Yamaha Silent Series C3S Manual do Utilizador

Ableton Reference Manual Version 8

CHAPTER 2. FIRST STEPS 82.3 The Main Live ScreenMost of your work in Live happens in the main Live screen. This screen consists of a numberof views, a

98Chapter 8Clip ViewThe Clip View is where clip properties can be set and adjusted.The Clip View.The Clip View is opened by clicking on the Clip Overv

CHAPTER 8. CLIP VIEW 99Clicking the ClipOverview Opens theClip View.In the Session View, clicking on a Track Status Field opens the Clip View for edit

CHAPTER 8. CLIP VIEW 100in common:The Clip box contains basic clip settings.The Envelopes box and the Envelope Editor manage the clip's envelopes

CHAPTER 8. CLIP VIEW 101The Clip View for a MIDIClip.To make best use of the screen real estate, you can show or hide the Launch, Envelopes,and Sample

CHAPTER 8. CLIP VIEW 1028.1 The Clip BoxThe Clip Box.8.1.1 Clip Activator SwitchUsing this switch, you can deactivate a clip so that it does not play

CHAPTER 8. CLIP VIEW 1038.1.3 Clip SignatureUsing the Clip Signature elds, you can specify the time signature of a MIDI or audioclip. This setting is

CHAPTER 8. CLIP VIEW 1048.1.5 Clip Offset and NudgingTo jump within a playing clip in increments the size of the global quantization period, youcan us

CHAPTER 8. CLIP VIEW 1058.2 The Sample Box8.2.1 Warp ControlsThe Sample Box WarpControls.When the Warp switch is off, Live plays the sample at its ori

CHAPTER 8. CLIP VIEW 1068.2.2 Sample Loop/Region and DisplayZooming and ScrollingThe Clip Zoom/ScrollArea.Zooming and scrolling in the Sample Display

CHAPTER 8. CLIP VIEW 107To have the Sample Display follow the play position and scroll automatically, turn on theFollow switch, or use the Follow comm

CHAPTER 2. FIRST STEPS 9Adjusting the MainWindow Split.

CHAPTER 8. CLIP VIEW 108You can also adjust the clip start and end numerically using the respective value elds tothe left of the Sample Display. For

CHAPTER 8. CLIP VIEW 109cannot be looped.You can click and drag to change the position and length of the loop brace in the SampleDisplay, or you can t

CHAPTER 8. CLIP VIEW 110Setting the Clip to RunInto a Loop.The Loop Length and Position elds are equipped with Set buttons, which can be used tocreat

CHAPTER 8. CLIP VIEW 1118.2.3 Clip Pitch and GainThe Clip Pitch and GainControls.The Transpose control shifts the clip pitch in semitones.The Detune 

CHAPTER 8. CLIP VIEW 1128.2.5 Saving Default Clip Settings with the SampleThe Save Default ClipButton.The Save Default Clip button saves the current c

CHAPTER 8. CLIP VIEW 113this reason, we have provided a Legacy Hi-Q Mode option, which is enabled by default inthe Options menu whenever you load an o

CHAPTER 8. CLIP VIEW 1148.2.8 Clip RAM ModeThe RAM Mode Switch.If the RAM Mode switch is on, Live is loading the audio referenced by the clip into the

CHAPTER 8. CLIP VIEW 115Processed/Reverse. Until the Set is saved, new samples remain at the location specied bythe Temporary Folder.There are a few

CHAPTER 8. CLIP VIEW 116be retained. The Warp Markers will be retained only if the new sample has the exact samelength as the old sample.The Sample Di

CHAPTER 8. CLIP VIEW 1178.3.2 Bank and Program ChangeLive can send MIDI bank/program change messages to external devices and plug-ins thatsupport MIDI

10Chapter 3Authorizing LiveLive is protected against illegal use by a copy protection scheme. This scheme has beendesigned to meet the highest securit

118Chapter 9Tempo Control and WarpingUnlike music stored on tape or in a traditional digital audio workstation, the music in Liveremains elastic at

CHAPTER 9. TEMPO CONTROL AND WARPING 119in hundredths of a BPM allows for enough precision to adjust to live performers or otherunsynchronized sources

CHAPTER 9. TEMPO CONTROL AND WARPING 120Although Live can be easily synchronized to external MIDI devices, you may nd yourself insituations in which

CHAPTER 9. TEMPO CONTROL AND WARPING 121Preferences. If the Auto-Warp Long Samples preference is on, Live assumes that longsamples contain music that

CHAPTER 9. TEMPO CONTROL AND WARPING 122Warp Markers are set in the Clip View's Sample Display by double-clicking within the sam-ple. They can th

CHAPTER 9. TEMPO CONTROL AND WARPING 123Transient Markers.As you mouse over transients, temporary pseudo Warp Markers appear. These havethe same sha

CHAPTER 9. TEMPO CONTROL AND WARPING 1249.2.3 Using Warp MarkersIn the following sections, we will look at a couple of applications for time-warping s

CHAPTER 9. TEMPO CONTROL AND WARPING 125you can eliminate silence after the actual loop end by placing a Warp Marker at the sample'sright edge.Se

CHAPTER 9. TEMPO CONTROL AND WARPING 126If a single event in a percussion loop comes late, just pin a Warp Marker to it and drag themarker to the corr

CHAPTER 9. TEMPO CONTROL AND WARPING 127Auto-Warp's Results inthe Clip View.As long as Auto-Warp made the correct set of informed guesses, the cl

CHAPTER 3. AUTHORIZING LIVE 113.1 Copy Protection FAQs3.1.1 Can I Use Live or Other Ableton Products Without a SerialNumber?If you do not (yet) own Li

CHAPTER 9. TEMPO CONTROL AND WARPING 128Using the Context Menuto Direct Auto-Warp.Directing Auto-Warp is also relatively simple when you have imported

CHAPTER 9. TEMPO CONTROL AND WARPING 129The four Warp From Here commands provide various ways of resetting Warp Markers tothe right of the selected gr

CHAPTER 9. TEMPO CONTROL AND WARPING 1309.2.4 Quantizing AudioIn the previous section, you learned how to adjust the timing of events in audio les by

CHAPTER 9. TEMPO CONTROL AND WARPING 131The warp modes are different varieties of granular resynthesis techniques. Granular resyn-thesis achieves time

CHAPTER 9. TEMPO CONTROL AND WARPING 132The Transient Envelope slider applies a volume fade to each segment of audio. At 100,there is no fade. At 0, e

CHAPTER 9. TEMPO CONTROL AND WARPING 1339.3.5 Complex ModeComplex Mode is a warping method specically designed to accommodate compositesignals that c

CHAPTER 9. TEMPO CONTROL AND WARPING 134Although REX les are audio les, they can quickly be transformed into playable instrumentsvia the Slice to Ne

135Chapter 10Editing MIDI Notes and VelocitiesA MIDI clip in Live contains notes and controller data for playing a MIDI instrument. Thisinstrument can

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 13610.2 The MIDI EditorTo bring up the MIDI Editor, double-click a MIDI clip to open the Clip View. You

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 137Previewing MIDI Notes.Provided your MIDI track's device chain contains an instrument, activating

CHAPTER 3. AUTHORIZING LIVE 12To use Live on more than one computer at a time, you may require a secondary license or asite license. Ableton offers th

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 138The MIDI Editor has both vertical and horizontal navigation. Along the horizontal axis liesa time rul

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 139It always shows the complete contents of the selected MIDI clip. The blackrectangular outline represe

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 14010.4 Editing MIDI10.4.1 Non-Destructive EditingYou can always return your MIDI clip to its previous s

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 141Use the Loop/RegionMarkers to Select aSpecic Region of theClip to Play.10.4.3 Grid SnappingMost func

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 142Clicking and dragging in the background selects a timespan. To select all of the notesthat begin duri

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 143You can also use theCtrl(PC) /Alt(Mac) modier to click and drag copies of notesto a new location. If

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 144Cut Time cuts a selection of time from the MIDI clip, thereby moving any notes oneither side of the c

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 145Quantizing MIDI Notes.Using the options presented here, you can select either the current grid size o

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 146As in the Note Editor, you can select multiple velocity markers to change by clicking withthe modier

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 147movement, Live will remember the change and use your new velocity on any notes that youdraw afterward

13Chapter 4Live ConceptsThis chapter introduces the essential concepts of Live. We advise you to read this chapterearly in your Live career, as a soli

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 148When multiple notes are selected in the Note Editor, the Stretch Notes command becomesavailable from

149Chapter 11Using GroovesThe timing and feel of each clip in your Set can be modied through the use of grooves.Live's Library includes a larg

CHAPTER 11. USING GROOVES 150the Browser while the clip plays.The Hot-Swap GrooveButton.Grooves can be applied to both audio and MIDI clips. In audio

CHAPTER 11. USING GROOVES 151The Groove Pool.11.1.1 Adjusting Groove ParametersGrooves in the Groove Pool appear in a list, and offer a variety of par

CHAPTER 11. USING GROOVES 152to every voice in your clip, so notes that originally occurred together will now berandomly offset both from the grid and

CHAPTER 11. USING GROOVES 153or Groove Pool into a MIDI track. This will create a new MIDI clip, which you can then edit,as you would with any other M

CHAPTER 11. USING GROOVES 154the voice that you want to independently groove. In this example, we'd extract the snarechain, creating a new clip a

155Chapter 12Launching ClipsThe Live Session View is set apart by the fact that it gives you, the musician, a spontaneousenvironment that encourages p

CHAPTER 12. LAUNCHING CLIPS 156Use the Clip View BoxSelector to Bring up theLaunch Box.Note that you can edit the launch settings of more than one cli

CHAPTER 12. LAUNCHING CLIPS 15712.3 Clip-Level QuantizationThe Clip QuantizationChooser.The Clip Quantization chooser lets you adjust an onset timing

CHAPTER 4. LIVE CONCEPTS 14Selecting the Library bookmark in Live's File Browser will take you to the Live Library ofcreative tools. Depending on

CHAPTER 12. LAUNCHING CLIPS 158The Velocity Amount control allows you to adjust the effect of MIDI note velocity on theclip's volume: If set to z

CHAPTER 12. LAUNCHING CLIPS 159same group after the clip plays. A group is dened by clips arranged in successive slots ofthe same track. Tracks can h

CHAPTER 12. LAUNCHING CLIPS 160Play First Clip launches the rst (top) clip in a group.Play Last Clip launches the last (bottom) clip in a group.

