Ableton → FL Studio. Drop an Ableton Live .als project and get a native FL Studio .flp project: the real session rebuilt, not bounced to stems.
Full walkthrough: How to convert your session to another DAW
Every track, clip and automation lane, rebuilt natively in FL Studio, not flattened to stems.
Third-party instruments and effects (AU, VST3 and VST2) arrive in FL Studio as the same plugin with their settings, hosted through FL’s own wrapper, as long as the plugin is installed and scanned there. Live’s EQ Eight, Compressor, Glue Compressor, Limiter, Gate, Reverb, Delay and Auto Filter arrive as Parametric EQ 2, Fruity Compressor, Fruity Limiter, Fruity Reeverb 2, Fruity Delay 3 and Fruity Filter with their settings, and a Simpler’s sample loads in an FL Sampler channel. Live’s other devices (racks, Operator, Wavetable and effects with no FL counterpart) are named in the report, and plugin-parameter automation lanes are reported rather than carried. Nothing is silently dropped: every conversion comes with a report of what changed.
Local conversions stay right in your browser: your session never leaves your computer, nothing uploaded, nothing stored. Uploaded sessions move over an encrypted connection into your own private space, with access only you control, and yours to delete anytime.
Live puts clips on tracks; FL Studio places patterns and audio clips on a playlist and mixes on inserts. This is what each part of the .als becomes in the .flp.
| In Ableton Live | In FL Studio |
|---|---|
| Arrangement View | The playlist. Every MIDI clip becomes a pattern on its track’s playlist row at the same bar, with its loops written out; every audio clip lands at its position with its offset, gain and fades. |
| Session View | Session MIDI clips the arrangement doesn’t already play are laid out after it, scene by scene on bar boundaries. Session audio clips stay behind: move them into the arrangement before converting. |
| Tracks | A playlist row and a mixer insert named after the track, in its Live colour. A MIDI track plays through one channel (a Sampler, or its plugin); an audio track gets an audio channel per file. |
| Mixer | Volume, pan, mute and solo carry. A fader above 0 dB keeps its level on the insert. |
| Group tracks | A bus insert the group’s tracks route into, with the group’s fader and pan. Groups inside groups are flattened: each bus routes straight to the master. |
| Return tracks and sends | Named send inserts with their fader, pan and effects. Every send above −60 dB becomes a route at its level; a pre-fader send arrives post-fader, and the report says so. |
| Third-party plugins | The same AU, VST3 or VST2 plugin with its saved state, hosted through FL’s wrapper. Kontakt and other sample libraries keep their patch. A plugin inside an Instrument or Effect Rack isn’t carried; the report names the rack. |
| Simpler | An FL Sampler channel with the Simpler’s sample, on the same notes. A Simpler in Slice mode becomes one Sampler channel per slice you play. |
| Drum Rack and Live’s synths | A Drum Rack arrives as one Sampler channel with the rack’s first sample and every pad’s notes on it. Operator, Wavetable and Live’s other instruments arrive with every note and no sound, and the report names them. |
| Stock effects | EQ Eight, Compressor, Glue Compressor, Limiter, Gate, Reverb, Delay and Auto Filter become Parametric EQ 2, Fruity Compressor, Fruity Limiter, Fruity Reeverb 2, Fruity Delay 3 and Fruity Filter with their settings, bypassed ones bypassed. Any other Live effect is named in the report. |
| Automation | Track volume and pan automation become FL automation clips. Device-parameter, send and mute automation is named in the report rather than carried. |
| Tempo, meter and locators | The tempo map, ramps included, becomes FL’s tempo automation (a map that leaves 60–180 BPM is written as one tempo, with a warning); time-signature changes and locators become markers. |
| Warping and clip settings | Transposed and Re-Pitch clips play pitched, like FL’s resample mode, and a transposed warped clip keeps its length. Other warping plays at the file’s own speed, and the report says so. A looped audio clip plays once, to the end of its file: loop it again in FL. |
| Samples | Every file is copied into an Audio folder next to the .flp, when it travels in the zipped project folder. A file that can’t be found keeps its channel and clip, pointing at Audio/ to relink, and the report counts it. |
Ableton Live saves a Live Set as an .als file; FL Studio saves a project as an .flp file. So an Ableton to FL Studio converter, converting .als to .flp (ALS to FLP), turning an Ableton file into an FL Studio file, opening an Ableton project in FL Studio, importing a Live Set into FL Studio, exporting Ableton to FL Studio, and moving, transferring or migrating a project from Ableton Live to FL Studio all name this one conversion, and it runs here, free to start, online, with nothing to install.
