SANDYNE User Manual

Overview

SANDYNE is a standalone DAW and plugin host. It combines arrangement, editing, mixing, automation, and rendering in one workspace and supports:

• Instrument, sample, beats, and bus tracks
• VST3, CLAP and LV2 (Linux) plugin hosting with full parameter automation (AU on Mac coming soon)
• Piano-roll MIDI editing, sample editing, and beats pattern editing
• Pitch correction and per-note vocal tuning — see Pitch editor
• Internal mixer and effects workflows
• Computer-keyboard note input ("keyboard piano")

Quick start

1. Create or open a project.
2. Add a track with Ctrl+T.
3. Use the Browser to preview or load instruments, samples, MIDI files, or presets.
4. Record or place clips on the timeline.
5. Edit notes, samples, or beats in the active editor.
6. Mix with track controls and effects.
7. Export the song with Ctrl+R.

Projects are .sand files. Besides Ctrl+O, you can open one by double-clicking it in the file manager, dragging it onto the SANDYNE window, or passing its path on the command line (SANDYNE.exe "My Song.sand"). The double-click association is set up by the installer on Windows, comes with the app bundle on macOS, and with the desktop entry on Linux.

Useful first actions

• Open the Browser with Ctrl+Shift+B
• Start or stop playback with Space
• Save with Ctrl+S
• Undo with Ctrl+Z

Main areas

• Tracks panel. Arrange clips, select tracks, manage mute, solo, and record-arm.
• Mixer. Adjust levels, pan, and effect routing.
• Browser. Browse plugins, project items, track presets, and cloud samples.
• Editors. The lower editor area changes to match the selected content — piano roll, sample editor, or beats editor.

Browser basics

• Single-click a sample to preview it.
• Single-click a MIDI file to preview it on armed tracks.
• Double-click a sample or instrument to create a new track from it.
• Tabs: Plugins, Project, Cloud samples.
• Search filters the current Browser view.
• Show starred limits the Browser to favourite items.

Tracks & clips

• Instrument tracks — MIDI driving a synth or sampler.
• Sample tracks — audio clips.
• Beats tracks — pattern-based drum programming.
• Bus tracks — routing and mix organisation.

Clip editing is context-sensitive. Selecting a MIDI clip opens piano-roll editing; selecting an audio clip opens the sample editor.

Collapsing tracks

Tracks can be collapsed to a slim height so more of the arrangement fits on screen. Each track keeps its own height, so expanding restores the height you had set.

• Collapse or expand a single track from its right-click menu (Collapse / Expand), or by double-clicking the track header.
• Collapse or expand every track at once with Ctrl+Shift+C, from the View menu, or from any track's right-click menu.
• The mixer has the same options on its channel strips: right-click a channel for Collapse / Expand (or double-click the strip), plus Collapse all channels / Expand all channels — master included.
• Ctrl+Shift+C is context-sensitive: it acts on whichever panel is active — tracks with the Tracks panel active, channels with the Mixer active. It is disabled when the Browser or another bottom tab is active.

Clip aliases

Alias clips are linked copies of a clip. They look and play like normal clips, but the musical or audio content is shared across every linked instance. Use aliases when you want the same phrase, beat, or sample edit in several places and want future edits to update all occurrences.

• Copy a clip, then choose Paste clip as alias from the track context menu.
• With the arrangement focused, use Ctrl+Shift+V to paste as alias.
• Or skip the clipboard entirely: Ctrl+Shift+drag a clip on the timeline to drop an alias copy at the target position.
• Alias clips show a small chain marker and a subtle striped top edge.
• Moving, trimming, deleting, selecting, and placing an alias affects only that clip instance.
• Editing the notes, beats pattern, sample processing, clip automation, or clip name updates all aliases sharing the same source.
• Fades and sample gain are per clip instance, so you can mix or fade one alias differently from another.

Cloning & splitting clips

Cloning with Ctrl+drag

Hold Ctrl and drag a clip to duplicate it on the timeline. The original stays where it is and an independent copy follows the cursor to the drop point. On macOS, use Cmd.

• Drop the clone on the same track or, for compatible track types, onto another track.
• If several clips are selected, Ctrl+dragging any of them clones the whole selection at once, keeping their relative spacing — a single undo step.
• After the drop the new copies become the selection, so you can immediately nudge or edit them.
• The copies are independent. For linked copies, hold Shift as well: Ctrl+Shift+drag drops alias copies.