CHAPTER 12. LAUNCHING CLIPS 16123Creating a Group Withthe Two Clips.3. Set up Follow Actions for the rst clip. You will want to make Follow Action Ti

CHAPTER 12. LAUNCHING CLIPS 162The default setting for Follow Action is actually a 1:0 chance that Nothing happens afterthe Follow Action Time, whic

CHAPTER 12. LAUNCHING CLIPS 16312.6.5 Mixing up Melodies and BeatsYou can let Follow Actions perform unpredictable remixes and solos for you: Use a cl

164Chapter 13Routing and I/OIn the context of Live, routing is the setup of the tracks' signal sources and destinations(i.e., their inputs and

CHAPTER 13. ROUTING AND I/O 165For every track that can play clips, the In/Out section has the same layout:The upper chooser pair (Audio/MIDI From)

CHAPTER 13. ROUTING AND I/O 166Audio and MIDI TrackArm Buttons.To permanently monitor the track's input, regardless of whether the track is armed

CHAPTER 13. ROUTING AND I/O 167reached via the Input and Output Channel choosers' Congure... option. Note thatthe Audio Preferences also provi

CHAPTER 4. LIVE CONCEPTS 15The Arrangement andSession View Selectors.The Arrangement View and the Session View interact in useful ways. One can, for i

CHAPTER 13. ROUTING AND I/O 168You can congure which MIDI ports are made available to Live using the MIDI Ports sectionof the MIDI/Sync Preferences.

CHAPTER 13. ROUTING AND I/O 169otherwise been assigned to remote-control elements of the Live interface. To prevent this,you can turn the computer MID

CHAPTER 13. ROUTING AND I/O 1702. MIDI messages that are used for remote-controlling Live's user-interface ele-ments;3. MIDI messages coming from

CHAPTER 13. ROUTING AND I/O 1714. The Output Channel chooser presents you with a list of the instruments that youcurrently have in your Reason rack; s

CHAPTER 13. ROUTING AND I/O 17213.5 ResamplingLive's Master output can be routed into an individual audio track and recorded, or resampled.Resamp

CHAPTER 13. ROUTING AND I/O 173Two Ways to Route TrackA into Track B.Both approaches result in Track A's output being fed into Track B. Approach

CHAPTER 13. ROUTING AND I/O 174Tap Points for TrackRouting.Pre FX taps the signal that is coming directly from a track, before it has been passedon to

CHAPTER 13. ROUTING AND I/O 175Routing Points in RacksTap Points for EveryChain in a Track.If a track has one or more Instrument or Effect Racks in it

CHAPTER 13. ROUTING AND I/O 17613.6.2 Making Use of Internal RoutingThis section presents several internal routing examples in more detail.Post-Effect

CHAPTER 13. ROUTING AND I/O 177Recording MIDI as AudioWhen working with MIDI and complex software instruments, it is sometimes more usefulto record th

CHAPTER 4. LIVE CONCEPTS 16A Scene in the SessionView.The exclusivity of clips in a track also implies that, at any one time, a track will either play

CHAPTER 13. ROUTING AND I/O 178Creating SubmixesSubmixing the IndividualDrums of a Drum Kit.Suppose we have the individual drums of a drum kit coming

CHAPTER 13. ROUTING AND I/O 179Feeding an AdditionalMIDI Track Into anExisting MIDI Track toReuse its Instrument.This is accomplished by setting the n

CHAPTER 13. ROUTING AND I/O 180MIDI is played by an instrument that is out of the mix. This can be easily remedied by cuttingthe clips from the pad tr

CHAPTER 13. ROUTING AND I/O 181most plug-in instruments, however. Soloing a track that taps one of Impulse's sample slotswill still allow you to

CHAPTER 13. ROUTING AND I/O 1822. Insert an External Instrument device on another MIDI track.3. Select the track that contains the instrument in the 

CHAPTER 13. ROUTING AND I/O 183Routing a Speech SignalInto a Vocoder'sSidechain Input.Some vocoder plug-ins include a built-in synthesizer to gen

CHAPTER 13. ROUTING AND I/O 184Using an Auxiliary MIDITrack to LayerInstruments.Perhaps you wonder why this works, given that the string track's

185Chapter 14Mixing14.1 The Live MixerLive includes a mixer section that is accessible from two views:The Arrangement ViewMixer.In the Arrangement Vie

CHAPTER 14. MIXING 186The Session View Mixer.The Session View is a standard vertical mixer layout. You'll likely nd the Session View mixermore i

CHAPTER 14. MIXING 187Let's look at the mixer controls:121365445 632The Mixer Controls.1. The Meter shows the track's RMS (average) and peak

CHAPTER 4. LIVE CONCEPTS 17signals are generated by input devices such as MIDI or USB keyboards1.It takes an instrument to convert MIDI signals into a

CHAPTER 14. MIXING 18814.1.1 Session Mixer FeaturesThe Session Mixer'sPossibilities.The Mixer section of the Session Mixer has several additional

CHAPTER 14. MIXING 18914.2 Audio and MIDI TracksAudio and MIDI tracks in Live are for hosting and playing clips, as explained earlier.You can add new

CHAPTER 14. MIXING 190particular knob or slider parameter (volume, for example), this difference will be maintainedas you adjust the parameter.If you

CHAPTER 14. MIXING 191than Master.) You can also use a Group Track purely as a folder track by rerouting theoutputs of the contained tracks to som

CHAPTER 14. MIXING 192in a return track lets it receive audio from any number of tracks and add echoes to them.The Send Controls andPre/Post Toggle.A

CHAPTER 14. MIXING 193The Crossfader andSelector.The crossfader is accessed via the Session View's mixer selectors. It features seven differentcr

CHAPTER 14. MIXING 194TransitionDippedIntermediateConstantPowerSlow FadeSlow CutFast CutA+B Power Level Crossfader ResponseCrossfader CurveProperties.

CHAPTER 14. MIXING 195Each track has two Crossfade Assign buttons, A and B. The track can have three states withrespect to the crossfader:If neither A

CHAPTER 14. MIXING 196In order to set Live up for cueing, you must be using an audio interface with at least fourdedicated outputs (or two dedicated s

CHAPTER 14. MIXING 19714.7 Track DelaysA Track Delay control is available for every track in Live. The control allows delaying or pre-delaying the out

Live Version 8.0.2 for Windows and Mac OSMay, 2009Created by Bernd Roggendorf, Gerhard Behles, Robert Henke, Awi, Reiner Rudolph, Stefan Haller, Stefa

CHAPTER 4. LIVE CONCEPTS 18Samples Are Dragged infrom Live's File Browsers.Live offers many options for playing samples in exciting new ways, all

198Chapter 15Recording New ClipsThis chapter is about recording new clips from audio and MIDI input signals. Note that thisis a different kind of reco

CHAPTER 15. RECORDING NEW CLIPS 199The Track In/Out Sectionin the Arrangement(Left) and Session View(Right).Audio tracks default to recording a stereo

CHAPTER 15. RECORDING NEW CLIPS 200If you are using a natively supported control surface, arming a MIDI track will automaticallylock this control surf

CHAPTER 15. RECORDING NEW CLIPS 2011. Recording commences when the Control Bar's Record button is activated andthe Play button is pressed.2. Reco

CHAPTER 15. RECORDING NEW CLIPS 20234 12Recording a New ClipInto the Session View.1. Set the Global Quantization chooser to any value other than None

CHAPTER 15. RECORDING NEW CLIPS 20315.3.3 Overdub Recording MIDI PatternsLive makes pattern-oriented recording of drums and the like quite easy. Using

CHAPTER 15. RECORDING NEW CLIPS 20415.3.4 MIDI Step RecordingThe MIDI Editor allows you to record notes with the transport stopped by holding down key

CHAPTER 15. RECORDING NEW CLIPS 20515.4 Recording in SyncLive keeps the audio and MIDI you have recorded in sync, even when you later decide on adiffe

CHAPTER 15. RECORDING NEW CLIPS 20615.5 Recording Quantized MIDI NotesIf you will be recording MIDI, you have the option of automatically quantizing M

CHAPTER 15. RECORDING NEW CLIPS 20715.7 Setting up File TypesThe following Preferences from the Record/Warp/Launch tab are relevant to the sample les

CHAPTER 4. LIVE CONCEPTS 19sound using extreme warp settings.4.6 MIDI Clips and MIDI FilesA MIDI clip contains musical material in the form of MIDI no

CHAPTER 15. RECORDING NEW CLIPS 208The Scene Up/DownButtons.One key is used to jump to the next scene...A Track Launch Button... and another key to s

209Chapter 16Working with Instruments andEffectsEvery track in Live can host a number of devices. These devices can be of three differentsorts:MIDI ef

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 210Devices in the TrackView.To save space in the Track View, a device can be collapsed by double-clic

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 21116.1 Using the Live DevicesThe Live Device Browser.Click on the Device Browser selector to access

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 212MIDI and Audio TrackArm ButtonsThis is how you would play live instruments through effects on a tr

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 213A MIDI Track's DeviceChain Can Contain AllThree Device Types.To remove a device from the chai

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 214Devices in Live's tracks have input and output level meters. These meters are helpful inndin

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 215Presets in the DeviceBrowser.You can browse and load presets quickly with the computer keyboard:Sc

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 216Saving PresetsYou can create and save any number of your own presets in the Device Browser.The Sav

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 217for all of Live's instruments, MIDI effects and audio effects (including the various types of

CHAPTER 4. LIVE CONCEPTS 204.7 Devices and the MixerA track can have not only clips but also a chain of devices for processing signals. Double-clickin

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 218tracks or following instruments. Please see the previous section, Using the Live Devices, fordetai

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 219Live is running, so that newly installed devices become immediately available in the Plug-InDevice

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 220The X-Y control eld can be used to control two plug-in parameters at once and is thereforeespecia

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 221Plug-In Congure ModeThe Congure Button.Congure Mode allows you to customize Live's panel t

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 222Adjusting a parameter in the plug-in's oating window creates temporary entries forthat param

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 22316.2.2 Plug-In Performance OptionsThe CPU Preferences contain a Plug-In Buffer Size setting for ba

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 2242. Once you have selected a VST Custom Folder and Live has scanned it, the pathwill be displayed.

