FL Studio → Ableton. Drop an FL Studio .flp project and get a native Ableton Live .als 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 Ableton, not flattened to stems.
Third-party effects on FL’s mixer inserts arrive in Ableton as the same plugin with their state, and FL’s stock mixer effects (Parametric EQ 2 and v1, Fruity Compressor, Reeverb 2, Delay 2, Soft Clipper, Limiter, the master-bus chain included) arrive as Ableton’s native devices with their settings. Third-party instruments on FL channels arrive in Ableton as the same plugin with their patches (a sample-library plugin such as Kontakt without its patch, so Live never crashes recalling a library it can’t find). Automation beyond volume, pan and tempo (plugin parameters, sends) doesn’t carry yet, and anything unmapped is named in the report. 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.
FL Studio sequences patterns of channels on a playlist; Live puts clips on tracks. This is what each part of the .flp becomes in the .als.
| In FL Studio | In Ableton Live |
|---|---|
| Playlist | Arrangement View. Every pattern placed on the playlist becomes a MIDI clip at the same bar, one on each channel’s track; audio clips land at their positions with their offsets, gain and fades. |
| Patterns not on the playlist | Laid out after the arrangement, one after another on bar boundaries, so nothing left in pattern mode is lost. A project that is only patterns lays out from bar 1. |
| Channel rack | One track per channel that plays, named after the channel. Audio channels on one playlist row that share a mixer insert, level and pan become one track, named after the row. |
| Sampler channels | A MIDI track with the channel’s sample loaded in a Simpler, so a step-sequenced kick or hat plays, on the same notes and at the same pitch as in FL. |
| Third-party instruments | The same plugin (Serum, Vital and the like) with the patch FL saved. A sample-library plugin such as Kontakt arrives without its patch, because recalling a library Live can’t find crashes it: load the preset in the plugin. |
| FL’s own synths | 3x Osc, Sytrus, FLEX, Harmor, FPC and Image-Line’s other generators only run inside FL Studio, so their tracks arrive with every note and no instrument. Load a Live instrument on the track, or render the channel to audio in FL first if the exact sound matters. |
| Mixer inserts | Each channel’s insert effects ride on its track, at the level the channel knob and the insert fader set together. An insert other inserts route into becomes a group track, sends become return tracks, and the master insert’s stock effects land on Live’s Main track. |
| Stock effects | Parametric EQ 2 and v1, Fruity Compressor, Limiter, Soft Clipper, Reeverb 2, Delay 2 and Delay 3 become EQ Eight, Compressor, Limiter, Saturator, Reverb and Delay with their settings. Chorus, Flanger, Phaser, Filter, Multiband Compressor and a few more land on Live’s matching device at its defaults; anything with no Live counterpart (Gross Beat, Maximus, Patcher) is named in the report. |
| Automation clips | Volume and pan automation become track automation, and tempo automation becomes Live’s tempo map. Automation of plugin parameters and sends doesn’t carry yet. |
| Pitch and stretch | A channel’s pitch rides on its clips as clip transpose, and resample-mode pitch (faster and higher, like tape) arrives as a Re-Pitch warped clip. A clip FL time-stretches starts at the right point and plays the same stretch of its sample, at the sample’s own speed. |
| Mutes and markers | A channel muted in the rack, on every playlist row it plays, or on its insert arrives muted. Playlist markers come across, and time-signature markers become meter changes. |
| Samples | Every sample the project references on disk is copied into the Live project’s Samples folder, when it travels in the zipped project folder. Samples from FL’s factory library aren’t included; the report names every one it couldn’t reach. |
FL Studio saves a project as an .flp file; Ableton Live saves a Live Set as an .als file. So an FL Studio to Ableton converter, converting .flp to .als (FLP to ALS), turning an FL Studio file into an Ableton file, opening an FL Studio project in Ableton Live, importing an FL Studio project into Ableton, exporting FL Studio to Ableton, and moving, transferring or migrating a project from FL Studio to Ableton Live all name this one conversion, and it runs here, free to start, online, with nothing to install.