Splitting clips

There are two ways to cut a clip, and both obey the same grid snap — set the grid to Off when you need to cut at a syllable rather than a bar line.

• Alt+click a clip splits it at the pointer. While Alt is held, a white guide line with scissor marks shows on the clip under the cursor. If the clip is part of a multi-selection, every selected clip spanning that point is cut in one undo step.
• Right-click a clip and choose Split clip / Split clips to cut at the loop start marker.

Riding clip gain with Alt

Manual gain riding — chop a take into pieces, then pull the loud ones down — is what the split above and this gesture are made to be used together for.

• Alt+drag a sample clip up or down to change its gain, from anywhere on the clip body. Hold Shift as well for a finer drag. The gain is shown in dB while you drag, and the change is audible as you go.
• The small gain handle at the bottom-centre of a sample clip still works exactly as before; Alt+drag is simply a larger target for the same value.

Moving the playhead

• Click in a track lane to move the playhead there — what counts as a valid spot is up to you, see the modes below.
• Click or drag on the ruler at the top to set the loop start (and, by dragging, a loop range). The ruler always moves the playhead, whichever mode you pick.
• The clicked position follows the grid snap. Set the grid to Off to drop the playhead exactly where you point — mid-word in a vocal, say.
• A click that turns into a drag never moves the playhead. Clicks with Ctrl, Shift, or Alt are selection and editing gestures, and leave the transport where it is.

Preferences › Arrangement › Interaction › Click moves the playhead offers the three ways DAWs handle this. The setting is remembered per machine.

• Empty space only — the default. Clicking the lane background relocates; clicking a clip only selects it, so a click meant to pick a clip never yanks the transport.
• Anywhere (clips and empty space) — clicking a clip relocates too.
• Off — use the ruler — the ruler is the only way to move the playhead.

"Empty space" includes the unused area below the last track, not just the gaps between clips. The playhead moves even while the transport is rolling, so a click relocates playback rather than waiting for a stop.

• Press Home, or the rewind button at the left of the transport bar, to return to the start — the Start marker if you have moved it, otherwise the beginning of the song. It does not stop playback. Home deliberately ignores the loop: if you are looping bars 17–24 and press it, you go to the top of the song.
• Stop parks the playhead where the next Play will begin — the loop start if one is set, otherwise the Start marker.

Piano roll

• Black keys are shaded to match standard keyboard layout for quick orientation.
• The 5th of the current scale is colour-coded on the keyboard guide — useful for spotting strong harmonic targets while sketching melodies, basslines, or chord voicings against the project key.

Piano roll tools

The piano roll has two editing tools, shown as buttons at the top-left of the editor toolbar. The active tool's button is filled with the accent colour; the other stays at normal brightness (available, not disabled). Toggle between them with Ctrl+B.

• Multitool (the default) is a smart, context-sensitive tool — you rarely need to leave it. Drag a note's body to move it, drag its left or right edge to resize. Drag empty space to rubber-band select; a plain click on empty space clears the selection. Right-drag over notes to erase them. Ctrl+drag a note to duplicate it. Add a note without switching tools with Ctrl+click on empty space (drag to stretch its length) or a double-click.
• Pencil is a dedicated draw tool: click empty space to add a note, or click-drag to add a note and set its length in one gesture. Dragging a note body still moves it, an edge still resizes it, and right-drag erases.

Time-stretching a selection

Select two or more notes and the piano roll shows a stretch handle at each end of the selection. Drag either handle to time-stretch the whole selection: note starts and lengths scale together, so the passage keeps its internal rhythm and simply plays faster or slower — a local tempo change for those notes, not a resize of each one.

• Dragging one handle anchors the other end. Drag the right handle and the selection's start stays put; drag the left handle and its end stays put instead.
• Only the edge you drag snaps to the grid. The notes inside are scaled smoothly off it, so a swung or deliberately off-grid note stays proportionally where you put it.
• A readout next to the handle shows the current factor as you drag, e.g. x1.50. The whole drag is a single undo step.
• Handles appear only with two or more notes selected. Dragging a selected note's own edge still resizes every selected note by the same amount — resizing and stretching are separate gestures.

The Stretch button

The editor toolbar has a Stretch button next to Quantize for the same operation when you want an exact number rather than a mouse gesture. Both need at least two notes selected.

