Effects tab

There are three main Effects tabs - Track, Shared and Master. Each has 5 slots where you can select from a library of effects.

1. Signal Routing

Each track can have up to 5 independent 'Track effects', share 5 'Shared effects' (also known as 'Send effects') with all other tracks and finally receive an additional 6 Master effects that are also shared with all tracks, as shown below:

'Effects' is often abbreviated as 'FX'.

Signal routing details:

In short, Track effects will apply to only the selected track. Shared effects can apply to any track and Master effects will apply to all tracks. As effects can use CPU power, this arrangement allows you to use Shared effects to save CPU. Rather than using 8 'Track' reverbs, send the 8 tracks to a single 'Shared' reverb. Master effect slots are best used for compression, limiting and or equalization to 'master' the final sound.


Effects Library

There are 11 effects that you can load into any of the FX slots on each of the Track, Shared and Master effects tabs. Processing order is as follows:


Reverb simulates a room of a certain type (Hall/Canyon/Room) and size. If stuttering occurs during playback, decrease the reverb quality or consolidate Track FX into Shared FX where possible.

NOTE: Rather than slapping reverb all over your tracks, experiment with subtle delay effects as this tends to leave the mix sounding clearer and punchier. The message here is to use reverb sparingly, it is probably the most over-used and abused effect for beginners.


Delay is an echo style effect and is particularly effective when played in sync with the main tempo of the track.

NOTE: Delay works well on vocals in place of reverb wich tends to muddy the mix when overused.

Equalizer (EQ)

The 3-band equalizer has fixed frequencies at 800Hz and 5kHz. Tap or move anywhere in the 3 areas to set the gain of bass, middle and treble tones. The range is -10dB to +10dB, the volume is automatically adapted to avoid clipping.

NOTE: It's often better to cut frequencies you don't want rather than boost those that you do. In other words, to accentuate the bass on a track, reduce the bass on tracks that don't need it. In solo these tracks may sound thin, but in the complete mix this will prevent the low-end becoming boomy/muddy. The same principle applies to the other bands also.


The filter effect is a resonant low-, high-, or band-pass filter. The cutoff frequency and the resonance can be set by moving the cross hair, or by tilting the device if the accelerometer is enabled. The filter track in the Track Editor holds the recorded events (which can be deleted there).

For synth sounds and drum kits, this is a very useful effect. Enable the accelerometer control, switch to the keyboard tab and play or record something while gently tilting the device from one side to the center. A commonly used effect is, with the filter type set to low pass, changing the cutoff frequency from low to high, while keeping the resonance low.

NOTE: Filter sweeps are a very common technique used to create tension, anticipation and emotional impact. For example, for a lead, arpeggio or similar sound, over 4 or 8 bars leading-up to a new section (usually the chorus/climax/drop). Slowly raise the filter cutoff so that the filter is wide open and all frequencies finally make it through at the change. To do this, enter record mode and manually raise a LOW PASS filter cutoff as you approach the chorus.

Amplifier (Distortion)

The amplifier simulates distortion type 'overdrive' typical of guitar amplifiers. It allows high-overdrive even if a trackā€˜s volume is quiet.

NOTE: A little distortion goes a long way. It can be a great creative effect when used on lead sounds and even vocals. On the other hand, pushed hard it can make almost any simple synth sound like a guitar. You can also stack several distortions if you want to get real nasty.


Phasing modulates the relative phase of the dual-voice oscillators. Oscillator voices are delayed by different amounts, causing a moving frequency cancellation effect that you will recognize even if you don't really understand how it works ;)

NOTE: Phasers are great when used on sustained and fairly bright chord-type sounds (pads). Since phasing is usually a slow-moving effect, then you need to give it a chance to develop. Sounds particularly great through headphones. Stack it with the Stereo Enhancer for even more dramatic effects.

Bit Crusher

Distortion based on bit-depth reduction. Bit-depth is the parameter used to represent the waveform amplitude. Lowering bit-depth introduces 'aliasing' type distortion sounds that will be familiar to you even if the technical terms are a mystery.

NOTE: Bit reduction can be really effective at giving an 'edge' to percussion sounds. Don't forget you can automate the Bits control to add the effect here and there, rather than on all the time.


Compression is a form of (very fast) automated gain control that reduces the dynamic range of sounds. That is, the difference in level between the peaks and troughs of the audio waveform. When the input signal exceeds the threshold the gain, or rate at which the signal level is allowed to increase, is reduced. In other words, the waveform amplitude is 'compressed'.

NOTE: Compression is one of the most important effects used in enhancing modern music. It gives kick drums more 'thump', makes bass sound 'fat'. Importantly, compression makes a mix sound much louder. The art of setting a compressor is fine-tuning the threshold, ratio, attack and release so that the compression process does not introduce artifacts. Basically, compressing the peaks (Threshold, Ratio, Attack) of a signal, frees up headroom to raise the gain (Output) of the quieter, longer duration, portions of the sound, increasing the 'loudness'.


Limiting is a form of heavy compression (generally used to describe compression ratios greater than 10:1). The purpose is to 'limit' the output level to a set maximum level, usually 0 dB, to avoid clipping in a final mix down. The Limiter can be used to maximize the level of a track dramatically, without introducing noticeable distortion and so limiting is a favorite effect used in mastering.

NOTE: There is always a limiter on the final effects slot of the Master effects to prevent clipping. Clipping is where the output from FL Studio Mobile exceeds the maximum that can be reproduced in the wave file format. Clipping causes a very unpleasant form of distortion that sounds like loud 'crackling' on the peaks in the music.

Stereo Widener

Increases or decreases the stereo separation of the left and right channels.

NOTE: If there is no 'stereo' sound in the input signal, this effect doesn't work. It can only enhance stereo that exists, not create it. Don't forget you can also use the Stereo Widener to make stereo sounds into mono, which many people like to do on Bass and Kicks as they tend to sit better in the mix.