Capo Pro & the workspace

The free Capo is for adjusting playback — nudge the pitch, slow a passage, set a quick A–B loop, and get back to the video. Capo Pro is for practising. It turns that little popup into the Capo Workspace: a full practice desk that opens in your browser’s side panel and stays open beside the page while you work, instead of closing the moment you click back into the video.

Everything the free popup does comes with it. What Pro adds is the set of things you only reach for once you are drilling a piece rather than just listening to it — and it falls into three:

• Break the song into parts. Drop markers on the moments that matter, turn any two of them into a loop, and save a rough patch as a clip that carries its own repeat count and even its own pitch and speed. Line the clips up and Capo plays them back to back — a practice set built from just the bars you keep missing.
• Shape what you hear. A 6-band equalizer to lift a buried instrument or tame a harsh top end, formant so a big pitch shift does not turn a voice into a chipmunk, reverb for room, and a vocal reducer that pushes the lead singer down so you can hear — and play along with — the backing.
• Get it up to tempo. A speed trainer loops a passage slow and nudges it faster on its own until you are at full speed; reference tuning lines an old recording up with the instrument in your hands; and a real timeline with a zoomed loupe places a loop to the tenth of a second.

It is one surface, not a pile of buttons — the markers, the loop, the clips and the trainer all feed each other. What is the Capo Workspace? walks through how they fit together.

The free toolbar controls stay free forever — Pro is the upgrade that adds the workspace. Try it with a 7-day free trial, subscribe monthly or yearly, or pay once for a lifetime licence; see How much does Capo Pro cost, and how do I get it? for the plans and How do I sign in and turn on Capo Pro? to switch it on.

Open Capo’s Settings and use the account card at the top: tap Sign in, and once you’re signed in on Pro the whole workspace switches on.

Open Settings from the gear icon (or the side panel). The account card sits right at the top. Signed out, it reads Capo account · Sync & unlock Pro with a Sign in button; tap it and Capo opens capotune.com to sign you in, then drops you back with your email showing.

Once you’re signed in on Pro, the card shows your plan — here Pro · Lifetime — with a Manage link, and the side-panel workspace (markers, clips, the equalizer, the speed trainer) unlocks across every browser you sign in to. Not on Pro yet? The card shows Start free trial instead — one tap begins your 7-day trial. See How much does Capo Pro cost, and how do I get it?.

Finding it: the Sign in button sits at the right of the account card, which is the first thing in Settings.

Three plans — $4.99 a month, $39.99 a year, or $79.99 once for life — and both subscriptions start with a 7-day free trial.

Monthly is full workspace access, good for a short project. Annual saves about a third over paying monthly — the best value. Lifetime is a single payment with no renewals, ever. Prices show in your local currency, so your total may differ from the figures above.

To get it: open the pricing page on capotune.com, or tap Start free trial / Buy Capo Pro from Capo’s upgrade prompt, and pick a plan. Then sign in to Capo with the same account and the workspace unlocks — see How do I sign in and turn on Capo Pro?. The free toolbar controls stay free either way; see also What is Capo Pro?.

Finding it: each card’s button is Start free trial (Monthly and Annual) or Buy Capo Pro (Lifetime); the dashed tear-line separates the plan from its price.

Capo Pro is the plan; the Workspace is what it opens. It is Capo in a side panel — everything the popup has, plus the practice modules — laid out top to bottom so the whole piece is in front of you at once, and it stays open while you use the page rather than closing when you click back into the video.