• Left-click opens a dialog where you type a Factor (e.g. 2 for double length, 0.5 for half) and choose the Anchor — which end stays fixed: Start, Center, or End.
• Right-click drops a menu of common ratios: x2, x1.5, x4/3, x3/4, x2/3, x1/2, plus Custom….
• Stretch Notes x2 and Stretch Notes x1/2 are also listed in Preferences › Keyboard shortcuts (category Piano Roll). They ship with no default key — assign one if you use them often.

Pitch editor (vocal tuning)

Sample clips have a built-in pitch editor for tuning vocals and other monophonic recordings. It detects the sung notes, shows them as blobs over a semitone grid, and lets you correct or reshape each note individually — from a transparent "just fix the flat notes" pass to the deliberate hard-tune robot effect.

Opening the pitch view

1. Select an audio clip so the sample editor opens.
2. Choose Pitch in the editor's view selector (next to Waveform and Spectrogram).
3. The clip is analyzed automatically the first time — a progress bar shows Analyzing pitch… N%. Results are kept, so returning to an already-analyzed clip shows the notes instantly.

The pitch editor is designed for monophonic material: one voice or note at a time (lead vocal, bass line, lead synth, whistling). A warning banner appears when the clip looks polyphonic or noisy — you can still edit, but detection will be less reliable.

Reading the display

• Each detected note is a horizontal blob at its sung pitch; the thin curve running through the blobs is the actual pitch over time. Note names are shown on the left edge.
• Notes in the normal track colour play as recorded. Notes in the secondary accent colour will be corrected on playback. A * marks notes you have edited by hand, and selected notes are drawn brighter.
• The toolbar shows a plain-language readout for the selected note, e.g. Sung: D4, 34 cents flat -> tuned to D4 (or in tune when the note is within a few cents).

Selecting notes

• Click a blob to select it; Ctrl+click adds or removes notes from the selection.
• Drag over empty space to marquee-select a group (Ctrl+drag adds to the existing selection).
• Ctrl+A selects every note; clicking empty space clears the selection.
• Selecting notes automatically opens the tools side panel with the tuning controls.

Tuning with the side panel

Key and Scale (Chromatic, Major, Minor) choose the correction targets: each note is pulled toward the nearest scale tone of that key. In Chromatic mode the nearest semitone is used and the key is ignored.

The style presets and knobs apply to the selected notes and take effect immediately (with nothing selected the panel shows Select notes to edit (Ctrl+A = all)):

• Natural — gentle correction; notes pull mostly to pitch, the performance's movement and vibrato stay natural.
• Tight — full correction with most drift smoothed out; vibrato kept but slightly tamed. A good pop-vocal starting point.
• Hard — the hard-tune robot effect: everything snapped flat with instant retune.

For finer control, the knobs behind the presets:

• Strength — how strongly the note's centre is pulled to its target pitch. 0% leaves the note untouched; 100% lands it exactly on target.
• Drift — flattens slow pitch drift within the note while leaving faster movement alone.
• Vibrato — how much of the natural vibrato survives. 100% (the default) keeps it all; 0% irons it flat.
• Retune — clip-wide retune speed: how quickly the correction follows from note to note. Slow sounds natural, fast sounds quantized and robotic.

Apply pitch correction tunes the selected notes in one click using the current Strength / Drift / Vibrato settings (one undo step). Reset changes reverts the selected notes to their original, uncorrected state.

Editing individual notes

• Drag a blob up or down to repitch the note. Hold Shift for fine cent-level control. Each drag is one undo step.
• Double-click a blob to snap it to the nearest scale tone.
• ↑ / ↓ nudge the selected notes by a semitone.
• Alt+click a blob to split the note at that exact position — while Alt is held a preview line follows the cursor.

Right-click a blob for the note menu:

• Set target note — pick the correction target explicitly, or Auto (nearest scale tone).
• Reset note — clear this note's edits.
• Remove note (treat as unvoiced) — exclude the note from correction entirely (re-detection restores it).
• Split note (automatic) — splits at the deepest loudness dip inside the note, otherwise at the largest pitch step, otherwise in the middle.
• Merge with next note — joins the note with the following one.
• Detection: octave up / octave down — fixes a note the analyzer detected in the wrong octave. This corrects the display and the correction targets; by itself it does not change the sound.

