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Ableton Reference Manual Version 9
for Windows and Mac OS

Reference Manual by Dennis DeSantis, Ian Gallagher, Kevin Haywood, Rose Knudsen, Gerhard
Behles, Jakob Rang, Robert Henke, Torsten Slama.

Schönhauser Allee 6-7 | 10119 Berlin, Germany
Contact Support: www.ableton.com/support/contact

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Copyright 2016 Ableton AG. All rights reserved. Made in Germany.

This manual, as well as the software described in it, is furnished under license and may be used or copied only in accor-
dance with the terms of such license. The content of this manual is furnished for informational use only, is subject to change
without notice, and should not be construed as a commitment by Ableton. Every effort has been made to ensure that the
information in this manual is accurate. Ableton assumes no responsibility or liability for any errors or inaccuracies that may
appear in this book.

Except as permitted by such license, no part of this publication may be reproduced, edited, stored in a retrieval system or
transmitted, in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permis-
sion of Ableton.

Ableton, the Ableton Logo, the Live logo are trademarks of Ableton AG. Apple, GarageBand, Mac, Macintosh, Mac OS
and QuickTime are trademarks of Apple Inc, registered in the U.S. and other countries. Finder is a trademark of Apple Inc.
Windows is a registered trademark of Microsoft Corporation in the United States and other countries. Intel is a registered
trademark of Intel Corporation or its subsidiaries in the United States and other countries. SONiVOX is the brand name
trademark of Sonic Network, Inc. VST and ASIO are trademarks and software of Steinberg Media Technologies GmbH.
ReWire, Recycle and REX2 are trademarks of Propellerhead Software AB. All other product and company names are
trademarks or registered trademarks of their respective holders.

Content provided by:

SONiVOX — www.sonivoxrocks.com
Chocolate Audio — www.chocolateaudio.com
Puremagnetik — www.puremagnetik.com
Cycling ‘74 — www.cycling74.com
SonArte — www.sonarte.ca
e-instruments — www.e-instruments.com
Zero-G — www.zero-g.co.uk
Goldbaby – www.goldbaby.co.nz
Sample Magic – www.samplemagic.com
Physical Modeling technology provided by:
Applied Acoustics Systems — www.applied-acoustics.com

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Contents

Welcome to Live 19
1.1 The Ableton Team Says: Thank You………………………………………………………………………19
1.2 What’s New in Live 9?………………………………………………………………………………………19
1.2.1 Dual Monitor Support.................................................................................................19
1.2.2 Session View Automation.......................................................................................... 20
1.2.3 Envelope Editing Improvements................................................................................ 20
1.2.4 Envelope Curves........................................................................................................ 20
1.2.5 MIDI Editing Improvements....................................................................................... 20
1.2.6 Improved Keyboard Workflow..................................................................................21
1.2.7 Redesigned Browser...................................................................................................21
1.2.8 Convert Harmony, Melody, or Drums to MIDI.........................................................21
1.2.9 Consolidate Time to New Scene.............................................................................. 22
1.2.10 Default Presets for MIDI and Audio Tracks............................................................... 22
1.2.11 Default Presets for Plug-in Parameter Configurations.............................................. 22
1.2.12 Improved Waveforms................................................................................................ 22
1.2.13 Improved Meters........................................................................................................ 22
1.2.14 Improved Coloring..................................................................................................... 22
1.2.15 Device Improvements................................................................................................. 23
1.2.16 Rendering Improvements........................................................................................... 23
1.2.17 Ableton Push and Push 2........................................................................................... 24
1.2.18 Ableton Link................................................................................................................ 24

First Steps 25
2.1 Learn About Live…………………………………………………………………………………………… 25
2.1.1 Using the Info View and Index.................................................................................. 25
2.2 Setting up Preferences…………………………………………………………………………………… 26
2.3 The Main Live Screen……………………………………………………………………………………… 27

Authorizing Live 31
3.1 Copy Protection FAQs………………………………………………………………………………………31
3.1.1 Can I Use Live or Other Ableton Products Without a Serial Number?...................31
3.1.2 What if I Change My Computer’s Components?.................................................... 32

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3.1.3 Can I Authorize Live More than Once?................................................................... 32
3.1.4 Can I Play my Set from a Computer That Is Not Authorized?................................ 32
3.1.5 What Do I Do About Problems or Questions Regarding Copy Protection?.......... 33