The screenshot is a real session, not an empty panel: a loop is set, two markers are down, a clip is cut, and the equalizer is dialled in — so you can see how the parts work together. Reading down:

• Top bar — History, a Share link that carries your pitch, speed and loop, Settings, and the master on/off pedal reading ACTIVE or BYPASSED. The PRO badge by the wordmark says the panel is unlocked.
• Pitch — the semitone dial and a fine-cents slider, the Varispeed and Preserve voice switches, and a running position clock to their right.
• Speed, Formant, Reverb, Vocal — four console strips. Reverb and Vocal each open a shape panel with their own controls; a greyed strip (Vocal, here) is one your audio-quality setting has not switched on — see Why is the Vocal control greyed out?
• Equalizer and Notes, side by side once the panel is wide enough. Here the EQ is on with the Warmth preset and six bands sitting on a live response curve, and the note reads back the plan for the session — both saved with the track and waiting the next time you open it.
• Timeline — the heart of the panel. The shaded mint band is your loop, the numbered pins are your markers, and the bar underneath is a clip; the vertical line is the playhead. Nothing new lives here — it draws what the loop, marker and clip lists below hold, so you can see them all against the song at once.
• Loop card and loupe — the same loop again, now as typed A/B timecodes plus a zoomed strip for placing the ends exactly. Its row of buttons is where a loop turns into something else: toggle it off, add a count-in, hand it to the speed trainer, or press the scissors to cut it into a clip.
• Markers — the list, with a Loop rail down its left edge and a Clip rail down its right; either one turns a marker into the starting point of a loop or a clip.
• Clips — the saved sections, each with a play button, a repeat count, an on/off switch and its own effects.
• Footer — what is playing, a seek bar, the transport, and the volume fader, which lives down here in the workspace rather than up among the strips.

So the four lists are not separate tools bolted together: a marker becomes a loop, a loop becomes a clip, and every one of them shows up on the same timeline. That is the whole difference from the popup — the popup adjusts the sound, the workspace lets you take a song apart and put the hard parts on repeat.

With Pro active, clicking the Capo toolbar icon opens the workspace instead of the popup. Nothing else to turn on.

Capo decides which surface the toolbar button opens based on your plan: for a Pro account it clears the popup and tells Chrome to open the side panel on click; for a free account it puts the popup back. That switch re-runs whenever you sign in or out, so the button always matches your current plan.

You can also open it the way you open any side panel — from Chrome's side-panel button in the toolbar, and pick Capo from the list.

Two things worth knowing:

• The panel follows your active tab. Switch to a tab with nothing playing and it shows “Nothing's playing yet” — it is now watching that tab instead.
• On Firefox, open it from the sidebar instead. The workspace ships there as a normal Firefox sidebar — what Firefox lacks is the API that lets the toolbar button open it for you, so the button keeps showing the popup and you pick Capo from the sidebar list.

Drag the panel's inner edge to make it wider. Past about 660px the console strips go two-up and the equalizer moves beside Notes; and the widest layout gives the dial a left-hand wing — carrying reference tuning if you have switched it on, otherwise the interval readout and session clock. It is one or the other, never both.

Because the panel does not just reflow when you widen it — at certain widths, controls appear that were not there before. If a screenshot shows something you cannot find, this is usually why.

Drag the panel's inner edge and watch for these:

• 520px — the PRO badge appears in the header.
• 640px — the header buttons grow text labels, and the power button starts spelling out ACTIVE or BYPASSED instead of showing the glyph alone.
• 660px — the console strips go two-up, and the equalizer moves beside Notes.
• 700px — the dial gains a left-hand wing. This is the big one.

That wing is the only place the interval readout and the session clock exist. Below 700px they are not collapsed or hidden behind a chevron — they are simply not rendered, so there is nothing to go looking for.

Reference tuning behaves differently: it has a narrow form. Below 700px it becomes a collapsed row under the dial, showing 440 Hz on the right until you open it. Same control, same two Track and Instrument values, less room.

Remember the wing shows one or the other: reference tuning if you have switched it on in Settings, otherwise the interval readout and session clock.

These thresholds measure the panel, not your screen — so a wide monitor with a narrow panel still gets the narrow layout. If you want everything at once, drag the panel wider rather than moving the window.

