What changed

With an effect card or a mixer row focused, Delete and Backspace now remove that effect, the same one ⌘C would copy, instead of a clip selected earlier somewhere out of sight. Inside a dialog such as Export, ⌘S and ⌘O do nothing, and the browser's own Save page no longer opens. S splits every selected clip the cursor crosses in one step, Shift+F10 opens the note menu in the piano roll, and in the single-file editor Space on a focused button presses the button instead of starting playback.

The Add effect picker's Overview needed a scrollbar once Stereo Lab joined it. It is wider again, as it was meant to be, its columns are rearranged into pairs of categories, and in a short window it uses more of the height, so every effect shows at once on a laptop screen. On a phone the two-column Overview still scrolls.

Choosing where to save creates the file at once, empty, and the project is written into it only once it has been put together. If that save stopped partway, the empty file opened later with "Not a Dr. Tape multitrack project". Opening an empty file now says it is empty and that an unfinished save can leave one behind, and a file cut short says it is incomplete. A save that fails after you pick its file says the file is empty for now and your work is still open, so you can save again.

The Mixdown dialog now lists any module in a listening mode on a track that feeds the export, such as a Limiter in Delta on Master or Stereo Lab on Mono, in one quiet line each, since the file carries exactly what you hear. Nothing is switched off or blocked. Saving an effect chain whose Compressor, Gate, Delay or Reverb listens to another track now says that the sidechain source isn't saved and needs picking again after loading, both when you save and when you open the preset.

Gain now has a Width control from 0 to 200 percent. Lower it to narrow a busy stereo part, set it to 0, where it reads Mono, to play a stereo track in mono, or raise it past 100 to widen the image. The center and the track's sound on a mono speaker stay the same at every setting, and 100, the default, leaves every existing Gain exactly as it was. Width changes fade over 10 ms and can be automated. Search the effect picker for "width" or "mono" to find it.

The tempo, an automation lane, the chord track, a clip's fade, gain and loop handles and the strum controls used to swallow every key, so ⌘Z and Space did nothing right after using one. Each now keeps only the keys it uses. After a header menu closes, ⌘S, ⌘O, the place keys and typing notes in the Keyboard view work again straight away. Ctrl+Shift+Z redoes on Windows and Linux, S splits with Caps Lock on, and ⇧⌘Z redoes in both comping views. Holding Space starts or stops playback once, the number keys reach the places from the expanded MIDI editor, and Escape that cancels an effect drag no longer stops playback. The File menu writes Ctrl on Windows and Linux, and Help › Shortcuts & gestures lists the keys of clips, fades, tempo, automation, chords, strums, Beats, the Keyboard view and comping.

View › Scale no longer offers a step that would leave the studio less than about 360 pixels wide, so on a phone 100 percent is the largest; a larger step chosen on a wider screen comes back there. Opening the piano roll from the places menu on a phone now brings its grid into view, a knob's value bubble goes away when your finger lifts, and the sketch banner keeps off the screen's edge again. A full chain library says it is full instead of showing the browser's own message, the sound shelf counts one lane or one sound correctly, and Normalize with nothing selected says it normalized the file.

While you are trying a sound in the sound library, Undo and Redo now ask you to keep or discard it first, and then do nothing more. Before, keeping the sound after ⌘Z went straight on to undo the keep, so the old sound came back. Press ⌘Z again once you've decided, and it undoes as usual. Faders, other tracks and other edits made while you browse stay ordinary undo steps.

A song in the trash can now be deleted for good with the × beside Restore. The question before it says how much space it frees, and that space stops counting toward the workspace at once instead of after thirty days. Audio that another song still uses stays where it is. A permanent delete cannot be undone.

Exporting a mix or stems and freezing a track now render the song in short blocks, the way playback does, instead of one sample frame at a time. A heavy song's mix and stems render two and a half to three and a half times faster, and a frozen track about two and a half times faster. The files are identical to before, byte for byte.

Unsaved work, recordings waiting to reach your workspace and downloaded sounds live in the browser's storage, which a browser may clear when the disk fills up. The first time there is something worth keeping, the studio now asks the browser to keep it. Firefox may show its own question then. The end of the Settings menu says whether this browser keeps the studio's data.

