SAMPLER

Sample anything, then play it. Plug in your phone, press REC, and the sound is on a key a moment later, trimmed to where it starts, ready to chop across the keys, tune, loop and play. The SAMPLER also records the FM-1's own groove, so you can bounce a beat, chop it and play it back in a new order. All of it happens on the FM-1.

The SAMPLER opens on SAMPLES: everything you have made, kits, instruments and takes, newest first, in one list. SEL on a row opens its menu, SEL again opens the editor, and HOME comes back up (see SAMPLES).

The SAMPLER is new in Groove OS 2.0. If you are coming from 1.4, Moving between 1.4 and 2.0 says what comes with you.

Your first sample

1. Turn SELECT to SAMPLER, the page right after KEYS. It opens on SAMPLES: press SEL on + NEW KIT to open the editor (on the kit you were building, SEL twice: its menu, then OPEN).
2. Plug your phone or computer into the FM-1's USB-C port, pick FM-1 Audio as its sound output and play something. On the FM-1 turn K1 (INPUT) to USB: the meter on the top line moves with the sound. No cable? Pair the phone over Bluetooth and use BT instead (see From your phone over Bluetooth).
3. If the meter runs into the red and the room readout turns to CLIP, turn K2 (GAIN) down until the loudest moments stay left of the line.
4. Press REC, then play the sound, and press REC again when it ends. If nothing is playing yet the picture says WAITING FOR SOUND, and the take starts on the first sound, so nothing silent comes before it. If the sound is already playing, a moment late is fine: the take still starts on its first hit.
5. The take lands on the pad you were on (R01 ON PAD 1) as you recorded it, and plays back once. Press the key to play it again, turn K1 and K2 to trim it, turn K3 to chop it.

The rest of this chapter is every knob and button behind those five steps.

What the SAMPLER is

The SAMPLER is a page on the SELECT wheel, between KEYS and PROJECT: TRACKS, MIX, PERFORM, KEYS, SAMPLER, PROJECT. It is not a track. It is where you record, and where your samples live. It opens on SAMPLES, your list of everything you have made, and the editor is a level in from it. HOME goes up one level: from the editor to SAMPLES, and from SAMPLES to TRACKS, where the keys play the selected track again.

You build one of two things on it, and K3 on the input chooses (MODE):

To use either in a song, put it on a track (see Kits and instruments on tracks). A kit becomes a drum track, an instrument becomes a SAMPLE track.

Reading the screen

The lights on the panel's white keys follow the same picture: in KIT the keys that hold a sound are lit, and in INST the lit key is the C.

The cursor is ALGORITHM, as everywhere. It stops on the input first, then on each pad (KIT) or on the one sound (INST). Playing a white key also puts the cursor on it. While the cursor is on the input, on an empty key, or while you record, there is nothing to trim yet, so the knobs are the input's.

Hold HOME and the page stays where it is: the legend shows the second row, with a HOME tag, and the panel's keys light to show their settings, F3 to B3 the bars you chose. Hold GLO for a short help card, and tap it for SETTINGS.

Every control

Where the sound comes from

K1 (INPUT) picks what the FM-1 records. The FM-1 has no audio input jack, so the sources are Bluetooth, USB-C and the FM-1 itself.

The FM-1 has no microphone input of its own. To sample your voice or an instrument, record it on a phone or a computer and play it into the FM-1 over Bluetooth or USB-C, or play it live through any app that sends its input to the output.

Samples are mono. The input changes only between takes (INPUT: AFTER THIS TAKE if a take is running). The SAMPLER listens while its page is open, so the picture always shows what the input has just heard.

Gain and the clip warning

K2 (GAIN) sets how hot the input is. The meter shows the level after the gain: green up to the thin line, yellow past it, and a red block at the very end that lights when the sound reaches full scale. When it does, CLIP replaces the room readout for a moment. Turn the gain down until the loud parts sit left of the line, and the take will be clean.

From your phone over Bluetooth

BT is the way to sample with no cable at all. It works like USB: the same meter, the same GAIN and CLIP, and the take lands on a key the same way.

1. In SETTINGS, turn BLUETOOTH to ON (see BLUETOOTH), and pair the phone once: pick FM-1 Groove in its Bluetooth settings. There is no code to enter.
2. On the SAMPLER, turn K1 (INPUT) to BT. If nothing is arriving yet, the toast says PHONE: PLAY TO FM-1 GROOVE. You can press REC before the phone plays: the take waits for its sound (WAITING FOR SOUND).
3. Play something on the phone, with FM-1 Groove as its sound output. The meter on the top line moves with it.
4. Press REC, start the sound on the phone, and press REC again when it ends, as with any input. While nothing arrives the picture says WAITING FOR SOUND.