Because you opened the panel without Pro on your account. The panel itself stays available to everyone — what is behind it does not.

Capo only points the toolbar button at the side panel for Pro accounts. On a free account that button still opens the popup, so the usual way to land on this screen is opening Capo from Chrome's own side-panel picker, which lists every extension that offers a panel regardless of plan.

The screen is deliberately quiet: a line telling you where the free controls are, and no buy button. That is not an oversight — you usually reach this screen by accident (from Chrome’s panel picker), so Capo sends you to upgrade from the toolbar popup’s account card or capotune.com, rather than dropping a checkout onto a panel you did not mean to open.

Your free controls are unaffected. Close the panel and click the Capo icon; pitch, speed, volume and the A–B loop all work exactly as before.

The popup is for adjusting playback. The workspace is for working on a piece — so everything Pro adds is about repetition, structure and tone.

Same in both: pitch (semitones and fine cents), speed, volume, a single A–B loop with count-in, per-track saved settings, History, Settings and keyboard shortcuts.

Only in the workspace:

• Markers — up to 50 named points per track, with jump-to shortcuts.
• Clips — up to 50 saved sections, each with its own repeat count and its own pitch, speed, formant and reverb, plus a “loop all clips” sequence.
• Equalizer — 6 bands, ±15 dB, with filter types, Q, and presets grouped as Tonal, Voice and Mix.
• Formant, Reverb (with size, damping and pre-delay) and a Vocal reducer (with intensity, focus, frequency range and stereo balance).
• Varispeed and Preserve voice.
• Speed trainer — ramps a loop from a start speed to a target in steps.
• Notes — up to 500 characters saved with the track.
• Reference tuning, an interval readout and a session clock.
• A full timeline — scrub, drag the loop ends, and a zoomed loupe for fine placement.

The audio effects are enforced in the engine, not just hidden in the interface: without Pro, formant, reverb, varispeed, the vocal reducer, reference tuning and the equalizer are stripped back to their defaults before any sound is processed.

A marker is a named point in the track. Press + in the Markers row and one drops at the playhead.

Each marker appears twice: as a numbered pin on the timeline, and as a row in the list underneath. In the row you can rename it, type an exact time, nudge it, or set it to wherever the playhead is now.

The two rails either side of the list are the useful part. Loop on the left and Clip on the right turn any marker into a starting point:

• Loop from here — arms a loop that begins at that marker; pick a second marker for the end.
• Clip from here — does the same for a clip.

You can also press a marker to jump straight to it, or hold it to loop from there. Markers are numbered in time order and the first nine get a keyboard shortcut.

Limits: 50 markers per track, and two markers cannot sit closer than half a second apart — if you are already on one, the + button tells you so rather than stacking a duplicate.

You’re telling Capo to loop from here: marker 1 becomes the loop’s start, and Capo waits for you to choose the end.

Each marker row is a little patch bay. On the left rail is a round Loop port; on the right is a diamond Clip port. Tap a marker’s round port and that marker is armed as the beginning of a loop — a dashed wire follows your cursor and the header reads 1 → ?, meaning “start at marker 1, end still to choose.”

Now tap the round port on a second marker. Capo sets an A–B loop spanning the two markers, switches it on, and starts repeating that stretch — the same loop you’d get from the loop card, but snapped exactly to your markers, with a solid wire linking the two. Tap the × (or press Esc) to cancel before you pick the end. The diamond ports do the very same thing for a clip instead of a loop.

Finding it: the armed marker’s round loop port (far-left rail) is filled and glowing, a dashed wire runs down to the target marker, and the 1 → ? chip with its × sits in the header.

A clip is a saved section of the track that you can replay, repeat and treat differently from the rest of the song. The quickest way to make one: set a loop, then press the scissors on the loop card.

Clips show as bands under the timeline — drag them to move, and they snap to your markers and loop ends. Each row in the Clips list gives you play, a name, a repeat count, an on/off switch and a settings drawer.