Live Concepts 35
4.1 The Browser………………………………………………………………………………………………… 35
4.2 Live Sets……………………………………………………………………………………………………… 36
4.3 Arrangement and Session……………………………………………………………………………… 36
4.4 Tracks…………………………………………………………………………………………………………… 37
4.5 Audio and MIDI…………………………………………………………………………………………… 40
4.6 Audio Clips and Samples………………………………………………………………………………… 40
4.7 MIDI Clips and MIDI Files……………………………………………………………………………… 42
4.8 Devices and the Mixer…………………………………………………………………………………… 43
4.9 Presets and Racks…………………………………………………………………………………………… 46
4.10 Routing………………………………………………………………………………………………………… 46
4.11 Recording New Clips……………………………………………………………………………………… 47
4.12 Automation Envelopes…………………………………………………………………………………… 48
4.13 Clip Envelopes……………………………………………………………………………………………… 49
4.14 MIDI and Key Remote…………………………………………………………………………………… 50
4.15 Saving and Exporting………………………………………………………………………………………51

Managing Files and Sets 53
5.1 Working with the Browser……………………………………………………………………………… 53
5.1.1 Understanding the Browser’s Hierarchy................................................................... 54
5.1.2 User Folders................................................................................................................ 56
5.1.3 Searching for Files...................................................................................................... 57
5.2 Sample Files……………………………………………………………………………………………………61
5.2.1 The Decoding Cache..................................................................................................61
5.2.2 Analysis Files (.asd).................................................................................................... 62
5.2.3 Exporting Audio and Video....................................................................................... 63
5.3 MIDI Files…………………………………………………………………………………………………… 69
5.3.1 Exporting MIDI Files.................................................................................................. 69
5.4 Live Clips……………………………………………………………………………………………………… 69
5.5 Live Sets…………………………………………………………………………………………………………71
5.5.1 Creating, Opening and Saving Sets.........................................................................71
5.5.2 Merging Sets...............................................................................................................71
5.5.3 Exporting Session Clips as New Sets........................................................................73
5.5.4 Template Sets...............................................................................................................73
5.5.5 Viewing and Changing a Live Set’s File References.................................................74
5.6 Live Projects………………………………………………………………………………………………… 76
5.6.1 Projects and Live Sets..................................................................................................76

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5.6.2 Projects and Presets.................................................................................................... 79
5.6.3 Managing Files in a Project....................................................................................... 79
5.7 Locating Missing Files…………………………………………………………………………………… 80
5.7.1 Manual Repair........................................................................................................... 80
5.7.2 Automatic Repair.........................................................................................................81
5.8 Collecting External Files………………………………………………………………………………… 82
5.8.1 Collect Files on Export............................................................................................... 83
5.9 Aggregated Locating and Collecting………………………………………………………………… 84
5.10 Finding Unused Files……………………………………………………………………………………… 84
5.11 Packing Projects into Packs……………………………………………………………………………… 85
5.12 File Management FAQs………………………………………………………………………………… 85
5.12.1 How Do I Create a Project?...................................................................................... 85
5.12.2 How Can I Save Presets Into My Current Project?.................................................. 86
5.12.3 Can I Work On Multiple Versions of a Set?............................................................. 86
5.12.4 Where Should I Save My Live Sets?......................................................................... 86
5.12.5 Can I Use My Own Folder Structure Within a Project Folder?............................... 86

Arrangement View 89
6.1 Navigation…………………………………………………………………………………………………… 89
6.2 Transport…………………………………………………………………………………………………………91
6.3 Launching the Arrangement with Locators………………………………………………………… 93
6.4 Time Signature Changes………………………………………………………………………………… 94
6.5 The Arrangement Loop…………………………………………………………………………………… 96
6.6 Moving and Resizing Clips……………………………………………………………………………… 97
6.7 Audio Clip Fades and Crossfades…………………………………………………………………… 98
6.8 Selecting Clips and Time………………………………………………………………………………… 100
6.9 Using the Editing Grid…………………………………………………………………………………… 102
6.10 Using the ...Time Commands…………………………………………………………………………… 103
6.11 Splitting Clips………………………………………………………………………………………………… 104
6.12 Consolidating Clips………………………………………………………………………………………… 104

Session View 107
7.1 Session View Clips………………………………………………………………………………………… 107
7.2 Tracks and Scenes………………………………………………………………………………………… 109
7.3 The Track Status Fields…………………………………………………………………………………… 111
7.4 Setting Up the Session View Grid……………………………………………………………………… 112
7.4.1 Select on Launch....................................................................................................... 113
7.4.2 Removing Clip Stop Buttons..................................................................................... 113
7.4.3 Editing Scenes........................................................................................................... 113
7.5 Recording Sessions into the Arrangement…………………………………………………………… 114