• You hear it. What the phone plays comes out of the FM-1 as it records, at the level of the FM-1's own volume, so you choose the moment by ear. The FM-1 does not send it back to the phone.
• The FM-1 is also a speaker for your phone. Whatever the phone plays is heard from the FM-1 whichever INPUT you chose, so you can play along with a track from your phone.
• A take is trimmed like a take from USB. It starts on its first sound and stops just after its last one. It lands as you recorded it, not fitted: one click right on HOME+K4 fits it to the song (see FIT).
• A linked phone sets the input. If a phone is paired and connected when you open the SAMPLER, INPUT starts on BT (a computer streaming over USB: USB), until you pick an input yourself. The input you pick stays, also after a restart.
• It is mono, like every sample.
• The meter is low? The phone's own volume changes how loud the sound arrives: turn it up first, then K2 (GAIN).

Recording

Press REC to start a take and REC again to stop it. While it runs the picture shows only the take, growing from the left with its length above it, the room at the top right counts down, and the hint says REC: STOP. The knobs are the input's, and INPUT and BARS wait for the end of the take.

REC waits for the sound. If the input has heard nothing in the moment before you press REC (the last tenth of a second), the take does not start yet: the picture says WAITING FOR SOUND and REC blinks. The first sound starts it, on any input: anything louder than -40 dBFS after GAIN. The FM-1 has kept listening, so the very start of that sound is in the take, and nothing silent comes before it. Press REC again, or tap HOME+REC, to call it off: REC CALLED OFF, and nothing is recorded. A take that hears nothing for 20 seconds calls itself off: REC CALLED OFF · NO SOUND. A sound that has died away before you press REC never starts the take early: the take starts with the next one.

A take keeps only what you play. When a take lands, the FM-1 keeps it to just after its last sound and gives the silence after that back to the room, so a late second press of REC costs you nothing. Bars in time keep all of their length, silence included: a BARS take, bars you keep with HOME+SAVE while the groove plays, and a take of the FM-1's own sound that ends on the groove's bar line. A loop whose silent end is shorter than a beat keeps it too, so a loop recorded to its bar line keeps its length for SET TEMPO and FIT.

It never overwrites. A take goes on the pad the cursor is on if that pad is empty. If it has a sound, the take goes on the next empty pad, wrapping round to the start of the row, and the toast says so: R03 ON PAD 3 · PAD 2 KEPT. Takes are named R01, R02 and so on. If all 16 pads are full it says 16 PADS FULL · HOME: NEW KIT: HOME goes up to SAMPLES, where + NEW KIT is.

Every take is brought to a good level as it lands, even a phone played softly, so a quiet sample is not a quiet pad: your pads start evenly loud, in the SAMPLER and on your tracks, and LEVEL (see Settings for each pad) trims from there. Every sound also fades in and out for an instant, so a key never clicks.

Where a take starts and stops

The FM-1 keeps listening while the SAMPLER is open, so a take can start from just before you pressed REC. Press a moment late and the take still starts on the first hit, not after it, and a take that waited for its sound starts exactly where the sound does. A take is also trimmed at the end, just after its last sound, so you do not need to be quick with the second press either.

A take lands as you recorded it: FIT off, played once per press. The hint offers HOME+K4: FIT TO SONG: one click right fits it to the song (the menu's FIT row does the same) (see FIT).

You can trim a take afterwards (see Trim), and undo it (see Undo, retake and delete). In INST a new take becomes the instrument, and the one it replaces stays in SAMPLES: R07 ON THE KEYS · R04 IN SAMPLES.

Quality: HIGH or LONG

The QUALITY row of the SAMPLER menu (SEL) trades a little sound for room: HIGH · BEST SOUND, the default, or LONG · 2× TIME, which gives about twice the recording time, with a little grain. Turn K1 right for LONG and left for HIGH. The value says what you get, so there is no message when it changes.