Clicking a button such as Mute used to leave every shortcut asleep until something else had focus, so ⌘Z did nothing right after a click. Now only Space and Enter belong to the button. The arrow keys move a selected audio clip to the next grid line, the step the Snap button shows, instead of one sample nobody could hear; Shift moves it by a millisecond. Help › Shortcuts & gestures and the help page now list every key, including Save, Open, Escape, Delete, the place keys and the piano roll.

A studio tab or installed app keeps its version until you reload it, and it could open a song saved by a newer version and quietly drop settings it did not know when it saved. Every project and song now remembers which version saved it. An older studio opens newer work read-only, says Saved by a newer Dr. Tape. Reload to update., and saves nothing over it. If it still tries to save a cloud song, the workspace refuses and your edits are kept as a separate copy.

A song with more instruments and effects than the computer can keep up with used to play slowly with nothing but the optional meter to explain why. When the engine stays over its budget for a few seconds of playback, the studio now says so once per song and suggests freezing some tracks. A short spike never triggers it.

Duplicating a studio tab used to leave both tabs saving their unsaved work into the same place, so only the last one to save could come back after a crash. Each tab now keeps its own. A project with a Single Sampler that is opened after a release changed one of its controls also stays a Single Sampler, where it could turn into the Sampler kit.

A single slow or failed answer from the account service used to show Offline while the network was fine. The studio now asks once more first, and when accounts are not answering it says Waiting instead of Offline and checks again every half minute. If the browser can no longer keep your unsaved work for crash recovery, the status line says so once and suggests saving, and says again when it works.

An audio take is now written to the browser's storage while it records, so a crash, a reload or a closed tab no longer loses it. The next time the studio opens, the song comes back with the take on its track, up to the moment it stopped, and the recovery message says how much came back. One Undo removes it. The take you get at Stop is byte for byte the same as before, and recording measured the same with the copy on and off. Settings › Keep takes on disk while recording switches it off.

Switching an instrument track to audio and back used to delete its instrument automation lanes, LFOs included, and only Undo could bring them back. The lanes now stay with the track, hidden while it is audio, just like its MIDI clips. Deleting a track also clears it from any effect that used it as a sidechain source, so nothing is left waiting for a track that is gone.

Undo now keeps the last 50 steps. Before, it kept every step of a session, and with it every recording and imported file the session had ever touched, so memory kept growing through a long evening of takes. Audio that only those older steps used is let go; anything a remaining step, the open song or a save in progress needs stays.

An address that is not invited yet now hears that accounts are by invitation, instead of waiting for a mail that never comes, and signing up again with an address that already has an account sends a mail that says so. If signing out cannot reach the server, you stay signed in and Account settings tells you why. The devices list no longer shows sign-ins that have expired. After you delete your account, the welcome window says it is done, and a song that was open stays open, ready to save as a file.

Opening a file, a song from your library or recovered work now asks whether to save your changes first, the same question New project asks. Before, the project was replaced at once and its unsaved work could not be brought back. Discard on the recovery notice now only ever throws away the work it restored.

A song brought back after a reload with unsaved edits saves them on its own instead of showing Saved. Impulses and captures stay on the device until they reach the library, one song waiting for its audio no longer holds up the others, and a song that cannot be saved to a workspace, such as one with more than 3,000 audio files, says so when you save and suggests saving it as a file.

With the MIDI editor focused, ⌘S, ⇧⌘S and ⌘O did nothing. They now save and open as they do everywhere else, and in the piano roll and Beats the number keys 1 to 5 move between places too. An expanded editor docks while the Save song sheet or Your songs is open, then expands again.

Opening a song that is open in another tab or on another device now asks whether to edit it here instead or open it read-only, so two places can no longer save over each other. Editing here moves the song, and the other place says it is read-only and keeps anything it had not saved in a copy. A device that is closed or asleep lets go of the song after a few minutes, so you are only asked when someone is really working on it.

Click the Convolver's current impulse name to open its new library. Search or filter the responses, expand a sound's variations, then Load impulse. Undo restores the previous settings. The same browser holds the original collection and imported WAVs, with a compact information panel showing duration, suggested uses and creator credit. Category headings organize the list, and On this device shows retained responses. New responses download when needed and stay available on the device.