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Clip View 117
8.1 The Clip Box………………………………………………………………………………………………… 120
8.1.1 Clip Activator Switch................................................................................................ 120
8.1.2 Clip Name and Color............................................................................................... 121
8.1.3 Clip Signature............................................................................................................ 121
8.1.4 Clip Groove Chooser............................................................................................... 121
8.1.5 Clip Offset and Nudging..........................................................................................122
8.2 The Sample Box…………………………………………………………………………………………… 123
8.2.1 Warp Controls...........................................................................................................123
8.2.2 Sample Loop/Region and Display..........................................................................124
8.2.3 Clip Pitch and Gain.................................................................................................. 130
8.2.4 Destructive Sample Editing...................................................................................... 130
8.2.5 Saving Default Clip Settings with the Sample.........................................................131
8.2.6 High Quality Interpolation.......................................................................................131
8.2.7 Clip Start and End Fades..........................................................................................132
8.2.8 Clip RAM Mode........................................................................................................133
8.2.9 Reversing Samples....................................................................................................133
8.2.10 Cropping Audio Clips...............................................................................................134
8.2.11 Replacing and Editing the Sample...........................................................................134
8.3 The Notes Box……………………………………………………………………………………………… 135
8.3.1 Transform Tools......................................................................................................... 135
8.3.2 Bank and Program Change..................................................................................... 136
8.3.3 MIDI Loop/Region.................................................................................................. 136
8.4 Clip Defaults and Update Rate………………………………………………………………………… 136

Audio Clips, Tempo, and Warping 137
9.1 Tempo………………………………………………………………………………………………………… 137
9.1.1 Setting the Tempo......................................................................................................137
9.1.2 Tapping the Tempo................................................................................................... 138
9.1.3 Nudging the Tempo................................................................................................. 138
9.2 Time-Warping Samples………………………………………………………………………………… 139
9.2.1 Tempo Master/Slave............................................................................................... 140
9.2.2 Warp Markers.......................................................................................................... 140
9.2.3 Using Warp Markers............................................................................................... 143
9.2.4 Quantizing Audio..................................................................................................... 149
9.3 Adjusting for Good Stretching Quality……………………………………………………………… 149
9.3.1 Beats Mode.............................................................................................................. 150
9.3.2 Tones Mode...............................................................................................................151
9.3.3 Texture Mode............................................................................................................151
9.3.4 Re-Pitch Mode...........................................................................................................151
9.3.5 Complex Mode.........................................................................................................151
9.3.6 Complex Pro Mode................................................................................................. 152

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9.3.7 REX Mode................................................................................................................. 152

Editing MIDI Notes and Velocities 155
10.1 Creating an Empty MIDI Clip…………………………………………………………………………… 155
10.2 The MIDI Editor……………………………………………………………………………………………… 156
10.3 MIDI Editor Navigation and Transport……………………………………………………………… 158
10.4 Editing MIDI………………………………………………………………………………………………… 160
10.4.1 Non-Destructive Editing........................................................................................... 160
10.4.2 Folding and Looping................................................................................................ 160
10.4.3 Grid Snapping..........................................................................................................161
10.4.4 Editing Notes............................................................................................................ 162
10.4.5 Changing Note Length............................................................................................ 163
10.4.6 The ...Time Commands in the MIDI Editor.............................................................. 164
10.4.7 Quantizing Notes..................................................................................................... 164
10.4.8 Editing Velocities...................................................................................................... 165
10.4.9 MIDI Note Stretch.................................................................................................... 167
10.4.10 Cropping MIDI Clips............................................................................................... 168
10.4.11 Deactivating Notes.................................................................................................. 168
10.4.12 The Transform Tools.................................................................................................. 169

Converting Audio to MIDI 171
11.1 Slice to New MIDI Track………………………………………………………………………………… 171
11.1.1 Resequencing Slices..................................................................................................173
11.1.2 Using Effects on Slices..............................................................................................173
11.2 Convert Harmony to New MIDI Track……………………………………………………………… 174
11.3 Convert Melody to New MIDI Track………………………………………………………………… 174
11.4 Convert Drums to New MIDI Track…………………………………………………………………… 175
11.5 Optimizing for Better Conversion Quality………………………………………………………… 175