Re-detecting notes

Right-click empty space in the pitch lane and choose Re-detect notes (keeps matching edits) to run a fresh note detection. Edits are carried over to notes that still line up with the audio. This is also the recovery path when the clip's audio is edited after tuning — a banner appears saying the pitch edits no longer match the audio, and re-detecting (or Reset changes) resolves it.

Create a MIDI track from the notes

Create MIDI track (in the side panel) builds a new instrument track with a MIDI clip mirroring the selected notes, positioned so the MIDI lines up with the audio on the timeline. Useful for doubling a vocal with a synth, checking what was sung, or replacing audio with an instrument.

How corrections render

Corrections are rendered in the background — the waveform updates a moment after each edit while remaining fully responsive. Playback and export always use the finished, corrected audio, and the underlying recording is never altered: clearing the edits returns the clip to exactly its original state.

Looping

• Timeline looping follows the arrangement loop markers in the tracks view.
• Clip-local looping takes over when a loop range is set inside the sample editor or piano roll.
• While arrangement playback is running, open editors still show the playhead for the currently playing content.

Automation

Automation lets you change parameter values over time. SANDYNE has three places where automation lives:

• Track automation — lanes under the track in the arrangement view. Use it for volume rides, pan moves, send levels, and effect-knob automation that should follow the track.
• Master automation — same idea, but for the master bus. Volume, pan, and master-effect knobs.
• Clip automation — travels with the clip when you cut, move, or duplicate it. Use it for instrument knob automation (filter sweeps, pitch envelopes) and MIDI lanes (modwheel, pitch bend, aftertouch) that are part of a particular phrase.

Adding track or master automation manually

1. Click the automation icon under the track header to add a lane.
2. Pick the parameter from the menu (volume, pan, an effect knob, an instrument param).
3. Click in the lane to add a point, drag a point to move, right-click a point to delete.
4. Right-click empty area for Copy automation, Paste automation, Clear automation, or Delete automation (removes the whole lane).

Automation editing is undoable. A drag is a single undo step.

Editing clip automation

Open a piano-roll clip and look at the velocity-editor strip below the notes. The dropdown on the left selects what the strip is editing:

• Note velocity, Note panning — per-note attributes (the strip shows bars).
• Aftertouch, Modwheel, Pitch — built-in MIDI lanes (the strip becomes an automation lane).
• Any instrument or track-effect parameter, e.g. Cutoff, Resonance, Filter Mix. Available when the track has an instrument or effect loaded.

When the strip is showing an automation lane, click in empty area to add a point, drag a point to move, right-click a point to delete.

Right-click in the velocity strip

The right-click context menu is mode-aware:

• Velocity mode — Reset velocity to default (100)
• Pan mode — Reset pan to center
• Aftertouch / Modwheel / Pitch / custom param — Delete automation (greyed out when the lane is empty)

The reset items act on every note in the clip. Delete automation removes the lane entirely (undoable, single entry).

Recording automation in real time

The transport bar has a REC AUTO toggle next to the REC button. When it is on, knob and fader movements made during recording are captured as automation points.

1. Click REC AUTO to enable automation recording.
2. Press REC to start recording.
3. Move any control during playback — master fader, track fader / pan / send, instrument knob, internal effect knob — or send a MIDI CC, pitch wheel, or aftertouch from an external controller.
4. Press Stop. The recorded lane appears under the relevant track or master with the points you just laid down.

The whole take is one undo step (Record automation). A take that only contains automation (no notes, no audio) is still kept — you don't need to record notes for the automation to survive.

REC AUTO and per-track REC arm are independent

The per-track REC arm icon R captures notes and audio into that track. It does not affect automation — automation recording is gated only by the global REC AUTO toggle. So:

• You can record automation on any track (or the master / a bus) without arming it.
• Arming a track only matters if you want to capture incoming MIDI notes or audio into a clip on that track.
• During a single take, knob moves on multiple tracks are all captured (as long as REC AUTO is on). If you want only one track's automation, leave REC AUTO off and edit lanes manually instead.

What gets captured

Mixer (volume, pan, sends), internal instrument knobs, internal effect knobs, plugin parameters (instrument, track effect, master effect), MIDI CC / pitch wheel / aftertouch from external controllers, and master automation. Plugin parameter changes are captured both when you drag a knob in the plugin's own UI window and when the host's mixer surfaces drive the plugin parameter.