Variation names describe positions, capture methods, approximate tails or cabinet tone. Reverb settings are ordered from shorter to longer tails. Creator links and licence labels keep credits close without filling the browser with legal text.

Every response, including an imported WAV, now plays at a matched loudness, so switching impulses keeps the wet level steady. Responses with a strong resonance play a little lower so a single note cannot jump out. The Convolver's level also no longer rises at higher project sample rates.

The studio and the website now count anonymous events, such as which instruments and effects get used, how long the editor takes to open, whether audio drops out and which errors happen, so we can see what to fix and improve. There are no cookies, no fingerprint and nothing that recognises you on a later visit, and nothing you make is part of them. Turn it off under Settings › Share anonymous usage statistics, or on the new privacy page, which describes exactly what is collected and where it goes.

Every song from every workspace now opens in one window you can search and sort, each drawn as its arrangement. The first save asks for a name and a place, the status beside the song name says where it lives, and versions can be restored, named and opened as copies. Signing in and the account settings are simpler too.

A very short note played while the studio was still waking its audio could keep sounding after you let go. Its release now waits for the note to start.

The Keyboard view has an Arm button for its track and a strip above the keys that shows the clip, or the take while you record. The keys keep playing while the recording runs, and a finished take opens in the view so you can play the next one.

With Typing on, the Keyboard view plays from the computer keyboard: two rows of letters reach from C3 to G5, or choose one row. Key caps show the characters on your own keyboard, the arrow keys move the octave and Shift holds the sustain pedal.

The MIDI editor has a third view beside the piano roll and Beats. Keyboard spreads a playable keyboard across the editor for the mouse and touch, lights the keys a MIDI keyboard plays, names a kit's sounds on their keys, and opens the sound library from its Sound button.

The Keyboard view opens for any instrument track, even an empty one: from Piano roll in the places bar, from the keyboard button in the instrument panel, or straight away when you add an instrument track. It follows the track you select, and your first take becomes the track's clip.

With the piano roll docked and focused, Space did nothing during a recording. It now stops the recording, as it does everywhere else.

The footprints button in the MIDI editor's header records each note you play at a cursor that then moves one step on, however long you hold it, and keys held together go in as one chord. Choose the step and the note length in its menu. It works in the piano roll and the Keyboard view, from a MIDI keyboard, the computer keyboard or the keys on screen, and adds to the clip you are in or starts a new one.

A track switched between audio and instrument keeps its clips of the other kind, and they no longer set the song's length. A recording that loops over the whole song now ends its loop where the music does, not at a MIDI clip hidden on an audio track, and playback, export and freezing stop there too. A MIDI clip open in the piano roll closes when its track becomes audio.

A clip drag can now be called off by letting go over the track heads, by pressing Escape or by bringing the clip back to where it started, which no longer pulls a clip off the grid onto it. The floating bar for a new sampler track never took a drop; a New sampler track slot at the end of the track heads replaces it. A clip dropped on an empty Sound in the Sampler's Keys layout now lands there, and pads holding samples are lit in the Kit layout.

Every effects rack now ends in a dashed Add effect slot. An empty rack shows it where the first card will go, and a full rack keeps it after the last card, so the next effect is always one click away.

When the music stopped, the level readouts on effect cards kept falling for as long as playback ran, so Gain could report a thousand decibels of headroom. They now settle on silence once the level drops below −120 dBFS.

Gain now has Invert polarity, for both channels or either one, and Mid / sides, which keeps only the center of a stereo sound or only its width. Flip a snare's bottom mic or a bass DI against its amp and keep whichever sounds fuller, or switch Master to Mid for a quick mono check. Both fade over 10 ms, so you can compare while the song plays. Search the effect picker or the help for phase, polarity or mono to find them. A Gain left on Off and Full sounds exactly as before.

The blocks in the Sampler's Keys map can now be dragged. A side changes the keys, the top or bottom the velocities, the middle moves the whole sample. Edges where two layers meet move together unless you hold Option or Alt. Spread velocities now works in Keys for samples that share their keys, and a clip dropped on a block asks whether to replace that sample or add a layer on the same keys. Spread keys now keeps layers that share a root together on one range; before, it refused a Sound with velocity layers.

