slower and have more evolution. The slight dissonance I could introduce by moving one finger just slightly off the center of a key created this spooky atmosphere that I kept getting lost in. Maybe it was just the season I was doing most of my testing during, but all I kept thinking about was how much I wanted to score a horror movie.

Terrence O'Brien / Engadget

Clearly Roli knows this is a strength, because a lot of the presets in its Equator 2 softsynth seem geared toward soundtrack work. Normally, the plugin costs $249, but thankfully it’s included for free with the Seaboard Rise 2. It easily does the best job of showcasing the controller’s various powers. The unfortunate thing is, only a little over a third of the presets are MPE-compatible. And while it’s certainly a powerful instrument, Equator 2 has a number of quirks that keep it from feeling fully polished.

Perhaps the biggest of those issues is that, when you first install it, many of the factory presets are completely broken and nonfunctional. That’s because there are two additional libraries you need to install. But these are in a drop-down list, and there is zero indication that anything else is needed until you actually open the app and it repeatedly tells you that files are missing. I uninstalled and reinstalled Equator and all its preset packs, hoping that would fix the issue. It was only after some Googling that I discovered there were more required downloads hiding right inside the Roli Connect app.

The Roli Dashboard at least feels a little less slapdash, and it’s arguably a more essential part of the experience. This is where you’ll do all the necessary configuring, like choosing whether the Seaboard is in MPE mode or standard MIDI, selecting what MIDI CCs the XY pad controls and setting the sensitivity levels of things like glide and slide. You’ll basically always want to have the Dashboard open because, the unfortunate truth is, MPE is still kind of messy. Non-MPE-compatible instruments and plugins might not work right if you don’t switch the Rise to single channel mode. I’ve found getting MPE-enabled plugins to work properly in Ableton Live 11 a little tricky.

Even when you do get an MPE-enabled instrument (hardware or software) paired up with a controller like the Seaboard Rise, you’ll probably need to do some finetuning to get them completely in sync. For example, you’ll have to make sure the pitch bend range in both the Dashboard and whatever you’re controlling match up. If the Seaboard is set for a 48-note range, but, let’s say, Pigments is set for only two, slides will never land where you expect them and even narrowly missing the deadcenter of a key will result in chords that are painfully out of tune.

When everything works, though, it’s pretty special. The Seaboard Rise 2 is easier to play and more versatile than any other MPE MIDI controller I’ve tried. It’s probably the most successful showcase of what is possible with the technology.

Sure, it’s expensive, can be finicky to configure, and there are limited options for instruments that take advantage of its full expressive capabilities. But MPE-capable softsynths are likely only going to grow in popularity over the next few years. Most people should probably hold out and see what the consensus from reviewers is on the more affordable Seaboard Block M. But if you just want the best MPE MIDI controller you can currently buy and don’t mind shelling out for a premium device, the Roli Seaboard Rise 2 is it.

Roli was an early poster child for the emergence of MPE (MIDI Polyphonic Expression). The company has had its share of struggles over the last 10 years, but it's still out there trying to spread the gospel of MPE. Its first product after filling for administration in the UK (kind of like bankruptcy) and rebranding as Luminary Roli was a redesigned version of its Seaboard Rise. It's a flagship, pro-level MIDI controller, with a price to match ($1,399). The new Seaboard Block M takes the company's signature squishy, continuous keyboard and puts it in a much more affordable and portable package.

The $349.95 Seaboard Block M features the same 5D Touch technology of it's bigger sibling. That means, when paired with the right instrument (and properly configured), you can play incredibly expressive melodies and chords by sliding your fingers around, pressing firmly into the foam like surface or quickly tapping it for sustained plucks. 

Where as the Seaboard Rise 2 is a 49-key controller, with multiple macro controls and its metal frame screams premium, the Block M has just 24-keys and pared back set of controls. Though, you can connect two Seaboard Blocks together to make one modular 48-key keyboard.

