FluidEQ 1.4 turns the Karaoke Maker into a complete local production studio.
It can split a song into voice and backing tracks, transcribe the words, follow
the sung melody and carry the result all the way into the player. The Maker and
player were also rebuilt around the same transport, so moving between them now
feels like two views of the same song instead of two different tools.
New
- Separate a song into voice and backing tracks, entirely on your PC. The
Karaoke Maker can now prepare both stems from an ordinary song, keep them with
the saved draft and restore them when the project comes back. Each stem can be
heard alone, and voice, backing and melody guide each have their own level in
the shared transport. - A stronger local lyric and melody pipeline. Transcription now uses
Whisper large-v3-turbo and asks for the song's language instead of guessing;
every language the model supports is available. Melody detection uses RMVPE
with SwiftF0 as a fallback, follows phrase attacks and singing contours more
naturally, and decodes stable notes with a Viterbi pass. Downloaded models,
decoded audio and GPU memory are managed explicitly, with a visible way to
release the memory when the work is finished. - The response graph can live over the Karaoke player. Double-click or use
the expanded/fullscreen graph view while Karaoke is playing and the graph is
drawn over the stage, with its own visibility and blur controls. Karaoke
remains sharp, and the graph menu and pet make room for the song controls. - Double-click the Karaoke stage to enter or leave fullscreen. Buttons,
sliders and other interactive controls are protected, so an ordinary control
click never changes the window mode. - The OPRA headphone-correction library replaces the retired AutoEq data.
It brings a current catalogue of more than 6,200 products and 12,000 curves,
keeps the measurement author and source attached to each correction, and can
update independently with the database carried on every version release.
Changed
- The Karaoke player and Maker now use one transport. Play, seek, skip,
backing, voice and melody-guide controls have the same icons, proportions and
bottom position in both views. At narrower widths the large level sliders
become compact buttons whose menus hold the same settings instead of forcing
the bar to overflow. - The Karaoke Maker has a responsive, two-level header. Editing tools sit in
the header rather than stealing a row below the preview; they stay centred
when there is room and wrap onto their own header line when there is not.
Playback stays in the bottom transport, and the entire editor contracts for a
13-inch screen without hiding tools or stacking them over the title. - Karaoke lyrics focus more like a stage display. The current line is larger
and brighter, the surrounding lines fade with distance instead of disappearing
into a dark wall, and switching between player and Maker uses a short,
low-cost transition without moving the bottom controls. - Responsive workspaces use the whole window. Media and Karaoke now fill the
available height on tall, narrow windows; the side controls scroll instead of
overlapping; the titlebar waveform gives up width before transport buttons do;
and graph, player and Maker panes keep bounded heights at the mobile breakpoint. - Profiles belong to their output device. Each device now has its own profile
folder, deleting a profile asks first, and removing some other profile no
longer changes the current selection. - Visualizer choices show what they look like before playback starts. The
look picker renders a representative frame, and the live-output strip has a
compact wave size available from the existing size shortcut. - EQ Presets received a layout and interaction polish. Clearing the editable
bands no longer makes the selected reference correction lose its name.
Fixed
- The titlebar waveform now follows the sound the meters are showing. It
reads the left and right channel analyzers directly, so opposite-polarity
stereo can no longer cancel into a flat trace while both meters are active. - The mobile response graph no longer grows the page forever. Its narrow
layout has a bounded viewport-relative height and cannot use its own new size
as the next flex measurement. Media and Karaoke no longer stop halfway down
the same narrow window either. - Karaoke controls no longer collide in expanded graph or fullscreen views.
The graph options, titlebar, pet, chords, lyric-size control, playlist button
and bottom transport all reserve the space they need, whether the top bar is
shown or hidden. - The Karaoke transport no longer drifts between player and Maker. Both
surfaces use the same bottom inset and padding, percentage labels no longer
squeeze into neighbouring controls, and the backing-only label remains inside
its own menu at small widths. - The Maker's header and tools no longer overlap. Long titles truncate,
action groups shrink before they collide, and tool buttons keep a consistent
icon size instead of expanding with the row. - Core tab changes no longer flash through a dark frame. EQ, EQ Presets,
Voicing and Convolution remain opaque while their content changes, matching
the already-stable Media and Karaoke tabs. - Saved Karaoke stems and guide vocals recover cleanly. Restored stems are
adopted instead of separated again, the guide vocal can rebuild itself after
an interrupted render, solos stay contained, and drafts follow the source
content rather than a temporary filename. - The embedded Media browser and app window have an explicit content security
policy. External navigation is constrained to the intended browser flow,
and Chromium page zoom cannot accidentally resize the whole interface while
the timeline keeps its own wheel gestures. - Output and profile state no longer invents folders for missing devices.
Windows output discovery is kept separate from profile writes, and an absent
output cannot leave behind a phantom profile location.