Using Grooves 177
12.1 Groove Pool………………………………………………………………………………………………… 178
12.1.1 Adjusting Groove Parameters................................................................................. 179
12.1.2 Committing Grooves................................................................................................ 180
12.2 Editing Grooves…………………………………………………………………………………………… 181
12.2.1 Extracting Grooves....................................................................................................181
12.3 Groove Tips………………………………………………………………………………………………… 181
12.3.1 Grooving a Single Voice......................................................................................... 182
12.3.2 Non-Destructive Quantization................................................................................ 182
12.3.3 Creating Texture With Randomization.................................................................... 182

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Launching Clips 183
13.1 The Launch Box……………………………………………………………………………………………… 183
13.2 Launch Modes……………………………………………………………………………………………… 184
13.3 Clip Launch Quantization……………………………………………………………………………… 185
13.4 Velocity………………………………………………………………………………………………………… 185
13.5 Legato Mode………………………………………………………………………………………………… 186
13.6 Follow Actions……………………………………………………………………………………………… 186
13.6.1 Looping Parts of a Clip............................................................................................ 188
13.6.2 Creating Cycles........................................................................................................ 189
13.6.3 Temporarily Looping Clips....................................................................................... 189
13.6.4 Adding Variations in Sync....................................................................................... 190
13.6.5 Mixing up Melodies and Beats............................................................................... 190
13.6.6 Creating Nonrepetitive Structures............................................................................191

Routing and I/O 193
14.1 Monitoring…………………………………………………………………………………………………… 194
14.2 External Audio In/Out…………………………………………………………………………………… 195
14.2.1 Mono/Stereo Conversions..................................................................................... 195
14.3 External MIDI In/Out…………………………………………………………………………………… 196
14.3.1 The MIDI Ports List in the Preferences...................................................................... 196
14.3.2 Playing MIDI With the Computer Keyboard.......................................................... 196
14.3.3 Connecting External Synthesizers........................................................................... 197
14.3.4 MIDI In/Out Indicators........................................................................................... 198
14.4 ReWire Slave Routing…………………………………………………………………………………… 198
14.5 Resampling…………………………………………………………………………………………………… 200
14.6 Internal Routings…………………………………………………………………………………………… 201
14.6.1 Internal Routing Points..............................................................................................202
14.6.2 Making Use of Internal Routing..............................................................................204

Mixing 213
15.1 The Live Mixer……………………………………………………………………………………………… 213
15.1.1 Session Mixer Features.............................................................................................216
15.2 Audio and MIDI Tracks…………………………………………………………………………………… 217
15.3 Group Tracks………………………………………………………………………………………………… 218
15.4 Return Tracks and the Master Track…………………………………………………………………… 220
15.5 Using Live’s Crossfader…………………………………………………………………………………… 221
15.6 Soloing and Cueing……………………………………………………………………………………… 224
15.7 Track Delays………………………………………………………………………………………………… 225

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Recording New Clips 227
16.1 Choosing an Input………………………………………………………………………………………… 227
16.2 Arming (Record-Enabling) Tracks……………………………………………………………………… 228
16.3 Recording…………………………………………………………………………………………………… 229
16.3.1 Recording Into the Arrangement............................................................................. 229
16.3.2 Recording Into Session Slots....................................................................................230
16.3.3 Overdub Recording MIDI Patterns..........................................................................231
16.3.4 MIDI Step Recording............................................................................................... 232
16.4 Recording in Sync………………………………………………………………………………………… 233
16.5 Recording Quantized MIDI Notes…………………………………………………………………… 234
16.6 Recording with Count-in………………………………………………………………………………… 235
16.7 Setting up File Types……………………………………………………………………………………… 236
16.8 Where are the Recorded Samples?…………………………………………………………………… 236
16.9 Using Remote Control for Recording………………………………………………………………… 236

Working with Instruments and Effects 239
17.1 Using the Live Devices…………………………………………………………………………………… 241
17.1.1 Live Device Presets...................................................................................................244
17.2 Using Plug-Ins……………………………………………………………………………………………… 249
17.2.1 Plug-Ins in the Device View.....................................................................................250
17.3 VST Plug-Ins………………………………………………………………………………………………… 254
17.3.1 The VST Plug-In Folder.............................................................................................254
17.3.2 VST Programs and Banks.........................................................................................256
17.4 Audio Units Plug-Ins……………………………………………………………………………………… 257
17.5 Device Delay Compensation…………………………………………………………………………… 258

