Rewind & takes

The usual deal with recording is that you have to know something good is coming before it arrives. The app keeps a rolling memory of everything — your pad performance, your audio input, your camera — so recording is mostly a decision you make after the fact.

Rewind: the retroactive record button

At any moment, the last stretch of everything (90 seconds by default) is recoverable. Played something good? Hover the live strip and click its Rewind overlay, or press Enter.

What opens is the capture editor: your triggered pads as blocks on a timeline, your input audio as a waveform, your camera as a lane — the recent past, laid out and editable. Nothing was armed, nothing was planned.

It works when no pads were played at all, too. Hum something over the mic, hit Rewind, and chop the hum. In that case Rewind skips the capture editor and takes you straight to the chop editor, with the last stretch of input (and camera, if it was on) imported as a new source — there’s nothing to arrange when nothing was triggered, only something to cut up. Camera history opens from its rolling capture immediately, and the seek-optimized project copy is prepared in the background while you listen and place cuts.

Rewind length is in Settings. Longer remembers more; shorter is lighter on disk and memory.

▶ capture needed

Recording on purpose

The capture rail sits beside the live strip:

• Perform records the live sampler performance.
• Sample records a free-length take — for an instrument, or a phrase.
• Loop (free) builds an unclocked loop performance.
• Loop (clock) builds a bar-quantized one.

The last two open the live looper. The same rail holds the Song board and the Sessions library.

Two niceties worth knowing about takes:

• Auto-arm. A take without a count-in doesn’t start when you press the button — it starts when you make a sound. Press it, settle your hands, and the recording begins at your first note, trimmed to the actual attack. While it waits, the canvas becomes a large input meter with the start threshold marked, so a quiet signal is distinguishable from a broken one at a glance. No dead air, no clipped pick attack. On by default.
• Count-in on the canvas. Bar-aligned takes count down in the center of the stage, large enough to follow without looking away from your instrument.

Loop record into the takes system collects variation after variation, and any take can be unpacked into its own clip.

Resampling

Sample is the classic sampler move: capture your live pad performance — and, if you like, the external input with it — as one new piece of audio-video material.

Guided overdub takes it further. Bounce a selection to a backing loop, put it on a pad, start it, and arm the recorder so your next pass layers over it.

Where it all lands

Every road here leads to the capture editor, and every capture is kept as a saved session until you explicitly delete it.