The settings drawer is where clips stop being bookmarks:

• Repetitions — play this clip 1 to 9 times before moving on.
• Count-in and loop this clip.
• Per-clip effects — add Transpose, Pitch (in cents), Speed, Formant or Reverb that apply to this clip only. So a hard bar can run slower and a step down without touching the rest of the track.

Loop all clips plays your clips in order, back to back — a practice set built from the parts you actually need to work on. Reorder them by dragging.

Limit: 50 clips per track.

Each badge is a per-clip override — a small tag that appears only when this clip carries its own setting, apart from the rest of the song.

Reading them off: st is transpose in semitones, ¢ is pitch in cents, % is speed, F is formant, and R is reverb. A badge shows up only for an effect the clip actually changes, so at a glance you can see this clip plays a little lower, or slower, than everything around it.

1× is different: it’s the repeat count — how many times the clip plays before the set moves on, from 1× up to 9× (or ∞ when it’s set to loop forever). The switch beside it turns the clip on or off in the line-up. Open the clip’s settings drawer to change any of these; see What are clips, and how do I make one?.

Because two of them overlap in time. Capo gives overlapping clips their own row so they never sit on top of each other.

A clip is just a stretch of the track, so two clips can cover the same seconds. When they do, one row can’t show both — so Capo opens a second lane and drops the later-starting clip there. Here clips 1, 3 and 5 fit on the top lane; 2 and 4 overlap them, so they move down.

The lane a clip lands in means nothing on its own — Capo fills lanes left to right by start time, which is why the order reads 1 3 5 over 2 4 rather than 1 2 3 4 5. The number on each band still matches its clip in the list. Nothing is wrong; it’s only making room — space the clips so none overlap and they collapse back to a single row.

Finding it: the number on each bar matches its clip in the list; any bar that overlaps another in time drops to the row below.

Play up to the start of the passage and press Set start; play to the end and press Set end. The loop turns mint on the timeline and repeats.

The loop card then gives you the whole set of controls:

• A and B timecodes you can type into directly, each with a nudge stepper and a “set to playhead” crosshair.
• Toggle loop — leave the points in place but stop repeating.
• Count in — a short pause at the top of every pass, so you can breathe and come in on time. Its length is set in Settings.
• Speed trainer — ramp the tempo across repeats.
• Scissors — turn this loop into a clip.
• X — clear it.

Underneath sits the loupe: a zoomed strip around your loop with draggable brackets, for when the difference between a good loop and a bad one is a tenth of a second. You can also drag the A and B brackets on the timeline itself.

This is the same A–B loop the free popup has — the workspace adds the timeline, the loupe, the typed timecodes and the trainer around it.

It plays your loop slowly, then speeds it up a little every few repeats until you are at full tempo — the standard way to get a passage under your fingers, done for you.

Set a loop, then press the trending-up button on the loop card. Four dials appear:

• Start — the speed of the first pass. Default 70%.
• Target — where you are heading. Default 100%.
• Step — how much faster each stage runs. Default +5%.
• Every — repeats per stage before it steps up. Default 2 reps.

Press Start and it runs. While a session is live the panel tells you what is coming next, and you can pause the ramp (the speed holds where it is), resume it, or end the session. When you arrive it says At target and keeps looping at full speed.

The dials are bounded so a session always makes sense: start from 30%, target up to 150%, steps of 1–25%, and 1 to 9 repeats per stage.

Switch it on with the toggle beside the Equalizer heading, then either pick a preset or drag a band on the curve.

There are six bands, shown as coloured dots on the response curve and as chips underneath. Select a chip and the row below it edits that band:

• Filter type — the shape that band applies, one of the six below.
• Q — how wide or narrow the band is, from 0.1 to 18.
• Drag the dot on the graph to set frequency and gain, up to ±15 dB, anywhere from 20 Hz to 20 kHz.