Instrument, Drum and Effect Racks 261
18.1 An Overview of Racks…………………………………………………………………………………… 262
18.1.1 Signal Flow and Parallel Device Chains................................................................ 262
18.1.2 Macro Controls........................................................................................................263
18.2 Creating Racks……………………………………………………………………………………………… 263
18.3 Looking at Racks…………………………………………………………………………………………… 264
18.4 Chain List……………………………………………………………………………………………………… 266
18.4.1 Auto Select................................................................................................................267
18.5 Zones…………………………………………………………………………………………………………… 268
18.5.1 Signal Flow through Zones......................................................................................268
18.5.2 Key Zones.................................................................................................................269
18.5.3 Velocity Zones.......................................................................................................... 270
18.5.4 Chain Select Zones.................................................................................................. 270
18.6 Drum Racks…………………………………………………………………………………………………… 272
18.6.1 Pad View....................................................................................................................274

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18.7 Using the Macro Controls……………………………………………………………………………… 276
18.8 Mixing With Racks………………………………………………………………………………………… 277
18.8.1 Extracting Chains..................................................................................................... 278

Automation and Editing Envelopes 281
19.1 Recording Automation in Arrangement View……………………………………………………… 281
19.2 Recording Automation in Session View……………………………………………………………… 282
19.2.1 Session Automation Recording Modes..................................................................284
19.3 Deleting Automation ……………………………………………………………………………………… 284
19.4 Overriding Automation…………………………………………………………………………………… 284
19.5 Drawing and Editing Automation……………………………………………………………………… 285
19.5.1 Drawing Envelopes.................................................................................................. 287
19.5.2 Editing Breakpoints................................................................................................... 287
19.5.3 Locking Envelopes....................................................................................................289
19.5.4 Edit Menu Commands.............................................................................................289
19.5.5 Editing the Tempo Automation................................................................................290

Clip Envelopes 291
20.1 The Clip Envelope Editor………………………………………………………………………………… 291
20.2 Audio Clip Envelopes……………………………………………………………………………………… 293
20.2.1 Clip Envelopes are Non-Destructive...................................................................... 293
20.2.2 Changing Pitch and Tuning per Note..................................................................... 293
20.2.3 Muting or Attenuating Notes in a Sample............................................................. 295
20.2.4 Scrambling Beats..................................................................................................... 295
20.2.5 Using Clips as Templates.........................................................................................296
20.3 Mixer and Device Clip Envelopes…………………………………………………………………… 296
20.3.1 Modulating Mixer Volumes and Sends.................................................................. 297
20.3.2 Modulating Pan........................................................................................................298
20.3.3 Modulating Device Controls...................................................................................298
20.4 MIDI Controller Clip Envelopes………………………………………………………………………… 298
20.5 Unlinking Clip Envelopes From Clips………………………………………………………………… 299
20.5.1 Programming a Fade-Out for a Live Set.................................................................299
20.5.2 Creating Long Loops from Short Loops..................................................................300
20.5.3 Imposing Rhythm Patterns onto Samples................................................................ 301
20.5.4 Clip Envelopes as LFOs...........................................................................................302
20.5.5 Warping Linked Envelopes......................................................................................302

Working with Video 303
21.1 Importing Video……………………………………………………………………………………………303
21.2 The Appearance of Video in Live……………………………………………………………………… 304

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21.2.1 Video Clips in the Arrangement View.....................................................................304
21.2.2 The Video Window..................................................................................................305
21.2.3 Clip View..................................................................................................................305
21.3 Matching Sound to Video………………………………………………………………………………306
21.4 Video Trimming Tricks……………………………………………………………………………………… 307