Right-clicking the Master fader or one of Master's effect controls used to open the browser's own menu, because Master has no automation lanes. It now says so and suggests the way around it: nest your tracks in a group and automate the group's fader and effects.

Clicking Master in the mixer selected it, but the strip showed no outline, so it looked as if a track was still selected. Master now gets the same white outline as a selected track, and it stays pinned to the right edge while you scroll the mixer.

A new effect under Color & drive loads a .nam capture of a real amplifier or pedal and plays your guitar through it, with Input, Output, an optional level match and a Stereo mode. Captures you load are kept on the device and travel with the project.

The Neural amp now loads the newer A2 captures TONE3000 makes and files that carry several sizes of one capture, with a Size switch between Full and a Light model that needs less than half the processing. Captures also start cleanly, without the short thump they made when the effect was added, a capture loaded or an export began.

A Sampler kit is no longer limited to sixteen pads. + beside Bank adds another sixteen, up to four banks on MIDI 36–99, and the letters switch between them with a dot on each bank that holds samples. Resting a dragged clip on a bank's letter opens it, and pads that hold samples are lit.

A new effect under Space with seven characters. Stage, Side and Ambience open up stereo that is already there, Spread and Diffuse turn a mono source into stereo without changing its mono sum, Micro adds the classic detuned shimmer, and Double makes a tape-style double track. Each character has an Advanced column with the one to three controls that change it most, such as Double's Dry, Delay and Speed. A Bass guard keeps the low end untouched, Auto gain keeps the level about where it was, and a Mono button plays what a mono speaker would.

Every strip now meters left and right separately, after its fader and pan, with a short peak hold and a light above 0 dBFS that stays red until you click it. The meters also line up with the fader scale. Before, they sat lower than the marks, so a peak at full scale looked like −12 dB.

A Square or Sample & hold LFO, and a Saw at the end of each cycle, used to move its target in a single sample, which crackled on Level, a table position, pan or pitch. Each step now takes 3 ms, so gates, ratchets and stepped sweeps keep their rhythm without the clicks. A Mono line that restarts a Note LFO with each key now moves to the restart over the same 3 ms instead of jumping. Patches that don't use these shapes, and every Poly patch, sound exactly as before.

The audio settings, which the rate readout beside the project name opens, now offer the project's sample rate: 44.1, 48, 88.2, 96, 176.4 or 192 kHz, 48 kHz for a new project. Change it whenever you like. With audio in the project a dialog says what will happen first: playback stops, every file is converted again from its kept original, and clips, fades, loops and comps keep their place to within a frame while MIDI and automation do not move. It is one step in Undo, and going back needs no conversion. A project that overloads at 96 kHz can drop to 48 kHz and halve its engine load. See Project sample rate.

A track's G button and a clip's groove menu now list the swing and feel templates themselves, so the first groove is one pick away instead of a trip to the library. Picking one adds it to the project and assigns it in one undoable step; while a track has no groove, picking one from a clip's menu gives it to the track, so every clip of the part swings together. Grooves you switch away from stay listed, one pick away, and Groove library… in the G menu opens the library to fine-tune them.

A WAV at another sample rate now drops straight into the project. It is converted on the way in, band-limited so pitch and timing stay exact, and the file you dropped is kept unchanged inside the project: the project file stores the original, and the converted copy is made again when it is needed. The status line says what was converted and from what rate, and the clip's tooltip names the original rate. A new project starts at 48 kHz and no longer takes its rate from the first file; a project with only MIDI in it accepts audio at any rate. See Project sample rate.

A sample can now loop while you hold the note. Choose Sustain, Continuous or Ping-pong under the waveform, drag the loop handles on its upper edge, and pull the crossfade handle into the loop to take the click out of the join. Snap settles a released handle on a nearby zero crossing, the waveform zooms with ⌘ or Ctrl and the wheel, and a WAV that already carries loop points starts looped. A loop needs the note to be held, so switching one on sets Trigger to Gate and says so; set a sound back to One-shot and its loop is drawn faint with a note, since One-shot plays straight through.