The six filter shapes. Every band can be any of these:

• HP (high-pass) — lets the highs through and rolls off everything below the set frequency, on down to silence. For rumble and sub-bass mud.
• LP (low-pass) — the mirror image: keeps the lows, rolls off everything above. For hiss and harsh cymbals.
• Peak — a bell, boosting or cutting a range centred on one frequency, with Q setting how wide the bell is. The workhorse: lift a buried instrument, cut a boxy midrange.
• Lo Shelf — lifts or drops everything below the frequency by a set amount and then levels off. A bass knob.
• Hi Shelf — the same above the frequency. A treble knob.
• Notch — a very narrow, very deep cut at a single frequency, for killing one specific tone: mains hum, a whistle, a resonant ring.

Two that are easy to confuse:

• HP vs Lo Shelf — a high-pass keeps cutting harder the lower it goes; a low shelf drops the bass by a fixed amount and flattens out. Use HP to remove, the shelf to reduce.
• Notch vs a Peak cut — a notch is surgical and near-total at one frequency; a peak cut is gentler and you choose how much.

Only Peak and the two shelves have a gain to set — HP, LP and Notch just have a corner frequency. Q is fixed on the shelves, so it applies to every shape except those two.

The preset menu on the right is the fast route, grouped by what you are trying to fix: Tonal (Flat, Bass Boost, Bass Cut, Loudness, Warmth, Brightness), Voice (Speech Clarity, Presence Boost, De-Mud, Harshness Cut) and Mix (Backing Track Scoop, Mid Scoop, Treble Cut). Change anything afterwards and the menu reads Custom.

The chevron collapses the module to a small preview curve when you want the space back, and the reset arrow puts every band back to flat.

Both, yes — neither is signposted in the panel.

Double-click a handle on the curve to mute that band, and double-click again to bring it back. A muted handle fades but keeps its settings, so it is a genuine A/B test rather than a reset: you hear what that one band was contributing without losing the frequency, gain and Q you dialled in.

The scroll wheel over a handle adjusts Q — how wide or narrow that band reaches. Scroll up to narrow it. This one only works if you have turned on scroll to adjust in Settings; without it the wheel scrolls the panel, which is the sane default when the EQ sits in a long column.

Q has its own − / + stepper under the graph if you would rather not scroll. It is greyed out on the two shelf filters, which have no width to set.

The rest of the handle controls, for completeness:

• Drag — sideways for frequency, up and down for gain. High-pass, low-pass and notch handles stay on the centre line and only move sideways, because they have no gain to set.
• Arrow keys — gain by 1 dB (5 with Shift), frequency in small steps left and right.

Yes — the Notes box in the workspace saves a note against the track you are on, and it comes back the next time you play it.

Type into “Add a note for this track…” and it grows as you write, up to 500 characters; the counter turns amber as you approach the limit. The chevron collapses the box.

The note rides along with everything else Capo remembers for that track, so it lives on the same per-track entry as your pitch, speed and loop — no separate list to manage, and nothing leaves your browser.

If nothing is playing yet the box tells you so rather than saving a note with nowhere to attach it.

They are the three tone controls the free popup does not have — sitting beside Speed as console strips, each with a slider, a value, and a reset that appears on hover.

• Formant shifts vocal character without shifting the note. Push a big pitch change and a voice starts to sound like a chipmunk or a giant; formant pulls that back. Range −1.00 to +1.00.
• Reverb adds room. Its shape panel (the slider icon on the strip) opens three more controls: Size 0.3–5.0 s, Damping 0–100%, and Pre-delay 0–80 ms, with a Reset shape for the lot. These are global, not per-track.
• Vocal pushes the lead vocal down so you can hear the backing — useful for singing along or transcribing an accompaniment. Its shape panel adds Intensity, Focus, a frequency Range (default 120 Hz–6 kHz) and stereo Balance.