Live Audio Effect Reference 311
22.1 Amp…………………………………………………………………………………………………………… 311
22.1.1 Amp Tips....................................................................................................................313
22.2 Auto Filter…………………………………………………………………………………………………… 314
22.3 Auto Pan……………………………………………………………………………………………………… 317
22.4 Beat Repeat………………………………………………………………………………………………… 318
22.5 Cabinet………………………………………………………………………………………………………… 320
22.5.1 Cabinet Tips...............................................................................................................321
22.6 Chorus………………………………………………………………………………………………………… 322
22.7 Compressor………………………………………………………………………………………………… 324
22.7.1 Sidechain Parameters.............................................................................................. 328
22.7.2 Compression Tips..................................................................................................... 329
22.7.3 Upgrading from Legacy Mode...............................................................................330
22.8 Corpus………………………………………………………………………………………………………… 330
22.9 Dynamic Tube……………………………………………………………………………………………… 334
22.10 EQ Eight……………………………………………………………………………………………………… 335
22.11 EQ Three……………………………………………………………………………………………………… 338
22.12 Erosion………………………………………………………………………………………………………… 340
22.13 External Audio Effect……………………………………………………………………………………… 341
22.14 Filter Delay…………………………………………………………………………………………………… 342
22.15 Flanger………………………………………………………………………………………………………… 344
22.16 Frequency Shifter…………………………………………………………………………………………… 345
22.16.1 Frequency Shifter Tips.............................................................................................. 347
22.17 Gate…………………………………………………………………………………………………………… 348
22.18 Glue Compressor…………………………………………………………………………………………… 350
22.18.1 Sidechain Parameters.............................................................................................. 352
22.19 Grain Delay………………………………………………………………………………………………… 353
22.20 Limiter………………………………………………………………………………………………………… 355
22.21 Looper………………………………………………………………………………………………………… 356
22.21.1 Feedback Routing.....................................................................................................360
22.22 Multiband Dynamics……………………………………………………………………………………… 361
22.22.1 Dynamics Processing Theory...................................................................................362
22.22.2 Interface and Controls.............................................................................................363
22.22.3 Sidechain Parameters..............................................................................................365
22.22.4 Multiband Dynamics Tips........................................................................................366
22.23 Overdrive…………………………………………………………………………………………………… 367

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22.24 Phaser…………………………………………………………………………………………………………368
22.25 Ping Pong Delay…………………………………………………………………………………………… 370
22.26 Redux………………………………………………………………………………………………………… 371
22.27 Resonators…………………………………………………………………………………………………… 372
22.28 Reverb………………………………………………………………………………………………………… 374
22.28.1 Input Processing.........................................................................................................374
22.28.2 Early Reflections........................................................................................................374
22.28.3 Global Settings......................................................................................................... 375
22.28.4 Diffusion Network.................................................................................................... 375
22.28.5 Output....................................................................................................................... 376
22.29 Saturator……………………………………………………………………………………………………… 376
22.30 Simple Delay………………………………………………………………………………………………… 378
22.31 Spectrum……………………………………………………………………………………………………… 379
22.32 Tuner…………………………………………………………………………………………………………… 381
22.33 Utility……………………………………………………………………………………………………………383
22.34 Vinyl Distortion……………………………………………………………………………………………… 385
22.35 Vocoder………………………………………………………………………………………………………386
22.35.1 Vocoder Tips.............................................................................................................388

Live MIDI Effect Reference 391
23.1 Arpeggiator………………………………………………………………………………………………… 391
23.1.1 Style and Rate Sections...........................................................................................392
23.1.2 Transposition and Velocity Sections........................................................................ 394
23.2 Chord………………………………………………………………………………………………………… 395
23.3 Note Length………………………………………………………………………………………………… 396
23.4 Pitch…………………………………………………………………………………………………………… 397
23.5 Random……………………………………………………………………………………………………… 398
23.6 Scale…………………………………………………………………………………………………………… 399
23.7 Velocity…………………………………………………………………………………………………………400

Live Instrument Reference 403
24.1 Analog…………………………………………………………………………………………………………403
24.1.1 Architecture and Interface.......................................................................................404
24.1.2 Oscillators.................................................................................................................405
24.1.3 Noise Generator......................................................................................................406
24.1.4 Filters.........................................................................................................................407
24.1.5 Amplifiers..................................................................................................................408
24.1.6 Envelopes..................................................................................................................409
24.1.7 LFOs........................................................................................................................... 411
24.1.8 Global Parameters....................................................................................................412
24.2 Collision……………………………………………………………………………………………………… 414