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 225System folder on Mac OS X) selected in Live's File/Folder Preferences. The alias can pointto

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 226The VST Program/BankLoad Button (Left) andSave Button (Right).VST programs and banks can be import

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 227on the Use Audio Units option activates Audio Units Plug-ins so that they appear in Live'sPlu

CHAPTER 4. LIVE CONCEPTS 21Live's Built-in DevicesAre Available from theDevice Browser.You can also use plug-in devices in Live. VST and Audio Un

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 228Device delay compensation is on by default and does not normally have to be adjustedin any way. Ho

229Chapter 17Instrument, Drum and Effect RacksAn Audio Effect Rack.A Rack is a exible tool for working with effects, plug-ins and instruments in a tr

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 23017.1 An Overview of Racks17.1.1 Signal Flow and Parallel Device ChainsIn any of Live's tracks, d

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 231The Macro Controls are a bank of eight knobs, each capable of addressing any number ofparameters from

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 232on one of the title bars to reveal the Group and Group to Drum Rack commands in thecontext menu. Note

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 233an Instrument, Drum or Effect Rack is being used.2. Macro Controls3. Chain List. In Drum Racks, this

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 234Navigate Racks QuicklyVia a Context Menu.17.4 Chain ListThe Chain List in anAudio Effect Rack.As sign

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 235or Arrangement View track will give that track focus; its Track View will open, allowing youto drop y

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 236Auto Select in a DrumRack.When the Auto Select switch is activated, every chain that is currently pro

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 23717.5.1 Signal Flow through ZonesTo understand how zones work, let's examine the signal ow in a

CHAPTER 4. LIVE CONCEPTS 22you can use at the same time, a topic that deserves separate discussion. Note that thesignal connections between audio devi

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 23817.5.2 Key ZonesThe Key Zone Editor.When the Key button is selected, the Key Zone Editor appears to t

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 239spans the top of the editor. Otherwise, the functionality here is identical to that of the KeyZone Ed

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 240is not attenuated, allowing the chain's effects (like long reverb tails or delays) to fade outac

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 241Crossfading Preset Banks Using Fade RangesCrossfading BetweenEffects Presets UsingChain Select Zones.

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 2422 314The Chain List in a DrumRack.1. In addition to the standard selectors found on all Racks, Drum R

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 243Drum Racks that are nested within other Drum Racks, both drum chains and return chainscan route upwa

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 244a single pad, by creating a nested Drum Rack with all of its chains set to receive that pad'snot

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 24517.6.2 SlicingAlthough Live automatically warps audio les to match your Set's tempo, you can ge

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 2463. The Drum Rack's Macro Controls will be pre-assigned to useful parameters forthe Simplers, as

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 247Using Effects on SlicesBecause each slice lives in its own chain in the Drum Rack, you can easily pro

CHAPTER 4. LIVE CONCEPTS 23Consider a MIDI track playing a clip. The MIDI signal from the clip is fed into the track's devicechain. There, it is

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 248Map buttons will appear beneath each Macro Control dial;The Mapping Browser will open.The following s

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 249a button in its title bar, which will fold the Rack's mixer in or out. Likewise, any nestedchain

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 25017.8.1 Extracting ChainsAll chains can be dragged from their parent Racks and placed into other track

251Chapter 18Automation and Editing EnvelopesOften, when working with Live's mixer and devices, you will want the controls' movementsto beco

CHAPTER 18. AUTOMATION AND EDITING ENVELOPES 252Volume, Pan and theTrack Activator SwitchHave Been Automated.18.2 Deleting AutomationTo delete automat

CHAPTER 18. AUTOMATION AND EDITING ENVELOPES 2532. You can click on it to reactivate all automation and thereby return to the automa-tion state as it

CHAPTER 18. AUTOMATION AND EDITING ENVELOPES 254of the track's devices or None to hide the envelope. It also provides you withan overview of wh

CHAPTER 18. AUTOMATION AND EDITING ENVELOPES 255Drawing an Envelope.Drawing creates steps as wide as the visible grid, which you can modify using a nu

CHAPTER 18. AUTOMATION AND EDITING ENVELOPES 256them. Holding down theCtrl(PC) / (Mac) modier while dragging switchesto a ner resolution.Click and d

CHAPTER 18. AUTOMATION AND EDITING ENVELOPES 257To copy, cut, delete or duplicate automation from a track, independent of the associatedclip, make sur

CHAPTER 4. LIVE CONCEPTS 24settings as a single preset. This feature allows for the creation of powerful multi-devicecreations and effectively adds al

258Chapter 19Clip EnvelopesEvery clip in Live can have its own clip envelopes. The aspects of a clip that are inuenced byclip envelopes change depend

CHAPTER 19. CLIP ENVELOPES 259To work with clip envelopes, bring up the Clip View's Envelopes box by activating therightmost Clip View Box select

CHAPTER 19. CLIP ENVELOPES 2601. Enclose the desired selection in the loop brace, and click the brace so that it isselected. This will execute the Edi

CHAPTER 19. CLIP ENVELOPES 26119.2.2 Changing Pitch and Tuning per NoteDrop a sample loop from the Browser into Live and play it. Click on the Transpo

CHAPTER 19. CLIP ENVELOPES 262To scroll the display, hold down theCtrlAlt(PC) /Alt(Mac) modier whiledragging.Pitch is modulated in an additive way. T

CHAPTER 19. CLIP ENVELOPES 263the Control chooser. The Envelope Editor appears with a vertical grid overlay. In envelopeDraw Mode, set steps to non-ze

CHAPTER 19. CLIP ENVELOPES 264File Browsers, or the Session or Arrangement View, onto the Clip V iew. All clip settings,including the envelopes, will

CHAPTER 19. CLIP ENVELOPES 265As you raise and lower the Volume slider, you can observe the dot following your movementin a relative fashion.Modulatin

CHAPTER 19. CLIP ENVELOPES 266Choose MIDI Ctrl from a MIDI clip's Device chooser and use the Control chooser belowit to select a specic MIDI c

CHAPTER 19. CLIP ENVELOPES 26719.5.1 Programming a Fade-Out for a Live SetLet us start with a straightforward example. Suppose you are setting up a Li

CHAPTER 4. LIVE CONCEPTS 254.10 Recording New ClipsAudio tracks and MIDI tracks can record their input signal and thereby create new clips.Recording i

CHAPTER 19. CLIP ENVELOPES 268effectively deletes the envelope data. To return to the previous state, please use the Editmenu's Undo command.19.5

CHAPTER 19. CLIP ENVELOPES 269Note that the start/end markers and loop brace are subject to quantization by the zoom-adaptive grid, as is envelope dra

270Chapter 20Working with VideoLive's exible architecture makes it the perfect choice for scoring to video. You can trimvideo clips to select pa

CHAPTER 20. WORKING WITH VIDEO 27120.2 The Appearance of Video in Live20.2.1 Video Clips in the Arrangement ViewA video clip in the Arrangement View l

CHAPTER 20. WORKING WITH VIDEO 27220.2.2 The Video WindowThe Video Window is a separate, oating window that always remains above Live's mainwind

CHAPTER 20. WORKING WITH VIDEO 27320.2.3 Clip ViewSoundtrack composers will want to note the Tempo Master option in Live's Clip View. Whenscoring

CHAPTER 20. WORKING WITH VIDEO 27420.3 Matching Sound to VideoIn Live, it takes just a few steps to get started with video. Let's look at a commo

CHAPTER 20. WORKING WITH VIDEO 27520.4 Video Trimming TricksCommonly, composers receive movie les with a few seconds of blank space before thereal

CHAPTER 20. WORKING WITH VIDEO 276In the Arrangement View, we select all materials (Edit menu/Select All), then drag the entirecomposition a few secon

277Chapter 21Live Audio Effect ReferenceLive comes with a selection of custom-designed, built-in audio effects. The Working withInstruments and Effec

CHAPTER 4. LIVE CONCEPTS 264.11 Automation EnvelopesOften, when working with Live's mixer and effects, you will want the controls' movements

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 278There are four different lter types: lowpass, highpass, bandpass and notch. For each type,the X-Y controll

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 279periodic fashion. The respective Amount control sets how much the LFO affects the lter.This can be used in

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 280Auto Pan offers LFO-driven manipulation of amplitude and panning for creating automaticpanning, tremolo and

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 281The Interval control denes how often Beat Repeat captures new material and begins re-peating it. Interval

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 282Beat Repeat includes a combined lowpass and highpass lter for dening the passed fre-quency range of the d

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 283To set both delay lines to Delay 1's delay time, turn on the link button (=). This is especiallyusef

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 284A compressor reduces gain for signals above a user-settable threshold. Compression re-duces the levels of p

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 285maximizing tool in the master channel. Less is often more here.Because compression reduces the volume of lo

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 286cise, and so works well for limiting tasks where you need to ensure that there are absolutelyno signals ove

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 287are the same signal. But by using sidechaining, it is possible to compress a signal basedon the level of an