Drag-to-merge

Dragging an automation point through another point does not destroy that other point. Points only merge when you release the drag on top of another point — at that moment, the colocated points collapse to one. This lets you sweep a point past existing points without losing them.

Drawing behaviour

• Lane interpolation is linear between points.
• A single-point lane holds that value at every beat (including before the first point and after the last).
• Lane values are normalised to [0, 1] and re-mapped to the parameter's actual range during playback.

Limitations

• Track-level lanes (volume, pan) cannot be set as clip lanes — they aren't applied during clip-local evaluation. The dropdown filters them out.
• Master automation lanes don't appear inside clips — only inside the master strip.
• Automation playback writes directly to engine fields. A small ring on the knob's outer edge shows the automation-driven value when it differs from the knob's manual position.

How knobs move

Every knob in SANDYNE has two rings:

• Inner ring — the value. This is what the project saves and what Ctrl+Z undoes. It is the position the knob "is set to".
• Outer ring — the active value. This is what you actually hear. It equals the inner ring plus any live modulation on top.

If no modulator is wired up, the two rings are the same. The outer ring only diverges when a modulator is animating the parameter.

Four ways a knob moves

• Mouse — drag, mouse-wheel, or double-click to reset.
• Controller (MIDI CC) — right-click → Link to controller, learn a CC, then your hardware fader moves the knob exactly like the mouse would. The on-screen knob follows the hardware, and the change is saved with the project.
• Automation lane — a recorded curve on the timeline. During playback, the lane drives the knob.
• Modulator (LFO, Envelope, Envelope Follower, Macro, Steps, Sidechain) — adds movement around the inner ring. A modulator never changes the saved value; it only paints the outer ring.

When more than one is active

• Mouse, controller, and automation are three handles on the same knob. Whoever moved it last wins. Grab the mouse mid-CC sweep — your hand wins. Push the hardware fader during automation playback — the controller wins (in Touch / Write mode it also writes the new value into the lane; in Read mode the next lane point pulls it back).
• Modulators stack on top. Two LFOs and a sidechain on the same knob? Their offsets sum, then clamp to the parameter's range. Modulators never fight — they just add.
• Modulators don't override the value. No matter how many modulators are running, the inner ring (saved value) only changes when you, your controller, or an automation lane moves it.

Undo and gestures

A hardware fader sweep is one undo step, not one per CC message. The same is true for a mouse drag. If you sweep a knob across with your controller and want to take it back, Ctrl+Z once snaps the inner ring back to where it was before the sweep started.

Reset

Right-click → Reset sets the inner ring back to the parameter's default. Modulators keep modulating around the new base.

Indicator dots

Each knob shows up to three small dots in its corners to indicate what is wired to that control:

• Top-left — a controller is linked (MIDI CC or keyboard shortcut). Your hardware will move this control.
• Top-right — a modulator (LFO, envelope, sidechain, macro, etc.) is connected. The outer ring will animate around the inner ring while the modulator runs.
• Bottom-right (lime green) — an automation lane on this parameter is enabled and has at least one point.

The same indicators appear on mixer faders, pan sliders, and the visual-mixer pucks. On a puck the controller dot sits just above it and the automation dot just below, since the puck represents both axes at once. Dots reflect live state — removing the link, disabling the modulator, or deleting the automation lane makes the dot disappear on the next repaint.

Internal instruments

SANDYNE includes built-in instruments in addition to external VST3, CLAP and LV2 plugins. They appear in the Browser under Instruments.

Internal effects

Built-in audio effects that can be inserted directly on tracks, buses, or the master.

Per-effect MIX and PAN

Every effect slot has its own MIX and PAN controls on the rack sidebar. They are independent of the track-level fader and pan in the mixer.

• MIX is a wet/dry blend for this single effect. 100% — only the effect's processed output. 50% — dry input and effect output equally. 0% — fully bypassed.
• PAN positions the wet (effect-processed) signal in the stereo field; the dry signal stays anchored at its original image. PAN is always at full strength on the wet, so MIX only controls how much of the panned wet you hear.

MIDI controllers

SANDYNE talks to external MIDI controllers (keyboards, control surfaces) through the MIDI Settings dialog. Each connected MIDI input can be assigned a driver that adds controller-specific behaviour such as button mappings, LCD feedback, and bank navigation.