Audio from the song can now go straight into a sampler. Drag a clip out of the sequencer onto a Sampler pad, a key, a Single Sampler's waveform or a sampler track's head, which light up as soon as the drag moves, or choose Send to sampler in the clip's menu and pick a track or a new one. The clip is captured as it sounds, with trims, loop repeats, gain, fades and chosen takes, without the track's effects unless asked, while the song keeps playing. A pad that already has samples asks whether to replace them or add a layer, several clips land in a row or up the keys, and Spread keys widens zones to meet halfway. Pressing a clip no longer changes the selected track, so a sampler chosen first stays in view to drop on.

The sequencer's horizontal scrollbar now runs only under the clips, with Zoom out, Fit the whole project and Zoom in at its end; they now glide smoothly to the new view. Its scrollbars keep their space at all times, so the panels below no longer jump when a project starts or stops needing to scroll.

A small sampler for one sound. Drop a file in, play it across the keyboard, set its Root by ear or with Detect root, trim and loop it on the waveform, and shape it with the settings stacked beside it. Tone opens a panel with the filter, pitch envelope and velocity response, and Open in Sampler carries the sample and its settings into the full Sampler when one sound turns into many.

When you are signed in, Save puts the song in your workspace, recordings upload as soon as they land in the project, and the working copy autosaves. Open project lists the workspace's songs with trash and previous versions, and Save as still writes a file.

The sound library grows from 213 to 438 patches. The new ones cover everyday jobs with more depth: basses for specific styles, from a fat mono synth bass to a trap 808 with glide, leads, electric pianos and organs, clavs, plucks, string machines and choirs, tempo-set motion such as gates and pumps, risers and impacts, eighteen new drum kits and twenty-five struck objects for the Resonator. Every kit, old and new, is balanced so the kick carries and the snare no longer dominates, and every patch and demo is matched by perceived loudness rather than level, so sounds are easier to compare while browsing. Synth sounds that were completely dry now carry a touch of their own room, chamber or hall, so they sound finished the moment you try them; basses stay dry.

MIDI clips have a second editor: Beats shows one row per kit sound and one column per step, so a groove is built by clicking or dragging along a row. It edits the same notes as the piano roll. Drum clips open in it, and each clip remembers which editor you chose.

Each row of Beats can play any note: choose another sound or note from the chevron beside its name and the row moves to its place with its hits, remove rows a kit does not need, or add rows for a riff. The rows belong to the track and always follow pitch order, so Beats and the piano roll stay in step.

Audio settings has a Buffer size: Low, Balanced, High or Max. Larger buffers keep heavy projects from crackling at the cost of a later response when playing live; Balanced is the new default. Recorded audio and MIDI takes are now moved earlier by the latency of your interface, and a one-time loopback measurement makes that exact for your devices.

Drum machine pads, sampler kit sounds and kits from the sound library now show their names on the piano roll's keys without pointing at them, and a drum clip opens on the kit's main sounds. Opening another clip while the piano roll is open now brings its notes into view instead of staying where the previous clip was.

Clicking a key or placing a note on a kit from the sound library now plays the whole sound, as the drum machine always did, instead of sometimes stopping it at once or staying silent on the first click. In Beats every hit you place sounds, and clicking a row's name plays it.

The round grip above a clip's top-right corner appears again when you point near the corner, so you can drag a clip into repetitions without the context menu. On the top track it now shows above the timeline ruler instead of half behind it.

Every note now has a Chance, the probability from 1 to 100 percent that it plays, so a loop can vary as it repeats. In Beats the Velocity and Chance lanes follow the row you are working on, and in the piano roll the lane under the notes switches between the two. Each repetition of a looping clip rolls again, a clip keeps its pattern when moved, the dice rolls it anew, and exports play exactly what playback plays.

Dragging a knob, fader or effect control no longer redraws the whole studio, and zooming the timeline only redraws what is on screen. In large projects both used to freeze the editor for a moment on every movement. The compressor's history graph also keeps a continuous line while you zoom or scroll, where it used to show small gaps.

The header, transport and effects rack toolbar each stay on one row, with a hamburger menu, a Song settings popup and a rack menu on narrow screens. The piano roll gains Pan, Draw and Select touch tools plus two-finger zoom; drum, sampler and Wavetable controls keep their horizontal layouts and scroll sideways.

