Clips

Moving, trimming, fading

• Move — grab the title band and drag: in time, and across tracks. If several clips are selected, dragging any one moves the whole selection by one snapped delta. Dragging an audio clip below the last lane creates a new track. MIDI and step clips (a drum Beat) are grabbed anywhere on the body — the hand cursor shows where — and only land on a track that has an instrument: dropped on an audio lane, on a return, or in the empty space below the lanes, the clip keeps its time move, stays on its track, and the status line says why (a MIDI clip on a track with no instrument would never sound).
• ⌥-drag the title band — duplicate-and-drag: leaves a copy at the origin (one undo).
• Trim — grab either edge (within about 6 px) and drag. If several tracks are selected, the edge drag extends or shortens the matching clip on every selected track by the same amount — one gesture to stretch five loops out together. Each clip stops at its own source length, so a shorter one simply stops growing while the rest carry on.
• ⌘E / Split at playhead — with several tracks selected, cuts every selected track at the playhead in one undo step.
• Fades (audio only) — every audio clip has fade-in and fade-out. On hover, square handles appear at each fade's ends and a diamond handle rides the middle of the curve: drag the squares to set the fade length, drag the diamond vertically to bend the shape between convex, linear, and concave. Like trimming, a fade drag with several tracks selected sets the same fade on all of them. The dark "attenuated wedge" shading over the faded region is always visible. ⌘⌥F creates fades sized to your selection — or, on a bare selected clip, adds a short anti-click fade pair.
• Overlaps never stack — dropping or moving a clip over another on the same lane trims or splits the one underneath. Two clips never sound at once on one lane.

The clip menu (right-click)

Every clip — audio, MIDI or step: Split at playhead · Duplicate · Delete.

Audio clips add: Consolidate (glue — renders the selection in place, without the track's devices; audio only, since it renders to a wave clip) · Show takes (N) (when the clip has recorded takes) · Normalize → −1 dB (reversible gain to bring peaks to −1 dBFS) · Warp to Tempo (on/off) · Add warp marker at playhead · Clear warp · Clip Effects ▸ (per-clip rendered effects: low-pass/high-pass filter, step volume, polarity invert, make-mono, tape stop; exclusive with warp/reverse) · Groove ▸ (pool templates + Off + Amount 25/50/75/100 %) · Extract Groove · Tune Notes (per-note pitch correction — below).

MIDI clips add: Quantize ▸ (1/4, 1/8, 1/8 swing, 1/16, 1/16 swing, 1/8 triplet) · Velocity ▸ (Full 127 / Accent +12 / Soften −12 / Humanize) · Groove ▸.

A few clip actions deliberately live outside the menu:

• Reverse — press R with an audio clip selected (or use the Audio Clip View's REV button, or ask the agent).
• Rename / recolour — not per-clip (see above).

Keyboard editing

• ⌘C / ⌘X / ⌘V — copy/cut/paste clips with everything intact: trim, fades, gain, reverse, warp, notes. Multi-track selections keep their relative lanes; a single clip pastes onto the selected lane at the playhead.
• Cross-project clipboard — the clip clipboard is shared across all open projects. Pasting into another project automatically copies the audio file into that project's Imported folder and re-points the clip.
• ⌘D — duplicate the selected clip(s) after their span. With several tracks selected that means every clip on every selected lane — the same set that paints as selected and the same set ⌘C/⌘X take — copied as one block, so the clips keep their relative timing. Press it again and the block chains further down the timeline; it does not re-duplicate what's already there. (With a track header focused instead, ⌘D duplicates the track: the last thing you clicked wins.)
• Delete — removes the selected clip, or, with several tracks selected, every clip on every selected lane, in one undo step. A marquee time selection wins over both: it deletes just the highlighted span. Selecting tracks without clicking a clip (⌘A, say) leaves Delete on the tracks, not their contents — so a stray keypress can't empty the arrangement.
• ⌘J — Consolidate the marquee/selection (glue, devices bypassed).
• ⌘B — Bounce to New Track: renders the selected range with the track's device chain onto a brand-new track — the complement of Consolidate. On a track inside a group (or sent to another track) the bounce is the track's own sound, before the group's processing; the new track goes to the Master, so drag it into the group if it should replace the original there. The bounce never includes the Master: its devices and its fader are applied when the new track plays, not printed into the file. One thing a bounce cannot print is a sidechain duck: the track that keys it is not part of a one-track render, so the bounce is the track un-ducked.
• ⇧⌘J — Crop to Selection: non-destructively trims every intersecting clip to the selected window.