.als file, with its audio in the project folder’s Samples/..flp file, with its samples referenced from disk.Step by step: how to convert Ableton to FL Studio · the other way: FL Studio to Ableton (.flp to .als) · every DAW converter direction
Not directly. FL Studio can't read Ableton Live's .als format. Doseedo converts it: upload your .als, or zip the whole project folder (.als + Samples/) so the audio travels with it, and it rebuilds the session as a native FL Studio .flp project you can open and keep working in.
A Simpler does: its sample loads in an FL Sampler channel and plays the same notes, and a Simpler in Slice mode becomes one Sampler channel per slice you play. A Drum Rack arrives as one Sampler channel holding the rack’s first sample, with every pad’s notes on it, so split the pads in FL or render the rack to audio in Live first. Operator, Wavetable and Live’s other instruments only run inside Live: their tracks arrive with every note and no sound, and the report names them. Third-party instruments (Serum, Vital, Kontakt and the like) arrive as the same plugin with their patch.
The arrangement is what converts. Session MIDI clips the arrangement doesn’t already play are laid out after it, scene by scene on bar boundaries, so no idea left in a clip slot is lost. Session audio clips stay behind: record or drag them into the Arrangement View before converting.
Third-party effects arrive as the same plugin with their saved state. Live’s EQ Eight, Compressor, Glue Compressor, Limiter, Gate, Reverb, Delay and Auto Filter become Parametric EQ 2, Fruity Compressor, Fruity Limiter, Fruity Reeverb 2, Fruity Delay 3 and Fruity Filter with their settings, and a bypassed device arrives bypassed. Live devices with no FL counterpart aren’t carried, and neither is anything inside an Instrument or Effect Rack; the conversion report names each one.
People describe the same job five ways (export Ableton Live to FL Studio, import an .als into FL Studio, transfer the project, open an Ableton Live project in FL Studio), and none of it needs stems. Upload the .als and it converts to a native .flp that opens in FL Studio with tracks, MIDI, audio and the tempo map intact. Want to check the project first? Open the .als in your browser and play it before converting.
Tracks with their names, colours, levels, pans, mutes and solos; MIDI clips with every note; audio clips with their offsets, gain and fades; the tempo map (written as FL’s tempo automation) and meter changes; markers; group tracks as FL bus inserts their tracks route into; return tracks as named FL send inserts with every send routed at its level; and volume and pan automation as FL automation clips. Third-party instruments and effects (AU, VST3 and VST2) arrive in FL Studio as the same plugin with their settings, hosted through FL’s own wrapper, as long as the plugin is installed and scanned there. Live’s EQ Eight, Compressor, Glue Compressor, Limiter, Gate, Reverb, Delay and Auto Filter arrive as Parametric EQ 2, Fruity Compressor, Fruity Limiter, Fruity Reeverb 2, Fruity Delay 3 and Fruity Filter with their settings, and a Simpler’s sample loads in an FL Sampler channel. Live’s other devices (racks, Operator, Wavetable and effects with no FL counterpart) are named in the report, and plugin-parameter automation lanes are reported rather than carried.
Third-party instruments and effects (AU, VST3 and VST2) arrive in FL Studio as the same plugin with their settings, hosted through FL’s own wrapper, as long as the plugin is installed and scanned there. Live’s EQ Eight, Compressor, Glue Compressor, Limiter, Gate, Reverb, Delay and Auto Filter arrive as Parametric EQ 2, Fruity Compressor, Fruity Limiter, Fruity Reeverb 2, Fruity Delay 3 and Fruity Filter with their settings, and a Simpler’s sample loads in an FL Sampler channel. Nothing is faked: whatever doesn’t cross the Ableton–FL Studio boundary is named in the conversion report.
Your project is uploaded over an encrypted connection into your own private space, converted, and is yours to delete anytime.
3 conversions a month with no account; a free account gets 120 credits a month and Pro 2,000 (a conversion is 1 credit), every plan at full fidelity. No watermark, cancel in one click. One conversion is one project translated one direction; a round-trip is two.
Zip the Ableton project folder (the .als with its Samples/), or drop a bare .als for structure and MIDI only, on the converter above, then download the .flp and open it in FL Studio. The .als isn't renamed or wrapped: the project is rebuilt as a native FL Studio project, with tracks, clips, MIDI, tempo map and markers in place.
Yes, this page. It runs in the browser on macOS, Windows, ChromeOS or Linux with nothing to install: 3 conversions a month free with no account; a free account gets 120 credits a month and Pro 2,000 (a conversion is 1 credit), every plan at full fidelity. You don't need Ableton Live installed to convert; you need FL Studio to open the result.
Not directly. FL Studio has no .als import and Ableton Live has no .flp export; both formats are proprietary. Converting the project here rebuilds it as a native .flp, and FL Studio then opens that like one of its own projects. That is the import.
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