Zooming the timeline, dragging controls or other busy moments in the editor no longer pause playback or stop a recording, even in large projects. Stopping and starting playback also no longer leaves earlier playbacks using processing power in the background.

Convert to notes follows the selected recordings and silent passages inside a comp clip. Your original takes stay intact, and the converted notes can go to a new or existing instrument track.

Hover over a passage to compare its takes with a click or the arrow keys. Toggle silence with M, add an internal Stitch with the cutter, and see every join as a full-height dotted seam; the smaller stacked badge still opens the full comp editor.

Audio loop passes and overlapping retakes collect automatically while your existing choices stay in place. Open a clip's takes badge to divide phrases, click through aligned recordings to choose a take, then return to one collapsed result with visible passage boundaries on the timeline. Result playback, manual cuts and pinch zoom sit together above the passage comparisons.

Right-click an audio clip to preview detected notes, adjust sensitivity, shortest note, pitch settling and timing, and compare the recording with the result. Add the phrase as a new MIDI track in one undoable step, keeping your audio intact.

The compact preview keeps audition and confirmation together. Bypass settling has a hover-or-tap explanation; occasional guidance stays in tooltips.

Use Add to new track, or its arrow menu to add the converted clip to an existing instrument track. Several converted phrases can share one instrument without replacing its sound or clips.

The automation browser lists every lane on a track, including hidden and bypassed lanes, with separate reading and visibility controls and deletion you can undo. Track buttons show lane counts and reading status, and automation lanes share the sequencer's grid as you zoom.

Effect automation uses less processing power in racks with several effects. Playback and vertical scrolling avoid unnecessary redraws of the timeline, and automation point controls do less work when zoom changes. Wet/dry adjustments also keep more effect processing in WebAssembly. Automation timing, curves and sound remain the same.

Dense-project zooming and repeated control edits still need further performance work; this pass does not eliminate every playback interruption.

Choose your studio’s accent under Settings › Appearance › Accent: Blue is the default, with Violet, Magenta, Cyan, Teal and Green alongside it. Graphite uses warm charcoal surfaces; Paper uses warm light surfaces, including pale tinted instrument panels. Each instrument and track keeps its own colour. Selected clips, notes and mixer strips have a contrasting edge; a selected track header becomes lighter.

The top bar keeps the menus, project name, Undo, Redo, Save and Export. Click the sample-rate readout for audio devices, or open Settings › MIDI input… for your keyboard. The Effects place now gives the rack the full width in Split layout. The places bar uses icons and labels; number-key shortcuts still work and appear in the tooltips.

The sequencer’s controls sit in its ruler: Add track, Snap and the timeline menu on the left, then clip tools, groove library, Zoom and Focus on the right. Zoom includes track height; triplet and dotted grids live in the timeline menu. Rounded track headers group their automation lanes underneath, and dragging a header reorders or nests the track. Nested headers widen to keep their controls visible. Mixer strips carry their track colour along the top edge, and the selection outline surrounds the whole strip.

Pinch and wheel zoom of the timeline is smooth again. Piano-roll black keys have rounded ends and show their note names on hover or while held. Explicitly restoring a recovered project finishes with a status message instead of another recovery prompt.

The drum machine uses less processing power during busy patterns, including modeled skins, wire snares and metallic hats. Its hits, hat choking, tuning and complete decay tails keep the same sound.

Piano tracks use less processing power during sustained playback, with the same sound, pedal response and loop continuation. Live control changes keep their existing smoothing.

Track headers, automation headers and the Chords header now fill the left column without rounded corners or surrounding gaps. Track colors and automation controls stay the same, and clips retain their height, including in Compact view.

Resonator uses less processing power during dense patterns and ringing loops. Its strikes, body resonance, stereo placement and complete decay tails keep the same sound.

The timeline ruler uses the chord track’s lighter divider color, keeping the vertical lines continuous between the two rows in both themes.

Pinching over clips keeps the same point in the song under your pointer, including during rapid gestures and direction changes. Pinching over track headers still adjusts track height.

Opening the sound library reserves its full width, keeping Export and the timeline controls visible beside it. The header adjusts to the available space, and Export’s right edge lines up with Focus.

Strings tracks use less processing power during playback, including full sections and rapid chords. Bow response, legato, sympathetic ringing and loop continuation keep the same sound, and live control changes keep their existing smoothing.