The Audio Clip View

Double-click an audio clip to open the Audio Clip View in the bottom band (it shares that band with the Mixer, the piano roll, and the device dock). It shows:

• A large waveform screen with time ruler, playhead, and an info readout (sample rate/format · mono/stereo · length · bars).
• The SAMPLE well — drag-editable LCD cells:
  • TRANSPOSE — ±48 semitones (drag = 1 st steps, ⇧ = 0.01 st, double-click to type).
  • GAIN — ±24 dB (drag = 0.5 dB, ⇧ = 0.1 dB).
• WARP and REV — raised toggle buttons for Warp-to-Tempo and Reverse.
• MATCH KEY — an amber action button: pitches this clip to the song's key using the brain's key detection and nearest-interval math. One press, one undo.

Everything in this view is the same shared-control surface the agent uses (clip.pitch, clip.gain, clip.reverse, clip.warp), so an agent move and your drag are literally the same operation.

Warp and time-stretch

Zammoth's time-stretcher is SoundTouch. Warp to Tempo locks a clip to the musical grid: from then on, tempo changes stretch its audio to keep its bar span. Warp markers pin a moment of the clip's source audio to a spot on the grid — add one at the playhead from the clip menu. (Dragging warp markers directly on the waveform isn't built yet; today, moving or removing individual markers beyond the playhead-add is done through the agent.) Files whose names carry a BPM tag can auto-warp on import (a Preferences toggle, on by default).

Tune Notes (per-note pitch correction)

Tune Notes on an audio clip asks the brain to find every off-pitch note (beyond 15 cents by default), then splits the clip at note boundaries, pitches each segment by its own measured error, and fades the seams — one undo step. It refuses polyphonic material, warped/reversed/grooved clips, and takes with more than 48 off notes (that's a re-take, and it says so). It runs in the background and reports when done.

Takes and comping

Loop-recording stacks one take per loop pass onto the clip. Then:

• Show takes (N) (clip menu) expands the take rows in the clip's lower body.
• Click a take row — that take becomes the one that plays. The clip's own trim edges, fade squares and curve diamonds keep winning where they are drawn over the take stack: the press goes where the cursor promised, not to the take row underneath it.
• Drag across a take row — comp that take over just the dragged range. Zammoth splits the comp at your drag edges and points that span at the chosen take.
• Drag the seam between two comp segments to slide the boundary.
• The agent can do all of this by command — and also flatten the finished comp to a single clip (comp.flatten) and discard unused takes (take.delete_unused) when you ask.

Grooves

Grooves are non-destructive timing feel: the notes and audio keep their raw positions, and the engine shifts them at playback.

• Apply — clip right-click ▸ Groove ▸ and pick a pool template; Amount (25/50/75/100 %) scales how hard it pulls. Works on MIDI and audio clips (audio rides the clip's warp map, so Warp to Tempo must be on). The menu lists the one-off grooves first and then one submenu per family (Swing 1/4 ▸, PushSwing 1/2 ▸, …), so the shipped pool of 176 templates reads as sixteen rows.
• Extract Groove — from a MIDI clip instantly; from an audio clip via onset analysis (it answers a moment later). Extraction measures deviation from a straight grid, so already-quantized or grid-dense material is refused with a reason.
• The Groove Pool lives in the browser's Grooves tab: apply, export (.trkgroove), delete (refused while a clip still uses the template). Drag a groove from the browser onto any clip to apply it.
• Hand-editing a warp marker, or reversing a clip, detaches its groove (both are incompatible with the live warp path — Zammoth tells you).
• Grooves shift timing only; velocity feel is the Velocity submenu or midi.set_velocity.
• The agent sees each clip's groove and both the raw and groove-shifted note timings, and shares the whole surface (clip.set_groove, groove.list/create/import/export/ set_amount, clip.extract_groove).