• It applies from the next take. A take that is running keeps the quality it started with, and every take keeps its own, so switching later never changes a sample you already have.
• The room follows it. With LONG the room left is about twice what it was: the readout at the top right of the SAMPLER and SAMPLES show it. Every figure for the room is in seconds at the quality you have now: the readout, STORE FULL: 4.4 S FREE, what a delete FREES and what DELETE UNUSED gives back. Bluetooth audio takes some of the room samples had, so a single take runs up to 10.3 seconds at HIGH quality, the default, and 20.3 seconds at LONG, a little less than in the earlier 2.0 builds. A new FM-1 has no samples on it: new projects start on the EIGHT-OH synth kit, which uses none of that room, so all of it is yours. On a new FM-1 only the take you make before anything is saved is a little shorter, 9.7 seconds at HIGH and 19.2 at LONG: every take after it can use the full room.
• The FM-1 starts listening afresh when you change it. The look-back before a take, and what HOME+SAVE captures, begin from nothing again, so play a moment before you record.
• It is remembered. The FM-1 keeps your choice with the session, so a restart that brings the session back brings it back too, and loading another project does not change it.

Bars

K4 (BARS) on the input is OPEN, 1, 2, 4 or 8. HOME+F3, G3, A3 or B3 sets 1, 2, 4 or 8 too, and the toast says BARS 2 · THE NEXT TAKE. Bars make a take land in time with the song:

A press of REC during a take ends it early. Press it while the picture says NEXT BAR or WAITING FOR SOUND and it calls the take off.

Pro tip: to sample the FM-1 itself, set INPUT to MAIN, set BARS to 2 and press REC while the groove plays. It starts on the next bar and gives you two clean bars, in time, that loop with the song.

Keep what you just heard

You do not have to be recording to catch something good. The hint line offers it (HOME+SAVE: KEEP LAST BARS): HOME+SAVE keeps what the input just heard, onto an empty pad the way a take goes:

• With the groove playing and the input not on USB or BT, it keeps the most recent whole bars it has heard, cut on the bar line and in time, and the toast says how many: KEPT 1 BAR · LOOPS IN TIME or KEPT 2 BARS · LOOPS IN TIME. The FM-1 listens back about 2.8 seconds at HIGH and 5.6 seconds at LONG, so at 90 BPM HIGH keeps one bar and LONG two; at 120 BPM HIGH keeps one and LONG two (a short while after the SAMPLER opens it has heard less). The pad lands on PLAY LOOP: a press starts it in time with the song, the next press stops it.
• Otherwise it keeps the last stretch the input heard.

If nothing has come in yet it says NOTHING HEARD YET. It works only while the SAMPLER is open, because that is when the FM-1 is listening.

Trim: START and END

K1 (START) and K2 (END) set where a sound starts and ends. You hear each edge as you turn: a turn of START plays the sound from the new start, and a turn of END plays the end of the sound, up to the new end. You stop turning when the next word, or the next hit, has gone.

• The picture marks START with a blue line and END with a green one. The number under START is how far into the sample the sound starts, and the number under END is how long it plays.
• A turn moves the edge by a small step that fits the length of the sound, never less than 10 ms. Hold SEL while you turn to move in tens.
• Each edge lands on a smooth point in the sound, so a trimmed sound never clicks.

Chops

Turn K3 (CHOPS) on a key and the sound splits on its hits into 2 to 15 pieces. Each piece goes on one of the empty keys after it, and the whole sound stays whole on its own key, so you can chop it again. Turn down below 2 and CHOPS is OFF: the pieces go away.

The toast says what happened: 2 CHOPS · ON THE KEYS AFTER IT, NO CHOPS · PAD 1 WHOLE, or ROOM FOR 4 · HOME: NEW KIT if the empty keys ran out. Each chop is a key of its own, with its own TUNE, LEVEL, CHOKE and REVERSE. Press the keys and finger-drum them.

Short sounds never chop by accident: tapping an empty key only chops while a sound longer than a second is playing, so finger-drumming on short hits is safe.

Chops of one sound cut each other. Press the next chop and the one before stops, so you can play them as fast as you like and hear each one clean, here and on a drum track. Sounds from different samples still ring over each other. CHOKE A or B on a chop puts it in that group instead. Turn K3 at any speed: every click counts.

Pro tip: to chop a vocal or a loop in time with the song, fit it first (one click right on HOME+K4), then turn CHOPS: it bakes the fitted sound and the pieces fall on the sixteenth-note grid, in time and at their own pitch.

A chopped kit comes with all its chops when you put it on a track.

Settings for each pad

Every key keeps its own settings. Most are on the knobs, in the table under Reading the screen; the rest are in the SAMPLER menu (SEL).