Luminary Roli

While Roli doesn't explicitly say what it's made from other than "premium materials... constructed to withstand the rigors of touring", it seems safe to assume the Block M is primarily plastic. It also appears to lack the "precision frets" of the Rise 2, which made it a lot easier to find your way around the keyboard simply by feel. 

It has inherited the dedicated MIDI-out jack from the Rise 2, at least. That means you can use it to control a DAW-less setup and skip the computer altogether. This is becoming a lot more common on MIDI controllers at any price point, but it's still a welcome development.

Of course, the number of instruments out there — hardware or software — that can take full advantage of the MPE controls here are still somewhat limited. The Block M does come bundled with ROLI Studio, does give you a few options for expressive playing. It's not quite as powerful as Equator 2, the company's flagship soft synth, though. 

Lastly, Roli says you can expect about 10 hours of battery life with Bluetooth on. Though, you can always connect directly to device with USB-C for zero latency and no worries about battery life. The Seaboard Block M is available to preorder now for $349.95, but it's not expected to ship until March of 2024.

Image Line continues to admirably stick to its guns, delivering free updates for life to FL Studio users. And every update brings something new and noteworthy, rarely are they simple bug fixes. FL Studio 21.2 is no different, bringing two of the biggest updates in some time. 

First up is the introduction of stem separation. This is huge for producers who want to dabble in remixing, but can't get access to official stems for songs they want to reimagine. But it's also a boon for anyone who is into sampling. At some point we've all come across a record that we absolutely love the drums or strings on, but can't seem to find a clean enough section of the song without vocals or bass. This is a feature that has proven particularly popular in DJ focused apps like Serato and Djpro, but is obviously of interest to more traditional music producers as well. 

Image Line

FL Studio handled the handful of tests I tossed at it pretty admirably. The quality and busyness of the mix made a huge difference in how effectively it was able to pull out individual tracks, but that's no surprise. It's also limited to drums, bass, vocals and "instruments" which covered literally everything else. 

When I pulled in a mix of an instrumental track I was working on it snagged the drums perfectly. The bass was isolated, but sounded thin and distant, while the "instruments" (two guitars and a synth) had a regular click in it that seemed like it might have been bleeding through from the hi-hats. The Escorts' "All We Need Is Another Chance" and Beyonce's "Freedom" fared better. While there was definitely some digital artifacts in the drums on "Freedom" they'd have been barely noticeable in a full mix. The bass and vocals came out perfectly, though. (By the way, reduced to just drums, bass and vocals, it still hits hard.) 

In general the stem separator fared best with drums and vocals. Though, I dream of the day when the technology is advanced enough for me to single out things like guitars or strings. 

Image Line

The other major addition is one that might prove a little controversial, FL Cloud. There is a free tier, but its most exciting features are locked behind a subscription service, though, one that delivers a solid value. For one it puts all of Image Line's samples and sound packs directly in your DAW and will tempo sync and time stretch them to match your project. If you pay for a subscription, you have unlimited access to all of these, including the new packs released every month — no worrying about credits or monthly caps like you might find on Splice. The free tier gives you access to free sounds, but you'll have to pay for premium sample packs.

FL Cloud also includes an AI mastering tool. You get a basic version of this for free, but paying unlocks more advanced options tailored to specific genres. And lastly, subscribers get access to distribution tools powered by DistroKid directly from within FL Studio. 

While there will undoubtedly be some users irked by even this limited implementation of a subscription model, it's hard to argue with the value. $8 a month, or $80 a year gets you unlimited royalty free samples, advanced AI mastering and distribution to all the major streaming services. That's the same price as a Loopcloud sample subscription on its own, which has pretty stringent monthly limits and significantly cheaper than any Splice sub. Image Line is even offering an introductory discount of $50 for the first year and a one month free trial to all FL Studio users. 

Finally there's also a new instrument added to the native FL Studio plugins called Kepler that is a pretty solid recreation of the Roland Juno 6. FL Studio 21.2 is available now as a free update for existing users, though some features, like the Kepler plugin are only available with the Producer edition or higher.