MIDI Settings dialog

• The MIDI Inputs table lists every detected MIDI input with Enable, Input Device, Driver, and Port columns.
• Tick Enable to start receiving from a device.
• The Driver column selects how SANDYNE interprets incoming messages. Generic treats the device as a plain MIDI keyboard.
• The Port column assigns a numeric port slot, used when routing tracks to a specific MIDI input.

FL Studio driver compatibility

SANDYNE runs FL Studio controller scripts as drivers, so many existing controllers work without custom code.

• Drivers live in a Controllers/ directory next to the SANDYNE executable. On a default Windows install that's C:\Program Files\SANDYNE\Controllers.
• Each controller has its own subdirectory inside Controllers/, containing one or more device_*.py scripts with a # name= header.
• The shared FL Studio compatibility runtime must be present at Controllers/fl_compat/_runtime.py. Without it, no drivers are discovered.
• Python must be available on the system. The runtime spawns one Python child process per active driver.
• Driver discovery happens at startup. Restart SANDYNE after copying or updating drivers.
• When a device name or USB vendor ID matches a discovered driver, SANDYNE auto-suggests it for that input. The suggestion can be overridden manually.

Export & stem extraction

• Ctrl+R opens the export dialog.
• Render the complete song or the current selection.
• Tracks can also be exported as separate audio files.
• Right-click a sample clip and choose Extract stems to split it into separate stem tracks.
• Stem extraction imports the rendered stems back into the project as new sample tracks.

Dither

The export dialog has a Dither (16/24-bit) checkbox. Dither adds a tiny amount of inaudible noise when the mix is converted down to a 16- or 24-bit file. It keeps quiet passages — fade-outs, reverb tails — smooth instead of letting them break up into faint digital grit.

• Leave it on (the default) for normal 16- or 24-bit WAV or FLAC exports. This is the standard, professionally correct choice.
• The checkbox only appears for 16- and 24-bit exports. It is hidden for 32-bit float (nothing is being rounded) and for MP3 (the encoder handles it).
• Turn it off only if you plan to process the file further and want the raw, un-dithered output.

Headless render

SANDYNE can also render projects from the command line. Useful for batch exports, CI checks, or repeatable mix renders without opening the main window.

SANDYNE.exe render project.sand --output mix.wav
SANDYNE.exe render project.sand --output mix.flac --format flac --sample-rate 48000 --bit-depth 24
SANDYNE.exe rendertracks project.sand --output-dir stems --format wav
SANDYNE.exe inspect project.sand

Commands

• render <project.sand> — render the full project to one audio file.
• rendertracks <project.sand> — render each renderable track as a separate file.
• inspect <project.sand> — print project metadata: BPM, track count, clip count, estimated duration.

Options

• --output <file> — destination file for render.
• --output-dir <dir> — destination folder for rendertracks.
• --format wav|flac|mp3 — audio format. If omitted for render, the output extension is used.
• --sample-rate <hz> — export sample rate, e.g. 44100 or 48000.
• --bit-depth 16|24|32 — output bit depth. FLAC uses integer depths; MP3 is encoded from 16-bit PCM.
• --mp3-bitrate <kbps> — MP3 bitrate, e.g. 192 or 320.
• --no-dither — turn off dither for 16/24-bit exports (on by default, matching the export dialog). Ignored for 32-bit and MP3 output.
• --start <seconds> and --end <seconds> — render only a time range.
• --quiet — hide progress output.

Keyboard shortcuts

Shortcuts are context-sensitive. Some keys do different things depending on which panel or editor has focus.

Global

Shared editing

Routed to the active editor when applicable.

Arrangement / tracks panel

Arrangement mouse gestures

Mixer

Piano roll

Piano roll mouse gestures

Default (Multitool) gestures — see Piano roll tools for the per-tool breakdown.

Sample editor

Pitch view

Beats editor

Effect selection in floating plugin windows

Browser navigation

Keyboard piano

When keyboard piano is enabled with Ctrl+K, the computer keyboard can trigger notes. Capture happens in music-editing surfaces only (tracks panel, piano roll, sample editor, content editor). Disabled while typing into text fields.

Knob & slider modifiers

Some mapped controls can also be triggered by user-defined keyboard shortcuts. Those are not fixed in code, so they are not listed here — if a control has been linked to a keyboard shortcut through the mapping UI, that shortcut is handled globally when appropriate.

SANDYNE · v2.4 · last updated September 2026 · back to home