CHAPTER 4. LIVE CONCEPTS 27An Envelope for ClipTransposition.4.13 MIDI and Key RemoteTo liberate the musician from the mouse, most of Live's cont

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 288Mixing a VoiceoverSidechaining is commonly used for so-called ducking effects. For example, imagine thaty

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 28921.6 CorpusThe Corpus Effect.Corpus is an effect that simulates the acoustic characteristics of seven types

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 290real-world mallet instruments such as a marimbas and glockenspiels behave. At 100%, theresonance is muted i

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 291Marimba, a specialized variant of the Beam model, reproduces the characteristic tuningof marimba bar overto

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 292Inharm. (Inharmonics) adjusts the pitch of the resonator's harmonics. At negative values,frequencies a

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 29321.7 Dynamic TubeThe Dynamic TubeEffect.The Dynamic Tube effect infuses sounds with the peculiarities of tu

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 294to volume changes in the input signal. Together, they shape the dynamic nature of thedistortions. Note that

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 295Low cut (cuts frequencies below the specied frequency);Low shelf (boosts or cuts frequencies lower than th

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 29621.9 EQ ThreeThe EQ Three Effect.If you have ever used a good DJ mixer you will know what this is: An EQ th

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 297controls are set to 0.00 dB. This is typical behavior for this kind of lter, and is part of EQThree's

1Chapter 1Welcome to Live1.1 The Ableton Team Says: Thank YouLive is the result of musicians wanting a better way to create, produce and perform music

CHAPTER 4. LIVE CONCEPTS 284.14 Saving and ExportingSaving a Live Set saves everything it contains, including all clips, their positions and settings,

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 29821.11 Exter nal Audio EffectThe External AudioEffect.The External Audio Effect is a bit different than Live

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 299latency settings in samples, which ensures that the number of samples you specify will beretained even when

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 300delay 3 to the right channel. The Pan controls at the right can override the delay channels'outputs; o

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 30121.13 FlangerThe Flanger Effect.Flanger uses two parallel time-modulated delays to create anging effects.F

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 302Adjusting the HiPass control will cut low frequencies from the delayed signal.The Dry/Wet control adjusts t

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 303The Drive button enables a distortion effect, while the slider below it controls the level ofthe distortion

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 30421.14.1 Frequency Shifter TipsFrequency shifting and ring modulation can produce some very interesting soun

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 30521.15 GateThe Gate Effect.The Gate effect passes only signals whose level exceeds a user-specied threshold

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 306Normally, the signal being gated and the input source that triggers the gate are the samesignal. But by usi

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 307source. Randomizing pitch and delay time can create complex masses of sound and rhythmthat seem to bear lit

CHAPTER 4. LIVE CONCEPTS 29MIDI sequences with matching instruments and effects, e.g., a MIDI drum pattern withthe associated Impulse and effects sett

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 308Grain Delay now also has a dry/wet control; it can be routed to the vertical axis of the X-Ycontroller.21.1

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 309and sets an appropriate release time automatically.The meter gives a visual indication of how much gain red

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 310audio that are the length of the originally recorded material. The Play button plays back thecurrent state

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 311EmptyRecord PlayOverdubStoppedClearUndo/RedoClickDoubleclickHoldDiagram of Looper'sMulti-Purpose Trans

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 312specied time and then switch to Play or Overdub, as determined by the button nextto this chooser.Song not

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 313will then swap this behavior; the original material will play forward again, while the materialthat was ove

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 3142. Record at least one pass of material into Looper.3. Create another audio track.4. In the new track'

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 31521.19.1 Dynamics Processing TheoryTo understand how to use the Multiband Dynamics device, it helps to under

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 316originaldynamicrangelargerdynamicrangedownward expansion(common)originaldynamicrangelargerdynamicrangeupwar

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 317Hz, the mid band from 500 Hz to 2000 Hz and the high band from 2000 Hz up to whateveryour soundcard or samp

CHAPTER 4. LIVE CONCEPTS 30enjoy the Essential Instrument Collection, a multi-gigabyte library of meticulously sampledand selected instruments.

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 318between displaying the Time (attack and release), Below (threshold and ratio) and Above(threshold and ratio

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 319Basic Multiband CompressionBy using only the upper thresholds, Multiband Dynamics can be used as a traditio

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 32021.20 OverdriveThe Overdrive Effect.Overdrive is a distortion effect that pays homage to some classic pedal

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 32121.21 PhaserThe Phaser Effect.Phaser uses a series of all-pass lters to create a phase shift in the freque

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 322LFOs will be perfectly out of phase (180 degrees apart), so that when one reaches its peak,the other is at

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 323time, click and drag up or down in the Delay Time eld, or click in the eld and type in avalue.The Feedbac

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 32421.23 ReduxThe Redux Effect.Nostalgic for the famed low-resolution sound quality of the Ensoniq Mirage, Fai

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 325Turning off Bit Reduction results in modest CPU savings.21.24 ResonatorsThe Resonators Effect.This device c

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 326Resonators provides two different resonation modes. Mode A provides a more realisticsounding resonation, wh

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 327Predelay controls the delay time, in milliseconds, before the onset of the rst early reection.This delays

31Chapter 5Managing Files and SetsVarious types of les are used in making music with Live, from those containing MIDI andaudio, to more program-speci

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 328other (this is also a property of the diffusion in real rooms). The lowest setting mixes theoutput signal t

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 32921.26 SaturatorThe Saturator Effect.Saturator is a waveshaping effect that can add that missing dirt, punch

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 330Period.Drive determines how much the input signal will be inuenced by the Waveshaperparameters. Setting Dr

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 33121.27 Simple DelayThe Simple Delay Effect.The Simple Delay provides two independent delay lines, one for ea

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 332Fade creates a crossfade between the old and new delay times. This sounds similarto time stretching if the

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 333The Avg slider allows you to specify how many blocks of samples will be averaged for eachupdate of the disp

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 33421.29 UtilityThe Utility Effect.Utility can perform some very useful tasks, especially in combination with

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 33521.30 Vinyl DistortionThe Vinyl DistortionEffect.The Vinyl Distortion effect emulates some of the typical d

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 336The Volume control adjusts the amount of gain applied to the noise.21.31 VocoderThe Vocoder Effect.A vocode

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 337External allows you to select any available internal routing points from the choosersbelow. This is the opt

CHAPTER 5. MANAGING FILES AND SETS 32The File BrowserSelector Buttons.Each Browser can point to a different disk location, which Live will remember ac

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 338bandwidth, you increase the overlap of the lter bands. A bandwidth of 100% is the mostaccurate, but higher

CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 3391. Insert Vocoder in the track that contains your vocal material. You can either usea clip that contains a

340Chapter 22Live MIDI Effect ReferenceLive comes with a selection of custom-designed, built-in MIDI effects. The Working withInstruments and Effects

CHAPTER 22. LIVE MIDI EFFECT REFERENCE 341controlled by the device, which also provides a full complement of both classic and originalarpeggiator feat

CHAPTER 22. LIVE MIDI EFFECT REFERENCE 342Pinky Up and PinkyUpDown.Thumb Up andThumb UpDown.Play Order places notes in the pattern according t

CHAPTER 22. LIVE MIDI EFFECT REFERENCE 343can be added to the pattern simply by playing them. Notes can also be removed from thepattern in this scenar

CHAPTER 22. LIVE MIDI EFFECT REFERENCE 344The dynamics of Arpeggiator are controlled using the velocity section. With Velocity setto On and Target s

CHAPTER 22. LIVE MIDI EFFECT REFERENCE 345Note that no two notes of the same pitch can contribute to the chord, and that selectingthe same shift value

CHAPTER 22. LIVE MIDI EFFECT REFERENCE 346Decay Time  This is the time needed for an incoming note's velocity to decay to zero. Thedecay begins

CHAPTER 22. LIVE MIDI EFFECT REFERENCE 34722.5 RandomThe Random Effect.Random adds an element of the unknown to the otherwise commonplace pitch parame

CHAPTER 5. MANAGING FILES AND SETS 33Library Is thisBrowser's Root.The Browser root can easily be changed: The topmost Browser item, called Pa

CHAPTER 22. LIVE MIDI EFFECT REFERENCE 348C3 once will trigger C3, and each successive C3 will trigger the next semitone higher untilthe device reache

CHAPTER 22. LIVE MIDI EFFECT REFERENCE 349mapping will take effect. Outside of the range dened by these controls, the Scale effectwill be inapplicabl

CHAPTER 22. LIVE MIDI EFFECT REFERENCE 350Gate Mode removes incoming notes altogether if their velocities are outside of therange. You will see the li

351Chapter 23Live Instrument ReferenceLive comes with a selection of custom-designed, built-in instruments. The Working withInstruments and Effects

CHAPTER 23. LIVE INSTRUMENT REFERENCE 352Analog is a virtual analog synthesizer, created in collaboration with Applied Acoustics Sys-tems. With this i

CHAPTER 23. LIVE INSTRUMENT REFERENCE 353These sources can be independently routed to two different multi-mode lters, which areeach connected to an a

CHAPTER 23. LIVE INSTRUMENT REFERENCE 354The Shape chooser selects the oscillator's waveform. The choices are sine, sawtooth, rectan-gular and wh

CHAPTER 23. LIVE INSTRUMENT REFERENCE 355oscillator whose frequency is set by the Ratio slider. At 0%, the frequency of the internaloscillator and the

CHAPTER 23. LIVE INSTRUMENT REFERENCE 35623.1.4 FiltersDisplay and ShellParameters for the twoFilters.Analog's two multi-mode lters come equippe

CHAPTER 23. LIVE INSTRUMENT REFERENCE 357The three Sym options apply symmetrical distortion, which means that the saturation be-havior is the same for

CHAPTER 5. MANAGING FILES AND SETS 34File Browser's selector button will do the same.5.1.2 Browser BookmarksUsing bookmarks, you can quickly save