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24.2.1 Architecture and Interface........................................................................................414
24.2.2 Excitator Tab..............................................................................................................415
24.2.3 Resonator Tabs..........................................................................................................417
24.2.4 LFO Tab......................................................................................................................421
24.2.5 MIDI Tab................................................................................................................... 422
24.2.6 Sound Design Tips.................................................................................................... 424
24.3 Electric………………………………………………………………………………………………………… 425
24.3.1 Architecture and Interface....................................................................................... 426
24.3.2 Mallet Section.......................................................................................................... 426
24.3.3 Fork Section.............................................................................................................. 427
24.3.4 Damper Section........................................................................................................ 427
24.3.5 Pickup Section.......................................................................................................... 428
24.3.6 Global Section......................................................................................................... 428
24.4 External Instrument………………………………………………………………………………………… 429
24.5 Impulse………………………………………………………………………………………………………… 431
24.5.1 Sample Slots............................................................................................................. 431
24.5.2 Start, Transpose and Stretch....................................................................................432
24.5.3 Filter...........................................................................................................................433
24.5.4 Saturator and Envelope...........................................................................................433
24.5.5 Pan and Volume.......................................................................................................433
24.5.6 Global Controls........................................................................................................433
24.5.7 Individual Outputs....................................................................................................434
24.6 Operator……………………………………………………………………………………………………… 434
24.6.1 General Overview...................................................................................................434
24.6.2 Oscillator Section.....................................................................................................436
24.6.3 LFO Section..............................................................................................................439
24.6.4 Envelopes..................................................................................................................440
24.6.5 Filter Section.............................................................................................................442
24.6.6 Global Controls........................................................................................................444
24.6.7 Glide and Spread....................................................................................................445
24.6.8 Strategies for Saving CPU Power...........................................................................445
24.6.9 Finally........................................................................................................................446
24.6.10 The Complete Parameter List...................................................................................446
24.7 Sampler………………………………………………………………………………………………………456
24.7.1 Getting Started with Sampler..................................................................................456
24.7.2 Multisampling...........................................................................................................456
24.7.3 Title Bar Options.......................................................................................................457
24.7.4 Sampler’s Tabs.........................................................................................................458
24.7.5 The Zone Tab............................................................................................................459
24.7.6 The Sample Tab........................................................................................................465
24.7.7 The Pitch/Osc Tab.................................................................................................... 472
24.7.8 The Filter/Global Tab.............................................................................................. 474
24.7.9 The Modulation Tab................................................................................................. 478

...518 26.... 522 26...........................................521 26....3 Filter............................................5 LFO......................8....................................497 24...........................................9...............492 24.4 Envelopes.....................................................................6 Global Parameters......................................................9 Tension………………………………………………………………………………………………………… 496 24.......... 481 24....9............................................................................10 The MIDI Tab..3 Editing Max for Live Devices…………………………………………………………………………… 511 25......507 Max for Live 509 25.9.11 Importing Third-Party Multisamples.....1 MIDI Remote Control……………………………………………………………………………………… 515 26......................1 Natively Supported Control Surfaces......2.................2.............................8............................2 The Mapping Browser…………………………………………………………………………………… 520 26.................................................5 Learning Max Programming…………………………………………………………………………… 513 MIDI and Key Remote Control 515 26...........4 Sound Design Tips..........8................................................4 Max Dependencies……………………………………………………………………………………… 512 25..................1 Installing and Authorizing Max for Live………………………………………………………………509 25................8................................................2 Warp Controls..................................................2............1..............................................................1 Architecture and Interface....2 String Tab..483 24.................................1......519 26....................................................................8...............................................................................................2 Mapping to MIDI Notes......................................................3 Takeover Mode..........8 Strategies for Saving CPU Power..............9.........489 24.....................493 24.. 494 24............516 26..............................5 Computer Keyboard Remote Control............2 Using Max for Live Devices……………………………………………………………………………… 510 25..........3 Playing and Programming Beats………………………………………………………………………530 ....7 Context Menu Options.................................................3 Mapping to Absolute MIDI Controllers.7................................................................ 522 26..............................................................1 Playback Modes..................................8................8 Simpler………………………………………………………………………………………………………… 482 24.......1......................... 491 24...........2...............  14 24.............................................................................3 Filter/Global Tab...................................................................................488 24..........................................7............................................................................8..........................1 Assigning MIDI Remote Control.... 525 Using Push 527 27...........................................................2 Manual Control Surface Setup.............. 520 26.....1 Setup…………………………………………………………………………………………………………… 528 27.....2.............. 481 24.........................................................8.....2 Browsing and Loading Sounds………………………………………………………………………… 528 27.................................4 Mapping to Relative MIDI Controllers...........495 24...504 24...................................496 24...........