.flp file, with its samples referenced from disk..als file, with its audio in the project folder’s Samples/.Step by step: how to convert FL Studio to Ableton · the other way: Ableton to FL Studio (.als to .flp) · every DAW converter direction
Not directly. Ableton Live can't read FL Studio's .flp format. Doseedo converts it: upload your .flp, or zip the whole project folder so the audio travels with it, and it rebuilds the session as a native Ableton Live .als project you can open and keep working in.
Not as themselves. Image-Line’s built-in generators only run inside FL Studio, so a channel that plays one arrives in Live as a MIDI track named after the channel, with every note in place and no instrument on it: load a Live instrument there. If the exact sound matters, render that channel to audio in FL Studio before converting and it comes across as an audio clip. Third-party instruments (Serum, Vital and the like) are different: they arrive as the same plugin with their patch, and Sampler channels arrive as a Simpler holding their sample.
They are kept. The playlist is the arrangement, so every placed pattern becomes a MIDI clip at its bar. Patterns the playlist never plays (anything written in pattern mode and left there) are laid out after the arrangement, one after another on bar boundaries, and a project that is only patterns lays out from bar 1.
Every sample the project points to on disk is copied into the Live project’s Samples folder, as long as it travels with the upload: zip the project folder (the .flp with its audio) rather than sending the .flp alone, which only holds paths. Samples from FL Studio’s own factory library aren’t included, and the conversion report names every sample it couldn’t reach.
People describe the same job five ways (export FL Studio to Ableton Live, import an .flp into Ableton Live, transfer the project, open an FL Studio project in Ableton Live), and none of it needs stems. Upload the .flp and it converts to a native .als that opens in Ableton Live with tracks, MIDI, audio and the tempo map intact. Want to check the project first? Open the .flp in your browser and play it before converting.
Tracks named after FL’s channels and playlist rows, with their colours, levels, pans, mutes and solos; patterns expanded to the arrangement with every note; audio clips with their offsets, gain and fades; the tempo map (tempo automation included) and meter changes; markers; sub-mix buses as group tracks and sends as return tracks; and volume and pan automation. Third-party effects on FL’s mixer inserts arrive in Ableton as the same plugin with their state, and FL’s stock mixer effects (Parametric EQ 2 and v1, Fruity Compressor, Reeverb 2, Delay 2, Soft Clipper, Limiter, the master-bus chain included) arrive as Ableton’s native devices with their settings. Third-party instruments on FL channels arrive in Ableton as the same plugin with their patches (a sample-library plugin such as Kontakt without its patch, so Live never crashes recalling a library it can’t find). Automation beyond volume, pan and tempo (plugin parameters, sends) doesn’t carry yet, and anything unmapped is named in the report.
Third-party effects on FL’s mixer inserts arrive in Ableton as the same plugin with their state, and FL’s stock mixer effects (Parametric EQ 2 and v1, Fruity Compressor, Reeverb 2, Delay 2, Soft Clipper, Limiter, the master-bus chain included) arrive as Ableton’s native devices with their settings. Third-party instruments on FL channels arrive in Ableton as the same plugin with their patches (a sample-library plugin such as Kontakt without its patch, so Live never crashes recalling a library it can’t find). Nothing is faked: whatever doesn’t cross the FL Studio–Ableton 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.
Drop the .flp (or a zip of the project folder so the audio travels with it) on the converter above, then download the .als and open it in Ableton Live. The .flp isn't renamed or wrapped: the project is rebuilt as a native Ableton Live 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 FL Studio installed to convert; you need Ableton Live to open the result.
Not directly. Ableton Live has no .flp import and FL Studio has no .als export; both formats are proprietary. Converting the project here rebuilds it as a native .als, and Ableton Live then opens that like one of its own projects. That is the import.
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