CHAPTER 23. LIVE INSTRUMENT REFERENCE 35823.1.6 EnvelopesAnalog's EnvelopeParameters.In addition to the pitch envelopes in the oscillator section

CHAPTER 23. LIVE INSTRUMENT REFERENCE 359Normally, each new note triggers its own envelope from the beginning of the attack phase.With Legato enabled,

CHAPTER 23. LIVE INSTRUMENT REFERENCE 360Analog's two LFOs can be used as modulation sources for the oscillators, lters and ampli-ers. As with

CHAPTER 23. LIVE INSTRUMENT REFERENCE 361The Volume control in the shell adjusts the overall output of the instrument. This is theinstrument's ma

CHAPTER 23. LIVE INSTRUMENT REFERENCE 362priority to the most recently played notes, cutting off the oldest notes as necessary.The Octave, Semi and Tu

CHAPTER 23. LIVE INSTRUMENT REFERENCE 36323.2 CollisionThe Collision Instrument.Collision is a synthesizer that simulates the characteristics of malle

CHAPTER 23. LIVE INSTRUMENT REFERENCE 364In addition to serving as organizational aids, Collision's tabs contain LEDs that light up toindicate th

CHAPTER 23. LIVE INSTRUMENT REFERENCE 365The Color knob sets the frequency of the noise component. At higher values, there are lesslow frequencies in

CHAPTER 23. LIVE INSTRUMENT REFERENCE 366decay phase to the release of the key. When this slider is set to 0, there is no sustain phase.With it set to

CHAPTER 23. LIVE INSTRUMENT REFERENCE 367Tuning SectionResonator TuningParameters.The Tune and Fine knobs function as coarse and ne tuning controls.

CHAPTER 5. MANAGING FILES AND SETS 35Activating BrowserSearch Mode.After entering your search terms, begin the search by clicking the Go button or pre

CHAPTER 23. LIVE INSTRUMENT REFERENCE 368The type chooser allows you to select from seven types of physically modeled resonantobjects:Beam simulates t

CHAPTER 23. LIVE INSTRUMENT REFERENCE 369the radius of the pipe or tube. As the radius increases, the decay time and high frequencysustain both increa

CHAPTER 23. LIVE INSTRUMENT REFERENCE 370Mixer SectionResonator Mixer.Each resonator has its own Volume and Pan controls. Pan can also be modulated by

CHAPTER 23. LIVE INSTRUMENT REFERENCE 371sawtooth down and two types of noise. The rst noise type steps between random valueswhile the second uses sm

CHAPTER 23. LIVE INSTRUMENT REFERENCE 372The Global SectionCollision's GlobalSection.The global section contains the parameters that relate to th

CHAPTER 23. LIVE INSTRUMENT REFERENCE 373MalletNoiseResonator 2Resonator 1Resonators in 1 + 2(Parallel) Conguration.The Voices chooser sets the avail

CHAPTER 23. LIVE INSTRUMENT REFERENCE 374try using the Noise excitator, particularly with long envelope times, to create washy,quasi-granular textures

CHAPTER 23. LIVE INSTRUMENT REFERENCE 37523.3.2 Accessing the Drum MachinesAfter installation, the Drum Machines presets are accessed through Live&apo

CHAPTER 23. LIVE INSTRUMENT REFERENCE 376parameters can be tweaked to values not possible with the real instruments to get sometruly amazing new sound

CHAPTER 23. LIVE INSTRUMENT REFERENCE 377The Noise subsection simulates the impact noise caused by the mallet striking the fork. TheDecay knob adjusts

CHAPTER 5. MANAGING FILES AND SETS 36Automatic rescanning for new searches can be activated and deactivated in the File/FolderPreferences.While a sear

CHAPTER 23. LIVE INSTRUMENT REFERENCE 378hardness of the dampers, producing a brighter sound. The overall amount of damper noiseis adjusted with the L

CHAPTER 23. LIVE INSTRUMENT REFERENCE 379The Volume knob sets Electric's overall output level.The Voices chooser sets the available polyphony. Si

CHAPTER 23. LIVE INSTRUMENT REFERENCE 380allows you to easily integrate external (hardware) synthesizers, ReWire devices and multi-timbral plug-ins in

CHAPTER 23. LIVE INSTRUMENT REFERENCE 381slider allows you to set your latency compensation amount in either milliseconds or samples.If your external

CHAPTER 23. LIVE INSTRUMENT REFERENCE 382loaded into Impulse's sample slots can be time-stretched, ltered and processed by enve-lope, saturation

CHAPTER 23. LIVE INSTRUMENT REFERENCE 38323.6.2 Start, Tune and StretchThe Start control denes where Impulse begins playing a sample, and can be set

CHAPTER 23. LIVE INSTRUMENT REFERENCE 38423.6.5 Pan and VolumeEach sample has Volume and Pan controls that adjust amplitude and stereo positioning,res

CHAPTER 23. LIVE INSTRUMENT REFERENCE 38523.7.1 Latin Percussion InstallationLatin Percussion is installed separately from the main Live installation.

CHAPTER 23. LIVE INSTRUMENT REFERENCE 386to navigate to the selected conga preset folder. Then drag the entire folder to the DrumRack's pad view.

CHAPTER 23. LIVE INSTRUMENT REFERENCE 38723.8.1 General OverviewThe interface of Operator consists of two parts: the display surrounded on either side

CHAPTER 5. MANAGING FILES AND SETS 37The Rotating RingMeans That a Search isin Progress.For mouse-free searching, we suggest the following sequence of

CHAPTER 23. LIVE INSTRUMENT REFERENCE 388Operator's GlobalDisplay.Typically, FM synthesis makes use of pure sine waves, creating more complex wav

CHAPTER 23. LIVE INSTRUMENT REFERENCE 389Built-in WaveformsThe oscillators come with a built-in collection of basic waveform types  sine, sawtooth,sq

CHAPTER 23. LIVE INSTRUMENT REFERENCE 390offers an option to toggle Normalize on or off. When enabled, the oscillator's overall outputlevel is ma

CHAPTER 23. LIVE INSTRUMENT REFERENCE 391The phase of each oscillator can be adjusted using the Phase control in its display. With theR (Retrigger) bu

CHAPTER 23. LIVE INSTRUMENT REFERENCE 39223.8.3 LFO SectionOperator's LFOParameters.The LFO in Operator can practically be thought of as a fth o

CHAPTER 23. LIVE INSTRUMENT REFERENCE 393display's Amt<Vel control. The LFO's intensity is also affected by its envelope.23.8.4 Envelopes

CHAPTER 23. LIVE INSTRUMENT REFERENCE 394Mode, an envelope will restart after the beat time selected from the Repeat chooser. In BeatMode, the repeat

CHAPTER 23. LIVE INSTRUMENT REFERENCE 39523.8.5 Filter SectionOperator's Filter Section.Operator's lters can be very useful for modifying t

CHAPTER 23. LIVE INSTRUMENT REFERENCE 396adjusted with the Dry/Wet control. With this set to 0%, the shaper and drive parameters arebypassed.23.8.6 Gl

CHAPTER 23. LIVE INSTRUMENT REFERENCE 39723.8.7 Glide and SpreadOperator's Pitch Section.Operator includes a polyphonic glide function. When this

CHAPTER 1. WELCOME TO LIVE 21.2 What's New in Live 8?1.2.1 New Warping EngineLive's warping engine has been dramatically overhauled, with mo

CHAPTER 5. MANAGING FILES AND SETS 38The Preview Switch.Hint: You can preview les even when the Preview switch is not activated by pressingReturnor .

CHAPTER 23. LIVE INSTRUMENT REFERENCE 398Interpolation and Antialias modes in the global display can also be turned off to conserveCPU resources.Note

CHAPTER 23. LIVE INSTRUMENT REFERENCE 399Algorithm  An oscillator can modulate other oscillators, be modulated by other oscillators,or both. The algo

CHAPTER 23. LIVE INSTRUMENT REFERENCE 400OSC Crossfade A/C  Crossfades the volumes of the A and C oscillators based on the valueof the modulation sou

CHAPTER 23. LIVE INSTRUMENT REFERENCE 401Spread  If Spread is turned up, the synthesizer uses two detuned voices per note, oneeach on the left and ri

CHAPTER 23. LIVE INSTRUMENT REFERENCE 402with low resonance settings. The 24 dB lter modes attenuate the ltered frequencies to amuch greater degree

CHAPTER 23. LIVE INSTRUMENT REFERENCE 403LFO Waveform  Select from among several typical LFO waveforms. Sample and Holdcreates random steps, and Nois

CHAPTER 23. LIVE INSTRUMENT REFERENCE 404Osc Coarse Frequency (Coarse)  The relationship between oscillator frequency and notepitch is dened by the

CHAPTER 23. LIVE INSTRUMENT REFERENCE 405brighter sound, while higher values result in more high-end roll-off and a more prominentfundamental. With Re

CHAPTER 23. LIVE INSTRUMENT REFERENCE 406Envelope Initial Level (Initial)  This sets the initial value of the envelope.Envelope Peak Level (Peak)  T

CHAPTER 23. LIVE INSTRUMENT REFERENCE 407Context Menu ParametersCertain operations and parameters in Operator are only available via the (PC) /Ctrl(Ma

CHAPTER 5. MANAGING FILES AND SETS 39To learn how to set up Live for cueing, please refer to the relevant section of the Mixingchapter.5.1.5 Adding Cl

CHAPTER 23. LIVE INSTRUMENT REFERENCE 408After you have installed the libraries of your choice, you will need to authorize them. Furtherdetails can be

CHAPTER 23. LIVE INSTRUMENT REFERENCE 40923.10 SamplerThe Sampler Instrument.Sampler is a sleek yet formidable multisampling instrument that takes ful

CHAPTER 23. LIVE INSTRUMENT REFERENCE 410captures an instrument at multiple points within its critical sonic range. This typically meanscapturing the