On the key row, a key set to GATE has a small line under its number, and a key set to LOOP has a small square in its corner.

KIT and INST

KIT: a kit on the white keys

In KIT the 16 white keys, from the lowest F, are 16 sounds: your own kit. Pressing a key plays its sound and puts the cursor on it. The black keys do nothing. Record a hit, record the next one, and each lands on the next empty key until you have a kit. Chop one long sound across the keys, or mix: some takes, some chops.

To play a key's sound across the keybed, make it the instrument (MAKE INSTRUMENT, below).

A sound that has chops is marked WHOLE on its name line, so you can tell it from its chops; on a drum track the whole is R03 and its chops R03·1, R03·2 and on.

INST: one sound across the keys

Turn K3 on the input to INST and, if you have no instrument yet, the sound you were on comes with you as the instrument, with its FIT. To make any key the instrument, with its trim and FIT, pick MAKE INSTRUMENT in the menu (the instrument you had stays in SAMPLES). Every key, black and white, plays it at its own pitch, so melodies and chords are one key press away. The key that plays it exactly as recorded is marked C on the screen and lit on the panel.

A fitted instrument keeps its length on every key. Fit it TONES or BEATS and each key moves the pitch, not the length: a phrase fitted to two bars lasts two bars on the C, an octave up and a fifth down, in the SAMPLER and on its SAMPLE track. Fitted SPEED, it plays like a record instead: an octave up is twice as fast. Keys more than an octave below a sound that was sped up to fit start to play shorter.

A sample from your voice, a loop on, a slow attack and a long release is a soft pad.

When you change back to KIT, your kit is as you left it. A new kit is + NEW KIT on SAMPLES, and a new instrument is + NEW INSTRUMENT. The ones you replaced stay in SAMPLES.

FIT: a loop in time with the song

FIT is the one move for a phrase or a loop: one click right from OFF (on HOME+K4, or the menu's FIT row) sets END just after the last sound, the fit to TONES, and its bars from the song's tempo, and says so: TONES · 2 BARS AT 90 BPM · PITCH KEPT.

HOME+K4 is the same move on a key: its legend says FIT, and the first click right fits it to the song. The clicks after it go on to BEATS, SPEED and back to OFF; a click left from OFF is SPEED. Once a key is fitted the hint says what the next click does: HOME+K4: FIT BEATS, FIT SPEED or FIT OFF.

A chopped sound's chops follow. Fit or warp a sound that has chops, or any of its chops (they are one group, the one they choke in), and the chops are baked again at the song's tempo and cut where they were: BAKED AT 90 BPM · 8 CHOPS, or FITTED · LONG QUALITY TO FIT when only LONG has the room. Chop first and fit after, or fit first and chop after: either way the chops play in time and at their own pitch, here and on a drum track. If there is no room for the fitted copy, the fit is not made at all and the chops stay as they were: NO ROOM · DELETE A SAMPLE OR TRIM IT.

FIT (the menu's FIT, or HOME+K4) makes a loop play in time with the song, whatever tempo it was recorded at. The FM-1 works out how many bars the sound is, the nearest of 1, 2, 4 or 8 at the song's tempo, and says so: TONES · 2 BARS AT 96 BPM. A fitted kit key plays once per press, in time, then stops, like any pad; set PLAY to LOOP and it loops until you press it again. Leaving the editor, or changing the kit or the mode, stops it too: nothing the SAMPLER's keys play keeps sounding after you go.

Two voices at once. At most two fitted sounds (BEATS or TONES) play at the same time. The key's name line counts them (TONES 1/2). A third plays as SPEED, and says so: 2 FITTED PLAYING · THIS ONE: SPEED. SPEED has no such limit.

The other way round. SET TEMPO in the menu sets the song's tempo from the loop on the key, so a break recorded at 92 BPM makes your song 92 BPM instead of bending the break. The toast says TEMPO 92 BPM. A key that is not fitted is switched to SPEED so it keeps playing in time; a key that is already fitted (BEATS or TONES) keeps its fit, and the fit follows the new tempo. The row is there only for a sound of at least half a bar. Changed your mind? A tap of HOME+REC puts the song back at its old tempo (UNDO TEMPO 90 BPM).

An instrument can be warped from the menu as well.