Formant and Vocal both depend on how Capo is processing audio — if either is greyed out, see Why is the Vocal control greyed out?

Down to the footer. In the workspace, volume lives on the speaker icon beside the transport buttons — hover or tab to it and a vertical fader slides out.

The four console strips are Speed, Formant, Reverb and Vocal. Volume used to be one of them and was moved when the vocal reducer arrived, for a practical reason: volume is the one control that still works on sites that play audio without a real media element, so it sits outside the block that dims on those pages.

Things worth knowing about the fader:

• Clicking the speaker mutes, the way it does on YouTube. Clicking again restores the level you were at.
• A mint dot on the icon means the volume is not at 100%. You need it, because the level itself is hidden while the fader is closed.
• 100% sits halfway up the track, not at the top. Everything above it is boost, and that half is hatched so you can see at a glance that you are louder than the site shipped.
• It moves in 5% steps, up to 300% — or 600% with the extended volume range turned on in Settings. Double-click the track to snap back to 100%.

If a stored layout from an older version still lists Volume as a strip, Capo quietly drops it and keeps the rest of your arrangement.

Yes — drag a strip by its name. The label is the handle; there is no separate grip to aim for.

Grab Speed, Formant, Reverb or Vocal and the others glide out of the way. From the keyboard, tab to the name and press ↑ or ↓ to move it one slot.

The order is saved with your settings and syncs across your browsers, so the strip you reach for most can sit at the top.

A dimmed strip can still be dragged. Only the slider itself goes inert when a control is unavailable — the name and the reset stay live, so you can park an unusable strip out of the way instead of looking at it.

Past about 660px of panel width the strips lay out two-up, and the order runs left to right, then down.

Two switches beside the pitch dial that change what happens when you move it.

Varispeed ties pitch to tempo, the way a tape machine or a record player does: slow it down and it drops in key, speed it up and it rises. That is the honest sound for anything you want to feel like the original medium, and it is what you want when a recording is simply running at the wrong speed. With varispeed on, speed runs from 0.5× to 2× in very fine steps, and the pitch dial covers a full octave either way.

Preserve voice goes the other direction: it protects vocal character while you shift the key, so a singer still sounds like themselves a few semitones down. Leave it off for instruments; turn it on when a voice is the thing you are following.

Both are off by default, and both are ignored on pages where Capo only has audio to work with.

Reference tuning corrects a recording that was not made at standard A4 = 440 Hz, so it agrees with the instrument in your hands. It lives in the workspace's pitch hero, and it is a Pro control.

You set two values, not one:

• Track — what the recording is tuned to.
• Instrument — what you are tuned to.

Capo works out the difference and shifts the track to meet you. For a 432 Hz recording played against a 440 Hz instrument, that is +32 ¢ — the track comes up to you. Set Track to 432, leave Instrument at 440, and you are done.

Both rows carry preset menus of the tunings that actually turn up on recordings:

• 392 French Baroque · 415 Baroque · 430 Classical
• 432 Verdi · 440 Concert · 442 Orchestral · 466 Chorton

You are not limited to those — either row steps a hertz at a time anywhere from 380 to 500 Hz.

Watch the dial and the Fine slider while you do it. The correction is written straight into them rather than hidden away, so the controls always show what you are hearing: a 432 → 440 match reads as 0 st and +32 ¢, and a baroque 415 → 440 match reads as +1 st and +1 ¢.

The tempo is untouched — unless you are in Varispeed, where the correction rides the tape speed like it would on a real deck, and the control says so.

Capo keeps both hertz values per track, so a recording you have matched once comes back matched.

If you cannot find it: it needs Pro and its switch in Settings. With the switch off, that corner of the hero shows the interval readout and the session clock instead — you get one or the other, never both.

Because the vocal reducer needs Capo's highest audio-quality mode, and you are on a lower one.