CHAPTER 23. LIVE INSTRUMENT REFERENCE 411which are mounted automatically upon inserting and can be browsed as usual with Live'sFile Browser. Here

CHAPTER 23. LIVE INSTRUMENT REFERENCE 41223.10.3 The Zone TabThe Key Zone Editor.Clicking on the Zone tab toggles the display of Sampler's Zone E

CHAPTER 23. LIVE INSTRUMENT REFERENCE 413Zone Editor View (Key/Vel/Sel)  These buttons toggle the display of the Key Zone, VelocityZone and Sample Se

CHAPTER 23. LIVE INSTRUMENT REFERENCE 414Velocity ZonesThe Velocity Zone Editor.Velocity zones determine the range of MIDI Note On velocities that eac

CHAPTER 23. LIVE INSTRUMENT REFERENCE 415found in Racks, in that only samples with sample select values that overlap the current valueof the sample se

CHAPTER 23. LIVE INSTRUMENT REFERENCE 416Snap  Snaps all start and end points to the waveform zero-crossings (points where theamplitude is zero) to a

CHAPTER 23. LIVE INSTRUMENT REFERENCE 417No Sustain Loop  Playback proceeds linearly until either the Sample End is reachedor the volume envelope com

CHAPTER 5. MANAGING FILES AND SETS 40Rename les and folders using the Edit menu's Rename command or theCtrlR(PC) /R(Mac) shortcut. Cancel renami

CHAPTER 23. LIVE INSTRUMENT REFERENCE 418the pitch of samples may shift within a loop, relative to the loop's duration. With Detune,the pitch of

CHAPTER 23. LIVE INSTRUMENT REFERENCE 419The Pitch EnvelopeThe pitch envelope modulates the pitch of the sample over time, as well as of the Modulatio

CHAPTER 23. LIVE INSTRUMENT REFERENCE 420Four different curves can be chosen for the waveshaper, and its overall intensity can becontrolled with the A

CHAPTER 23. LIVE INSTRUMENT REFERENCE 421The Modulation tab offers an additional loopable envelope, plus three LFOs, all capable ofmodulating multiple

CHAPTER 23. LIVE INSTRUMENT REFERENCE 42223.11 Session DrumsSession Drums is a multisampled library of acoustic drumkits recorded by Chocolate Audio.T

CHAPTER 23. LIVE INSTRUMENT REFERENCE 42323.11.2 Accessing the Session Drums PresetsAfter installation, the Session Drums presets are accessed through

CHAPTER 23. LIVE INSTRUMENT REFERENCE 424Velocity Sensitivity  this Macro adjusts the dynamic range of the drumkit. As you turnup this control, the k

CHAPTER 23. LIVE INSTRUMENT REFERENCE 42523.12 SimplerThe Simpler Instrument.Simpler is an instrument that integrates the basic elements of a sampler

CHAPTER 23. LIVE INSTRUMENT REFERENCE 42623.12.2 Sample ControlsSimpler plays a specic region or loop of the sample, as determined by a group of samp

CHAPTER 23. LIVE INSTRUMENT REFERENCE 427vertically to zoom, and drag horizontally to pan different areas of the sample into view.23.12.4 EnvelopeSimp

CHAPTER 5. MANAGING FILES AND SETS 41The Hot-Swap Browser.While in Hot-Swap Mode, pressing theReturnkey loads that le into the Impulse slot(presumabl

CHAPTER 23. LIVE INSTRUMENT REFERENCE 42830 Hz, or sync to divisions of the Set's tempo. LFOs are applied individually to each voice,or played no

CHAPTER 23. LIVE INSTRUMENT REFERENCE 429The Voices parameter sets the maximum number of voices that Simpler can play simultane-ously. If more voices

CHAPTER 23. LIVE INSTRUMENT REFERENCE 43023.13 TensionThe Tension Instrument.Tension is a synthesizer dedicated to the emulation of string instruments

CHAPTER 23. LIVE INSTRUMENT REFERENCE 431a hammer, a pick or a bow. The frequency of the oscillation is determined by the effectivelength of the strin

CHAPTER 23. LIVE INSTRUMENT REFERENCE 432The modelled string can be played using different types of excitators in order to reproducedifferent types of

CHAPTER 23. LIVE INSTRUMENT REFERENCE 433string into motion.The Prot knob (for protrusion) adjusts how much of the plectrum's surface area is p

CHAPTER 23. LIVE INSTRUMENT REFERENCE 434The String SectionTension's String Section.The vibration of the string is the main component of a string

CHAPTER 23. LIVE INSTRUMENT REFERENCE 435The Vibrato SectionTension's VibratoSection.The Vibrato section uses an LFO to modulate the string'

CHAPTER 23. LIVE INSTRUMENT REFERENCE 436The Damper SectionTension's DamperSection.All string instruments employ some type of damping mechanism t

CHAPTER 23. LIVE INSTRUMENT REFERENCE 437The Mass, Stiffness and Velocity parameters can be further modulated by note pitch, via thesliders below.The

CHAPTER 5. MANAGING FILES AND SETS 425.2 Sample FilesA sample is a le that contains audio data. Live can play both uncompressed le formats(WAV, AIF,

CHAPTER 23. LIVE INSTRUMENT REFERENCE 438adjusted with the Fing Mass and Fing Stiff knobs, which set the force the nger appliesto the string and the

CHAPTER 23. LIVE INSTRUMENT REFERENCE 439The Body SectionTension's Body Section.The role of the body or soundboard of a string instrument is to r

CHAPTER 23. LIVE INSTRUMENT REFERENCE 44023.13.3 Filter/Global TabThe Filter/Global tab contains the lter parameters for the instrument, as well as g

CHAPTER 23. LIVE INSTRUMENT REFERENCE 441The time it takes for the envelope to reach the sustain level after the attack phase is set bythe Decay knob.

CHAPTER 23. LIVE INSTRUMENT REFERENCE 442Global and Keyboard ParametersTension's Global andKeyboard Parameters.The remaining section contain all

CHAPTER 23. LIVE INSTRUMENT REFERENCE 443The Error slider increases the amount of random tuning error applied to each note. Try veryhigh values if you

CHAPTER 23. LIVE INSTRUMENT REFERENCE 444To get a sense of what's possible, it may help to study how the presets were made. You'llsoon reali

CHAPTER 23. LIVE INSTRUMENT REFERENCE 445The EIC presets are available in Full and Lite versions, allowing you to choose the rightbalance of delity a

CHAPTER 23. LIVE INSTRUMENT REFERENCE 446Special Features of the Guitar and Bass BanksThe EIC's guitar instruments have additional banks for sing

447Chapter 24Max For LiveA Generic Max AudioEffect.Max for Live, an add-on product co-developed with Cycling '741, allows users to extend andcust

CHAPTER 5. MANAGING FILES AND SETS 43Preferences for theDecoding and WebCache.5.2.2 Analysis Files (.asd)An analysis le is a little le that Live cre

CHAPTER 24. MAX FOR LIVE 448The Max Editor Chooser.Like all other Live devices, Max devices can have their own presets, which can be viewedand loaded

449Chapter 25Sharing Live SetsLive provides tools to collaborate with other Live users by uploading and downloading LiveSets from Ableton's web s

CHAPTER 25. SHARING LIVE SETS 450Enter the Set's Name inthe Upload DetailsWindow.If you are not already logged in to your ableton.com account, yo

CHAPTER 25. SHARING LIVE SETS 451tracks that contain an External Instrument or External Audio Effect.The Non-Portable TracksDialog.Note that Freezing

CHAPTER 25. SHARING LIVE SETS 45225.3 The Upload/Download BrowserAll les that you download from Ableton's server are stored locally on your mach

453Chapter 26MIDI and Key Remote ControlTo liberate the musician from the mouse, most of Live's controls can be remote-controlledwith an external

CHAPTER 26. MIDI AND KEY REMOTE CONTROL 45426.1 MIDI Remote ControlLive can be controlled remotely by external MIDI control surfaces, such as MIDI key

CHAPTER 26. MIDI AND KEY REMOTE CONTROL 455listed here, don't fret  it can still be enabled manually in the next section, Manual ControlSurface

CHAPTER 26. MIDI AND KEY REMOTE CONTROL 456Control Surfaces CanFollow Device Selection.In addition to following device selection, natively supported c

CHAPTER 26. MIDI AND KEY REMOTE CONTROL 457Note: Some control surfaces do not support locking to devices. This capability is indicatedfor individual c

CHAPTER 5. MANAGING FILES AND SETS 44The analysis le's name is the same as that of the associated sample, with an added .asdextension. Live pu

CHAPTER 26. MIDI AND KEY REMOTE CONTROL 45826.1.3 Takeover ModeMIDI ControllerTakeover Mode.When MIDI controls that send absolute values (such as fade

CHAPTER 26. MIDI AND KEY REMOTE CONTROL 45926.2 The Mapping BrowserThe Mapping Browserand Selector.All manual MIDI, computer keyboard and Macro Contro

CHAPTER 26. MIDI AND KEY REMOTE CONTROL 460Once your remote control setup has been dened in the MIDI/Sync Preferences, giving MIDIcontrollers and not

CHAPTER 26. MIDI AND KEY REMOTE CONTROL 46126.2.3 Mapping to Absolute MIDI ControllersAbsolute MIDI controllers send messages to Live in the form of a

CHAPTER 26. MIDI AND KEY REMOTE CONTROL 462Live to pan right, causing an abrupt jump in the track's panning. A pan knob sending relativemessages

CHAPTER 26. MIDI AND KEY REMOTE CONTROL 463Relative Session View NavigationNotice that you can make not only absolute mappings to individual slots and

CHAPTER 26. MIDI AND KEY REMOTE CONTROL 464Clip View interface could potentially affect any clip in the Live Set. For this reason, werecommend mapping

CHAPTER 26. MIDI AND KEY REMOTE CONTROL 465computer keystrokes for use with instruments.