The SAMPLER menu

SEL opens the menu on its first row, TO A TRACK, every time (the figures under Quality: HIGH or LONG show it). A row that cannot act says why instead (RECORD FIRST while the key is empty). Making a new kit and giving room back are on SAMPLES now, not in this menu.

SAMPLES

SAMPLES is the SAMPLER's front page, and the place everything you have made lives: your kits, your instruments and your takes, newest first, in one list. Turning SELECT to SAMPLER opens it, and so does SAMPLES in SETTINGS. The editor from the sections above is one level in: SEL opens the highlighted item's menu and SEL again opens it there, HOME comes back up, and HOME again goes to TRACKS.

The rows

• + NEW KIT and + NEW INSTRUMENT come first. SEL opens an empty one in the editor, so starting something new is one move. The kit or instrument you were on stays in the list.
• The kit you are building is marked OPEN. One that is not saved yet says NOT SAVED YET, so nothing ever seems lost.
• Then everything on the FM-1, newest first. A kit is KIT 2, an instrument is INST R04 (named after its sample) and a take is R03. A take that is on a kit or an instrument lives inside it, so it has no row of its own: open the kit to find it. Only takes on no kit get a row (TYPE SAMPLES lists every take).
• DELETE UNUSED is the last row (see DELETE UNUSED).

Each row says who uses it, then how big it is:

Where you left off. The cursor waits on the kit or instrument you were building, so SEL twice carries on where you stopped.

The room

The bar at the top is the room: grey is used, red is what DELETE UNUSED would give back. The legend under the list:

After you delete something the room readout holds its figure and catches up a moment later, once the FM-1 has the freed room ready. It does not dip to 0 while that happens.

What each control does here

A row's menu

SEL on a kit, an instrument or a take opens its menu. The header names the row, and the cursor always starts on OPEN.

HOME goes back to the list without changing anything.

Your kit is never lost. Opening another kit, or + NEW KIT, while the kit you are building is not saved yet says SAVING THE KIT FIRST (SAVING THE INSTRUMENT FIRST for an instrument), and starts saving at once: press SEL again to open the other. While the music plays it says STOP TO SAVE IT FIRST.

Make room safely

Press SEL on a row and pick DELETE, the last row of its menu, or hold HOME+REC on the row until the ring fills. Either way it asks before it deletes, and says what uses it:

CANCEL is the default: SEL keeps everything, and ALGORITHM then SEL deletes. Deleting the kit you are building empties the editor to a new kit.

DELETE UNUSED

The last row of SAMPLES gives room back in one move. It deletes the samples made on the FM-1 that nothing needs: not on a key of the SAMPLER, not on a track of this project, not in any saved project and not in a kit you keep. It also deletes the kits and instruments you are not building whose sounds are all like that. Its row shows how many and how much room that gives back, or NONE.

It checks your saved projects first (CHECKING THE PROJECTS for a moment), then asks once: DELETE 6 UNUSED?, with a line that says how many samples and kits go and how much room that gives back. When it is done a toast says how many it deleted (DELETED 6), and the room readout catches up a moment later, once the room is ready. If there is nothing to delete it says EVERY SAMPLE IS IN USE.

Saving samples, deleting, renaming and DELETE UNUSED need the music stopped. While it plays, they say STOP TO SAVE.

On your computer

Your samples have a home on the website too: the Samples page. Manage your samples from your computer: add any sound, back up, tidy up. It works over the same USB cable as the Install page, in Chrome or Edge, and what you add or change there is on the FM-1 afterwards, in SAMPLES. If a project plays samples the FM-1 does not have, the FM-1 points you to the same page (GROOVE-OS.COM/SAMPLES).

Kits and instruments on tracks

A kit or an instrument you built becomes a sound in PRESETS, next to every other sound, and you play it from a track. The kit you are building is there at once, from its first sound, before the FM-1 has saved it and while the song plays: PRESETS lists it on top as KIT 2, and SEL puts it on the track.

Two moves put it on a track, and the new track is named after it (KIT 1, or the instrument's sample, R01), the same name as the toast says (T6 KIT 1):

• TO A TRACK in the SAMPLER's menu: a new track with the kit or instrument you are building on it.
• On TRACKS, + ADD TRACK > SAMPLE: a new track with the SAMPLER's kit or instrument on it, or the newest one you kept. If you have not sampled anything yet, it adds a track with the SAMPLER's empty kit and opens the SAMPLER, ready to record: T5 KIT 1 · REC: RECORD. What you record lands on that track's pads as you go. The menu opens on the kind of track you added last.