Capo processes sound at one of three tiers, set in Settings → Audio quality as Low, Med or High. The two heaviest features are tied to it:

• Vocal needs High. On anything lower the strip renders faded and does not respond.
• Formant needs Med or High — it is off only on Low.

Switch Settings → Audio quality to High and both come back. Higher tiers cost more CPU, so if playback starts stuttering on a heavy page that is the trade you are making.

One other case: if your browser has blocked the audio engine from loading, the same controls stay disabled regardless of the tier you picked.

Low latency mode trims the delay between moving a control and hearing the change. It is a single switch — but a hidden one: it appears only when you have Pro and Audio quality is set to High.

Where it is. Settings → Audio & playback, directly beneath Audio quality. On any other setup the row is simply not there: free accounts never see it, and neither do the Low or Med quality tiers — High is the only mode it changes, so Capo does not show a switch that would do nothing.

What it does. High quality runs on Capo’s most detailed pitch engine. Low latency swaps in that engine’s Faster mode, so your changes land noticeably sooner — at the cost of a little audio quality. Turn it on when you are playing along live and the lag between your hands and the sound is throwing you off; leave it off when you just want the cleanest possible tone.

The one catch: it cannot run at the same time as a formant shift. The Faster engine has no formant stage, so if the tab you are on has any formant applied, the switch greys out until you set formant back to zero — the row says as much under its label.

Amber marks the point where the reducer stops being subtle. Past 75% Intensity, Capo mixes in a second, blunter technique on top of the careful one — and that is where audible damage starts.

Below 75% the reducer works band by band, ducking only the frequencies where it is confident it has found a centred voice. Above 75% it begins folding in a plain centre-cut: effective, and much less fussy about what else is in the middle of the mix. Bass and drums usually live there too, so the backing thins out along with the vocal.

Treat it as a warning strip, not a wall. If you need the amber zone to hear the vocal drop, try these first:

• Raise Focus to make the detector fussier before you make it stronger.
• Narrow the Range around the voice so the bass and cymbals are excluded outright.
• Steer Balance if the singer is not perfectly centred.

The strip value and the Intensity slider are different things: the strip is how much of the effect you hear, Intensity is how hard the effect works when it acts.

Yes — two whole categories of them, listed on the shortcuts screen under EFFECTS and MARKERS. Without Pro those two headings carry a PRO tag; with Pro they are simply yours.

Effects

• Alt+F / Alt+Shift+F — formant up and down
• Alt+P — preserve voice on/off
• Alt+R / Alt+Shift+R — reverb up and down
• Alt+K / Alt+Shift+K — vocal reducer up and down
• Alt+T — varispeed on/off

Markers

• Alt+M — add a marker at the playhead
• Alt+1 to Alt+9 — jump to markers one to nine

Everything free stays where it was — speed on Alt+. and Alt+,, volume on Alt+] and Alt+[, and the loop on Alt+L, Alt+A, Alt+B and Alt+C. The full list, yours to rebind, is on the shortcuts screen itself.

Without Pro the Pro rows still appear on the shortcuts screen so you can see what exists, but pressing the keys does nothing — the check happens where the sound is made, not just in the panel.

Open the clip’s settings drawer — the chevron at the end of its row — and use the little mixer inside.

Each strip is one override just for this clip: Transpose (semitones), Pitch (cents), Speed, Formant and Reverb. Drag a strip and it applies live; the × beside it removes the override so the clip falls back to whatever the rest of the song is using. The + adds another effect. So one hard bar can run slower and a touch lower while everything around it stays put.

The drawer also holds the clip’s exact start and end times and its repeat count. Everything is inert while the clip’s switch is off. See What are clips, and how do I make one?.

Finding it: the down-chevron at the right end of a clip row opens this drawer. Inside, each labelled strip — Transpose, Speed, Reverb — is one effect: drag it to set the amount, and the small × at its right clears it. The + (bottom-left) adds another effect; the overlapping-squares icon (bottom-right) duplicates the whole clip.