Tape Synth tracks use less processing power during playback, especially for chords with a clean filter. The sound, drift, drive, glide, finishing effects and loop transitions stay the same. Live controls keep their existing smoothing.

Wavetable tracks use less processing power during playback, including dense chords and unison voices. The sound, modulation, glide, finishing effects and loop crossfades stay the same; live control changes keep their existing smoothing.

Listen to two studio sketches on the website and open their editable projects in Dr. Tape. Compare tape character, reverb and filter movement with players that keep your place when you switch sounds.

Reverb, Limiter, Compressor, Clipper, Crush Lab, Convolver, Listening Room and the spectral effects' analysis now run as compiled kernels. They sound identical and cost between a quarter and three quarters of what they did, so busier projects play without strain.

Dr. Tape can be installed from the browser like an app. The studio, its instruments and effects load from the device afterwards; preset demos and impulses can be stored offline from the Help menu.

View › Scale zooms the studio for small laptops or dense high-resolution monitors. The choice is remembered, and menus, knobs and editors stay accurate at every step.

The open project is stored on the device a couple of seconds after each edit. When the studio opens again it restores the unsaved song with a Discard button, or offers it if another project arrived first.

Tapping a menu or a submenu inside a long-press context menu, such as a Parametric EQ band's Shape, now opens it on iPad and iPhone.

A 1–32 step strip turns steps into rests that stay silent without skipping a note. Insert repeats the low or high note or walks 3-1 and 4-2 blocks, and Outside in, Inside out and As played join the orders, with four new profiles.

Right-click an effect for Copy, Copy to, Paste and Delete, or use ⌘C and ⌘V. The copy brings its settings and automation and lands as one undo step while playback continues.

A new distortion lab under Color & drive with Fold, Sine, Wrap, Bits, Rate and Rectify modes behind one Drive, Bias, Amount, Tone and Output set. It runs oversampled, so untouched audio passes through unchanged.

A row in a strip's Effects list can be dragged up or down its own chain, or dropped on another strip to copy it there. A line shows where it will land and the song keeps playing.

A busy Finger Drum arpeggio that overloaded the audio engine now plays comfortably, and the editor no longer redraws itself on every meter update during playback. The sound is unchanged.

In Chrome, Edge and other Chromium browsers, Save (⌘S) writes into the opened .drtape file with no dialog, Save as (⇧⌘S) picks a new location, and Reopen brings back the last file. Other browsers keep the download, and an unsaved dot marks changes.

MIDI tracks and armed audio tracks with monitoring show arm, FX, Mute, Solo, Groove, automation and the track menu in one row; the header is slightly wider so the last button is no longer cut off.

Sequencer, instrument, effects and mixer stack edge to edge, separated by a seam rather than framed as boxes, and each instrument keeps its own surface colour in both themes.

Progress, confirmations and errors show in a toast instead of a footer line. Progress stays while work runs, errors stay until dismissed and everything else fades after a few seconds.

Tape, Preamp, Wobble and Noise each carry a restrained hue on their panel and knob arcs when active, and go neutral when bypassed, so the on and off states read at a glance.

The effects rack was recomposed so all 29 effects share one height, with graphs beside their controls and advanced settings opening sideways. A chain fits a laptop screen without scrolling the cards.

The sampler, drum machine, synths, piano, strings and resonator were recomposed so every instrument panel fits a 1024 × 768 tablet with the transport visible, with no control hidden behind a scrollbar.

View › Customize rack lets you reorder Sequencer, Piano roll, Instrument, Effects and Mixer, and float the transport at the top or bottom or place it in the rack. The places bar and the 1–5 shortcuts follow your order.

Synth, Wavetable, Sampler and Drums come first, followed by Resonator, Piano and Strings. The sequencer also gains a side edge so its empty area reads as part of the timeline.

The interface now uses the Karla typeface at an 18-pixel base size. Numeric readouts keep their monospaced font.

Moving clips, changing instruments, drawing loops, seeking and importing audio or MIDI no longer stop the song. Edits that need a new graph fade down and back up in a moment instead of stopping.

A history graph draws the incoming voice level, the levelled output, the target and the gain the rider applied, so you can see whether it is working before you hear it.