The new track is selected, so the keys and REC on TRACKS go to it. To put another of your kits or instruments on a track, use PRESETS, below.

You can also pick the type KIT or INST for any track from PRESETS (K3 is TYPE, or turn PRESETS while holding HOME), the way you pick any other sound. A kit goes on a drum track, or on an empty track, which becomes one. A track of another kind that already has notes says CLEAR THE TRACK FIRST.

• REC records notes there. On the TRACKS page, REC records your playing into a sample track as it does for any track. Sound is recorded on the SAMPLER only.
• A kit's keys come with their TUNE, LEVEL, CHOKE (A and B), REVERSE and PLAY, and as loud as they play in the SAMPLER: a key on LOOP loops on the track, the others play once per hit. A fitted key plays fitted on the track as in the SAMPLER (SPEED, or stretched for BEATS and TONES, two at a time), and a LOOP key loops until its next hit or STOP. An instrument keeps its fit. For chops in time on a drum track, chop a BEATS or TONES sound: they are baked in time (see Chops).
• The SAMPLER plays what your tracks play. The kit or instrument open in the SAMPLER is the one on your tracks: trim, tune or chop a key and every track of this project that plays that kit or instrument changes with it, as you turn. There is nothing to save first. Saved projects keep the copy they were saved with.
• EDIT reopens the SAMPLER, inside your song. Press EDIT on a sample track and the SAMPLER opens on its kit or instrument, the top line naming the track (T5 · INST). What you change goes straight onto the track, and onto every other track that plays it. Press EDIT again to go back to TRACKS (HOME goes up to SAMPLES instead). If the SAMPLER has a kit that is not saved yet, it opens on that kit instead (it is never lost), and the track keeps what it had.

• A project holds up to 32 samples. A kit or instrument that would go past that says PROJECT FULL: 32 SAMPLES.
• The kit you are building is saved for you. The SAMPLER saves its kit and instrument on the FM-1 whenever the music is stopped and you have paused for a moment, and puts the cursor on it in SAMPLES the next time.

Undo, retake and delete

HOME+REC has two jobs, as everywhere in Groove OS: a tap is undo, and a hold is the destructive verb.

• Undo is one step. Tap HOME+REC and the keys go back to how they were before your last take, capture, chop, warp, tempo change, mode change, new kit, sample you put on a pad, or sound you took off a pad, and the toast says which: UNDO TAKE, or DELETED when the take also leaves SAMPLES. Tap again and it says NOTHING TO UNDO. A take you undo goes from SAMPLES too, unless something else uses it (a track, a saved project, another kit). Chops you cut right after a take or a bake go with it: one tap takes the take or the bake and its chops away, and the cursor goes back to the key it came from.
• During a take, HOME + REC calls it off. Tapped while recording, or while the picture says WAITING FOR SOUND, it ends the take and keeps nothing: no pad, nothing in SAMPLES.
• Retake. Press REC again. The new take goes on the next empty pad and the old one stays (R02 ON PAD 4 · PAD 1 KEPT), so you can compare them. To replace a sound on its pad, delete it first.
• Delete. Hold HOME+REC on a key until the ring fills, or press SEL and pick DELETE, the menu's last row. It then asks DELETE R03? and says what happens. If something else uses the sample (T5 STILL USES IT · OFF THIS PAD ONLY) it only comes off the key. If nothing does, it says how much room comes back (FREES 0.5S), and the sample goes at once. A track that plays the kit you are building is not "something else": it lets go of the sample with the kit.

Careful: deleting a sample that nothing else uses takes it off the FM-1, and undo cannot bring it back.

What the SAMPLER holds

Moving between 1.4 and 2.0

2.0 is the current release, and the Install page installs it. The way back to 1.4 is one click on the same page.

• Your samples and kits come with you. The sounds and kits you put on in Your own sounds come to 2.0 with you. Going back to 1.4, the ones you made in 2.0 wait in this browser until you return.
• Your projects come back on your FM-1, with a copy in your downloads. Whenever you switch, the installer saves them as .groove files first, then puts each one back in its own slot and checks it. Going back to 1.4, Bluetooth is off (turn it on in SETTINGS) and 1.4 can't play 2.0's sample tracks.
• LFOs in time play free on 1.4. A song that uses LFOs in time opens on 1.4 too; there they run free, at about the speed they had at the tempo you chose them at.

Troubleshooting