466Chapter 27Using the APC40The APC40 (Ableton Perfor mance Controller) is a dedicated controller for Ableton Live, co-designed by Ableton and Akai Pr

CHAPTER 27. USING THE APC40 467Setting Up The APC40.27.2 Clip Launch MatrixThe APC40's matrix of buttons gives you physical access to the clips i

CHAPTER 5. MANAGING FILES AND SETS 45Which Signal Will Be Rendered?The Rendered TrackChooser.The Export dialog's Rendered Track chooser offers se

CHAPTER 27. USING THE APC40 468Session View Clip andNavigation Controls.Pressing a Clip Launch button triggers the clip in the corresponding clip slot

CHAPTER 27. USING THE APC40 469APC's button matrix are shown in Live with a red border.The directional arrows and Shift button increase the scope

CHAPTER 27. USING THE APC40 47027.4 Mixer SectionThe APC40 features eight tracks, each with its own fader, solo/pre-cue, mute and recordarm buttons. A

CHAPTER 27. USING THE APC40 47127.5 Device ControlThe APC40 features eight endless dials and four control buttons that map to your devicesautomaticall

CHAPTER 27. USING THE APC40 472controls. For more information, see the Control Surface Reference Lesson.27.6 Transport and Global ButtonsLive's P

CHAPTER 27. USING THE APC40 473Metronome turns the metronome on and off.27.7 Track ControlThe Track Control section covers pan settings or send levels

CHAPTER 27. USING THE APC40 47427.8 Tempo ControlTap Tempo and Nudge Left/Right buttons are essential for live performance, helping you tostay in sync

CHAPTER 27. USING THE APC40 47527.9 CrossfaderThe APC40's replaceable crossfader is an essential DJ control, and is also handy for control-ling e

CHAPTER 27. USING THE APC40 47627.10 Customizing the APC40 ControlsYou can change the assignment of all of the knobs, faders and buttons on the APC40

477Chapter 28Synchronization and ReWire28.1 Synchronizing via MIDIThe MIDI protocol denes two ways to synchronize sequencers, both of which are suppo

CHAPTER 5. MANAGING FILES AND SETS 46Audio Rendering OptionsAudio RenderingOptions.The Export dialog offers several audio rendering options:Normalize

CHAPTER 28. SYNCHRONIZATION AND REWIRE 478are explained later in this chapter. With respect to MIDI Timecode, Live can only actas a MIDI sync slave, n

CHAPTER 28. SYNCHRONIZATION AND REWIRE 479The External SyncSwitch.When Live is synced to an external MIDI device, it can accept song position pointers

CHAPTER 28. SYNCHRONIZATION AND REWIRE 480pronounced percussive sounds. While listening to the output from both, adjust the SyncDelay control until bo

CHAPTER 28. SYNCHRONIZATION AND REWIRE 481resources than running a single program.28.2.1 Running Live in ReWire Master ModeThe step-by-step procedure

CHAPTER 28. SYNCHRONIZATION AND REWIRE 482Time signature and tempo will be determined by the settings in the ReWire masterapplication. If your Live Se

483Chapter 29Computer Audio Resources andStrategiesReal-time audio processing is a demanding task for general-purpose computers, which areusually desi

CHAPTER 29. COMPUTER AUDIO RESOURCES AND STRATEGIES 484Fortunately, Live supports multicore and multiprocessor systems, allowing the processingload fr

CHAPTER 29. COMPUTER AUDIO RESOURCES AND STRATEGIES 48529.1.2 CPU Load from Tracks and DevicesGenerally, every track and device being used in Live inc

CHAPTER 29. COMPUTER AUDIO RESOURCES AND STRATEGIES 486device or clip settings. On slower machines, you can unfreeze processor-intensive tracksone at

CHAPTER 29. COMPUTER AUDIO RESOURCES AND STRATEGIES 487For frozen Session clips, only two loop cycles are included in the frozen clip, which meansthat

CHAPTER 5. MANAGING FILES AND SETS 47created.Convert to Mono  If this is activated, Live will create a mono le instead of a stereole.Dither Options

CHAPTER 29. COMPUTER AUDIO RESOURCES AND STRATEGIES 488Do the following to avoid disk overload:Reduce the amount of audio channels being written by ch

489Chapter 30Audio Fact SheetPrior to the release of Live 7, much of Ableton's development effort was focused on carefullyand objectively testing

CHAPTER 30. AUDIO FACT SHEET 490we will never release an update unless it passes every test.30.2 Neutral OperationsProcedures in Live that will cause

CHAPTER 30. AUDIO FACT SHEET 491rendering to a le with the same bit depth as the original results in complete phasecancellation.rendering to a le wi

CHAPTER 30. AUDIO FACT SHEET 49230.2.4 Summing at Single Mix PointsSince version 7, Live uses double precision (64-bit) summing at all points where si

CHAPTER 30. AUDIO FACT SHEET 49330.2.7 Freeze, FlattenWhen tracks are frozen, the audio les that are created are 32 bit, which ensures that theywill

CHAPTER 30. AUDIO FACT SHEET 49430.2.8 Bypassed EffectsBypassed effects in Live are removed from the signal ow. This is true for both Live's bui

CHAPTER 30. AUDIO FACT SHEET 495In all cases, output is rendered and compared with the output of an unsplit version of thesame source. Phase cancellat

CHAPTER 30. AUDIO FACT SHEET 496sample rate that you plan to use in Live, the les can be imported without any loss of quality.Rendering audio from Li

CHAPTER 30. AUDIO FACT SHEET 49730.3.5 Recording external signals (bit depth < A/D converter)Recording audio signals into Live is a non-neutral ope

CHAPTER 1. WELCOME TO LIVE 3Live's interface can be magnied to maximize visibility via the Zoom Display slider.A Preview Tab in the Browser prov

CHAPTER 5. MANAGING FILES AND SETS 48Waiting for ExternalDevices to BecomeSilent.Skip  By default, Live will wait for ten seconds before starting a r

CHAPTER 30. AUDIO FACT SHEET 49830.3.9 PanningLive uses constant power panning with sinusoidal gain curves. Output is 0 dB at thecenter position and s

CHAPTER 30. AUDIO FACT SHEET 499convert your rendered les in an ofine application that is optimized for these tasks,rather than in Live.Please note

500Chapter 31MIDI Fact SheetIn conjunction with our work on the audio engine, Ableton has spent additional effort an-alyzing Live's MIDI timing a

CHAPTER 31. MIDI FACT SHEET 501environment would capture this incoming information with perfect timing accu-racy in relation to the timeline of the so

CHAPTER 31. MIDI FACT SHEET 502data into a plug-in's playback, for example. Jitter-free MIDI timing involvesaccurate conversion between different

CHAPTER 31. MIDI FACT SHEET 503For playback of hardware devices, Live also generates timestamps that it attempts to com-municate to the MIDI interface

CHAPTER 31. MIDI FACT SHEET 50431.5 Tests and ResultsOur procedure for testing the timing of incoming MIDI events is represented in the followingdiagr

CHAPTER 31. MIDI FACT SHEET 505At 44.1 kHz and 512 sample buffer, occasional events with +/- 6 ms occurred. In allcases, the majority of the jitter oc

CHAPTER 31. MIDI FACT SHEET 50631.6 Tips for Achieving Optimal MIDI Perfor manceIn order to help users achieve optimal MIDI performance with Live, we

CHAPTER 31. MIDI FACT SHEET 50731.7 Summary and ConclusionsAbleton wrote this paper in order to help users understand a variety of related topics:the

CHAPTER 5. MANAGING FILES AND SETS 49Rendering VideoVideo RenderingOptions.In addition to settings for audio rendering, the Export dialog provides add

508Chapter 32Live Keyboard Shortcuts32.1 Showing and Hiding ViewsWindows MacintoshToggle Full Screen ModeF11CtrlF11Toggle Session/Arrangement ViewTogg

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 509Windows MacintoshClose Window/DialogEscEsc32.2 Accessing MenusUnder Windows, you can access each menu by pressi

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 51032.4 BrowsingIn addition to the shortcuts shown here, editing shortcuts can also be used in the Browser.Windows

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 51132.6 EditingWindows MacintoshCutCtrlXXCopyCtrlCCPasteCtrlVVDuplicateCtrlDDDeleteDeleteUndoCtrlZZRedoCtrlYZRenam

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 51232.7 Loop Brace and Start/End MarkersThe loop brace and start/end markers must rst be selected before any of t

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 51332.9 Arrangement View CommandsThe shortcuts for zooming, snapping/drawing and loop/region settings also work in

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 51432.10 Commands for TracksSee also the editing commands.Windows MacintoshInsert Audio TrackCtrlTTInsert MIDI Tra

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 51532.12 Key/MIDI Map Mode and the Computer MIDIKeyboardWindows MacintoshToggle MIDI Map ModeCtrlMMToggle Key Map

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 51632.14 Clip View Sample DisplayThe shortcuts for zooming and loop/region settings also work in the Sample Displa

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 51732.16 Grid Snapping and DrawingWindows MacintoshToggle Draw ModeCtrlBBNarrow GridCtrl1 1 Widen GridCtrl2

CHAPTER 5. MANAGING FILES AND SETS 50For more information about working with video in Live, see the chapter on video.5.3 MIDI FilesA MIDI le contains

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 51832.18 Working with Sets and the ProgramWindows MacintoshNew Live SetCtrlNNOpen Live SetCtrlOOClose Live SetCtrl

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 51932.20 Using the Context MenuA context menu is available in Live for quick access to many commonly used menu ite

520IndexAAbletone-mail addressessales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11technical support . . . . . . . . . . . . . . . . .

INDEX 521testing and methodology . . . . . . . . . .489tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498audio les . . . . . .