Set the repeat count in the clip’s drawer — 1× to 9× — or switch on loop this clip for forever.

Open the drawer (the chevron on the clip row) and use the ×N stepper: the clip plays that many times before the set moves on to the next clip. Turn on loop this clip and it repeats endlessly instead — the row then shows ∞ in place of the number. There’s also a count-in toggle that adds a short pause at the top of each repeat, the same as the loop’s count-in.

Finding it: open the drawer with the row’s down-chevron; the − 3× + stepper in its top row sets the repeat count, the repeat-arrows button beside it loops the clip forever, and the small clock adds the count-in pause.

Drag the grip to reorder, and use the drawer for duplicate; delete sits on the row.

Reorder: drag the grip handle on the left of a clip row, or focus it and press the up/down arrow keys. Duplicate: the copy icon inside the clip’s settings drawer makes an identical clip you can nudge elsewhere. Delete: the trash icon on the row removes it. Reordering only changes the play order for the sequence — each clip keeps its own place on the timeline.

Turn on the sequence toggle in the Clips header and Capo plays your enabled clips back to back.

Each clip plays for its own repeat count, then Capo moves to the next one in the list order — a practice set built from just the bars you keep missing. Switch a clip off to skip it without deleting it, and reorder with the grips to change the running order. It’s the same engine as the A–B loop, just chained across several sections.

Drag the clip’s band to move it; drag its edges to resize.

On the strip above the waveform, drag the middle of a band to slide the whole clip, or grab an edge to change just that end. Both snap to nearby anchors — your markers, the loop’s A and B points, the playhead and the other clips’ edges — so you can land tidy times a raw drag never could. For an exact time, open the drawer and type it into the start/end fields.

Finding it: each numbered bar is one clip — drag its middle to slide it, or grab the left/right edge to change just that end.

Everything is on the marker’s row in the list.

Rename: type into the name field (it shows Marker N until you do). Move: type an exact time, nudge it with the steppers, or use the pin button to snap it to wherever the playhead is now. Delete: the trash icon. Markers stay numbered in time order, so moving one past another simply renumbers them.

Click a marker’s number to jump the playhead there.

Tap the numbered badge on a marker row (or its pin on the timeline) and playback leaps to that point. Hold the badge instead and Capo arms a loop starting from that marker — the same as tapping its round loop port. It’s the quickest way to bounce between the parts you’re drilling.

Set a loop, press the trend-up button on the loop card, then set the four dials and press Start.

Start is the speed of the first pass (default 70%). Target is where you’re heading (default 100%). Step is how much faster each stage runs (default +5%). Every is how many repeats play at a speed before it steps up (default 2 reps). So the defaults ease a passage up from 70% to full tempo, 5% at a time, twice per stage.

Press Start and it runs on its own; while it’s live you can pause the ramp (the speed holds), resume, or end the session, and it says At target once you arrive. See What is the speed trainer?.

Yes — each band has a filter-type menu, so a band can peak, shelve, or cut as a high-pass / low-pass.

Pick HP (high-pass) on the lowest band to roll off rumble below it, or LP (low-pass) on the top band to tame hiss and harsh highs above it; the middle bands work as peaks or shelves for lifting or dipping a range. Each band still has its frequency, gain and Q (how wide it reaches), so you can go from a gentle tilt to a surgical notch.

Use the Manage link on the account card — it opens your billing on capotune.com.

From there you can update payment, switch plans, or cancel; cancelling stops the renewal and Pro stays on until the end of the period you’ve paid for. A Lifetime licence has nothing to renew. See What happens to my Pro settings if my subscription lapses?.

Tap the sign-out icon on the account card at the top of Settings.

It sits next to your email; Capo asks you to confirm so you don’t do it by accident. Signing out returns the extension to the free popup on that browser and stops syncing there — your saved markers and clips stay with your account, and signing back in brings them and the workspace right back.