INDEX 522Clip Gain slider . . . . . . . . . . . . . . . . . . . . . . . . 111Clip Groove chooser . . . . . . . . . . . . . . . . . . . 103Clip Launch

INDEX 523count-in for recording . . . . . . . . . . . . . . . . . . 206Count-In preference . . . . . . . . . . . . . . . . . . . 206CPU . . . . . . .

INDEX 524EEdit menu commandsand automation . . . . . . . . . . . . . . 252, 256and exporting . . . . . . . . . . . . . . . . . . . . . . 45and MIDI no

INDEX 525Full Screen Mode . . . . . . . . . . . . . . . . . . . . . . . . .8GGate effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . .305G

INDEX 526LLanguage preference . . . . . . . . . . . . . . . . . . . . . 6latencyand the External Audio Effect . . . . . .298Latin Percussion . . . . .

INDEX 527MIDIexporting . . . . . . . . . . . . . . . . . . . . . . . . . . . 50quantizing . . . . . . . . . . . . . . . . . . . .144, 206sending bank/

CHAPTER 5. MANAGING FILES AND SETS 515.4 Live ClipsIndividual clips can be exported to disk in the Live Clip format for easy retrieval and reuse inany

INDEX 528envelopes . . . . . . . . . . . . . . . . . . . . . . . . . 393lter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395Glide a

INDEX 529for MIDI notes during recording . . . 206Quantize menu command . . . . . . . . .130, 144quick-chooser buttons . . . . . . . . . . . . . . . .

INDEX 530with external synthesizers . . . . . . . . . .169Ssales . . . . . . . . . . . . . . . . . . . . . . . . . . see AbletonSample box . . . . . .

INDEX 531Set Locator command . . . . . . . . . . . . . . . . . . . 77Set Song Start Time Here command . . . . .78sets . . . . . . . . . . . . . . . .

INDEX 532Texture Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 132Time Ruler Format option . . . . . . . . . . . . . . 479time signatureand

INDEX 533in the Arrangement View . . . . . . . . . . 271matching sound to video . . . . . . . . . . 274trimming tricks . . . . . . . . . . . . . . . .

CHAPTER 5. MANAGING FILES AND SETS 52could create a number of variations from the same audio clip by using different warp, pitch,envelope and effect s

CHAPTER 5. MANAGING FILES AND SETS 53Set will be completely reconstructed, including their clips in the Session and ArrangementView, their devices, an

CHAPTER 5. MANAGING FILES AND SETS 54unfolded Set.Of the three tracks contained in the Set shown in the following gure, two contain SessionView clips

CHAPTER 5. MANAGING FILES AND SETS 55MIDI mappings.The template Live Set, Template.als, is located in Live's Preferences folder and can becopie

CHAPTER 5. MANAGING FILES AND SETS 56The Sample ReferenceList's Hot-Swap Button.Edit a referenced sample  using an external application (which c

CHAPTER 5. MANAGING FILES AND SETS 575.6.1 Projects and Live SetsYou can manually create a Project by clicking (PC) /Ctrl(Mac) in the Browser andselec

CHAPTER 1. WELCOME TO LIVE 41.2.6 Online Collaboration ToolsShare Live Sets with other users via a shared web area at ableton.com.1.2.7 ControllersSup

CHAPTER 5. MANAGING FILES AND SETS 58A Second Version of theLive Set Has BeenAdded to the Project.The Tango Project now contains two Live Sets, and it

CHAPTER 5. MANAGING FILES AND SETS 59The piece evolves towards something entirely different, and we feel that it should live in aProject of its own. S

CHAPTER 5. MANAGING FILES AND SETS 605.6.2 Projects and PresetsBy default, new instrument and effect presets are stored in the Live Library, making th

CHAPTER 5. MANAGING FILES AND SETS 61command from the File menu, and then click the Manage Project button. The File Managerwill present you with an ov

CHAPTER 5. MANAGING FILES AND SETS 62double-click the Live Pack le (.alp), drag it into the Live main window, or locate it via theFile menu's In

CHAPTER 5. MANAGING FILES AND SETS 635.7.1 Changing the Library Location, Upgrading an Old LibraryThe Library can reside in the hard drive location of

CHAPTER 5. MANAGING FILES AND SETS 64or moving any content from the previous location. Live will then offer to install any defaultpackages to the new

CHAPTER 5. MANAGING FILES AND SETS 65The File Manager's Listof Missing Samples.5.8.1 Manual RepairTo manually x a broken sample reference, locat

CHAPTER 5. MANAGING FILES AND SETS 66Automatic RepairOptions in the FileManager.Search Folder  includes a user-dened folder, as well as any sub-fold

CHAPTER 5. MANAGING FILES AND SETS 675.9 Collecting Exter nal SamplesTo prevent a Live Set from containing broken sample references, Live provides the

5Chapter 2First StepsWhen you install Live and run it for the rst time, you will be presented with an authorizationdialog. Please see the chapter on

CHAPTER 5. MANAGING FILES AND SETS 68Separated by location (the Library, installed by factory Live Packs, other Projects and else-where  sample colle

CHAPTER 5. MANAGING FILES AND SETS 69Live's File Manager, you can nd missing samples and collect external samples not only forthe current Live S

CHAPTER 5. MANAGING FILES AND SETS 70Last but not least, you can nd the unused samples for all Projects found in a specic folder(and its sub-folders

CHAPTER 5. MANAGING FILES AND SETS 715.13.2 How Can I Save Presets Into My Current Project?As long as you're working in a Project (meaning that y

CHAPTER 5. MANAGING FILES AND SETS 725.13.6 Can I Use My Own Folder Structure Within a Project Folder?You can organize your les any way you want with

73Chapter 6Arrangement ViewThe Arrangement View displays the Arrangement, which contains music laid out along asong timeline, like a multitrack tape.A

CHAPTER 6. ARRANGEMENT VIEW 746.1 NavigationLive offers several fast methods for zooming and scrolling the Arrangement display:134562Navigating theArr

CHAPTER 6. ARRANGEMENT VIEW 75and drag downwards to zoom in around that part. Note that you can also draghorizontally to scroll the display. Using thi

CHAPTER 6. ARRANGEMENT VIEW 76menu setting. While the mouse is held down over the scrub area, a portion ofthe Arrangement the size of the chosen quant

CHAPTER 6. ARRANGEMENT VIEW 776.3 Launching the Arrangement with LocatorsUsing Locators toLaunch Play in theArrangement.Locators can be set at any poi

CHAPTER 2. FIRST STEPS 62.1.1 Using the Info View and IndexLive's Info View tells you the name and function of whatever you place the mouse over.

CHAPTER 6. ARRANGEMENT VIEW 78menu command (or use theCtrlR(PC) /R(Mac) shortcut). You can also enteryour own info text for a locator via the Edit Inf

CHAPTER 6. ARRANGEMENT VIEW 79Any time signature with a one- or two-digit numerator and a denominator of 1, 2, 4, 8 or16 can be used as a time signatu

CHAPTER 6. ARRANGEMENT VIEW 80changes the length of the entire Arrangement.If you import a MIDI le into the Arrangement, you'll be given an opti

CHAPTER 6. ARRANGEMENT VIEW 81and shift the loop brace left/right in steps the size of its length.TheCtrl(PC) / (Mac) modier used with the arrow left

CHAPTER 6. ARRANGEMENT VIEW 826.7 Audio Clip Fades and CrossfadesThe beginning and end of audio clips in the Arrangement View have adjustable volumefa

CHAPTER 6. ARRANGEMENT VIEW 83menu.Crossfaded Clips.Selecting a fade handle and pressing theDeletekey deletes the fade, unless the CreateFades on Clip

CHAPTER 6. ARRANGEMENT VIEW 846.8 Selecting Clips and TimeWith the exception of moving and resizing clips, Arrangement editing in Live is selection-ba

CHAPTER 6. ARRANGEMENT VIEW 85Holding while clicking extends an existing selection in the same track or acrosstracks. You can also hold and use the ar

CHAPTER 6. ARRANGEMENT VIEW 86The current spacing between adjacent grid lines is displayed in the lower right corner of theArrangement View or Clip Vi

CHAPTER 6. ARRANGEMENT VIEW 87Insert Silence inserts as much empty time as is currently selected into the Arrangement,before the selection.6.11 Splitt

CHAPTER 2. FIRST STEPS 7text display and the color scheme, or skin, for the Live user interface. This is alsowhere you can adjust the size of object

CHAPTER 6. ARRANGEMENT VIEW 88Consolidating SeveralClips Into a New Clip.Suppose you have, by editing or improvising, come up with a layout of clips t

89Chapter 7Session ViewIn Live's Arrangement V iew, as in all traditional sequencing programs, everything happensalong a xed song timeline. For

CHAPTER 7. SESSION VIEW 907.1 Session View ClipsThe Controls for aSession View Clip.1. Each clip in the Session View has a triangular button at the le

CHAPTER 7. SESSION VIEW 91The ArrangementPosition Fields and theStop Button.Slots in Group Tracks show a shaded area to indicate that at least one of

CHAPTER 7. SESSION VIEW 92A Scene in the SessionView.The horizontal rows are called scenes. The Scene Launch buttons are located in the rightmostcolum

CHAPTER 7. SESSION VIEW 93Tempo and time signature changes can coexist within a single scene name, and can appearin any position as long as they are s

CHAPTER 7. SESSION VIEW 94... Monitoring theInput...A microphone icon appears in an audio track that is set to monitor its input. A keyboardicon appea

CHAPTER 7. SESSION VIEW 957.4.1 Select on LaunchBy default, clicking a Session View clip's Launch button also selects the clip, since you willtyp

CHAPTER 7. SESSION VIEW 967.5 Recording Sessions into the ArrangementYour Session View playing can be recorded into the Arrangement, allowing for an i

CHAPTER 7. SESSION VIEW 97Arrangement playback does not resume until you explicitly tell Live to resume by clickingthe Back to Arrangement button, whi