.................................. 591 28...............587 28......................................5 Fixed Length Recording...........14 Push Control Reference……………………………………………………………………………………560 Using Push 2 575 28.........................................590 28............................................................................1 Recording with Repeat.....................................................................................9 Mixing with Push…………………………………………………………………………………………… 551 27.......................1 64-Pad Mode......................3..............1 Adjusting the Loop Length..2 Browsing and Loading Sounds………………………………………………………………………… 576 28............2 Loading Individual Drums.....................................11.3..................................................2 Per-Step Automation..................1 Recording with Repeat........................................................................................582 28........533 27..3 Step Sequencing Beats....555 27...............................................1 Session Overview......544 27...............3......2 Quantizing.........................  15 27...................................................................................6.5 Playing Melodies and Harmonies…………………………………………………………………… 542 27....12..................................................................................................557 27............1 Playing in Other Keys...............5.....6 Step Sequencing Melodies and Harmonies……………………………………………………… 546 27...................4.....5............5 Playing Melodies and Harmonies…………………………………………………………………… 592 28...............................1 64-Pad Mode..............1 Setup…………………………………………………………………………………………………………… 576 28........8 Controlling Live’s Instruments and Effects……………………………………………………………550 27....................4 Additional Recording Options………………………………………………………………………… 540 27.............4 Additional Recording Options…………………………………………………………………………590 28....................................1 Adjusting the Loop Length.........................7 Navigating in Note Mode……………………………………………………………………………… 549 27.........548 27...............................540 27...........................11................. 531 27........................................ 581 28...........................................3..3......597 28.......................................................................................................554 27...........................................13 Setting User Preferences…………………………………………………………………………………558 27.589 28....................7 Working with Samples……………………………………………………………………………………599 ..584 28..........................................................................................................532 27.........3 Step Sequencing Beats...........................................4.....3....................3.........538 27.....................4.1 Note-Specific Parameters........3 Playing and Programming Beats……………………………………………………………………… 579 28...4 Real-time Recording......................................3.................536 27....................3.........................1 Playing in Other Keys............2 Loading Individual Drums......................................5 Fixed Length Recording.......594 28...................................................................3 Arrangement Recording............................10 Recording Automation……………………………………………………………………………………553 27......4...................4..........................592 28...................11 Step Sequencing Automation…………………………………………………………………………… 554 27.....................................................12 Controlling Live’s Session View…………………………………………………………………………556 27........................................... 541 27......................4 Real-time Recording....................3.........................2 Quantizing.............6...6 Step Sequencing Melodies and Harmonies……………………………………………………… 596 28........

............................................................2............................3 Connecting via ReWire……………………………………………………………………………………638 29.........639 29..........................................2 One-Shot Mode........1............643 30.................1 Note-Specific Parameters..........2........................12...  16 28..........................9....................2 CPU Load from Tracks and Devices...............................12.......................................................................... Synchronization.....3 Track Freeze......................................2 Managing the Disk Load…………………………………………………………………………………645 Audio Fact Sheet 647 31.......604 28.............11 Recording Automation…………………………………………………………………………………… 617 28........................................14 Controlling Live’s Session View………………………………………………………………………… 621 28............. and ReWire 633 29....1 Using Ableton Link………………………………………………………………………………………… 633 29.......................2 Synchronizing Live to External MIDI Devices...............1 Adding.....................................633 29.................................... 611 28.9...............................................................................................................3 Slicing Mode...........................................2 Synchronizing via MIDI………………………………………………………………………………… 635 29....................1 Synchronizing External MIDI Devices to Live..........................7.....................................14...................16 Push 2 Control Reference………………………………………………………………………………… 625 Link...................619 28.............................603 28.....................................................616 28........................................................................................1 Setting up Link.......... 622 28.....2 Working with Racks....................2................3 Sync Delay....1 CPU Load from Multichannel Audio.7.........................639 29.2 Running Live in ReWire Slave Mode................609 28..............................640 Computer Audio Resources and Strategies 641 30.................7.1........1 Testing and Methodology……………………………………………………………………………… 647 ...12 Step Sequencing Automation…………………………………………………………………………… 618 28...................................................1 Classic Mode.1 Running Live in ReWire Master Mode.............................. Deleting......................................................... 601 28....................637 29...........1 Managing the CPU Load………………………………………………………………………………… 641 30.15 Setup Menu………………………………………………………………………………………………… 623 28.......13 Clip Mode…………………………………………………………………………………………………… 619 28............................................................................1 Session Overview......1....618 28.....................636 29....3..........10 Track Control And Mixing……………………………………………………………………………… 613 28.....642 30................636 29.....................3 More on ReWire..............................1 Rack and Group Track Mixing..........642 30.......8 Navigating in Note Mode………………………………………………………………………………606 28..3.10.........................................2 Per-Step Automation........ and Reordering Devices...3.9 Working With Instruments and Effects……………………………………………………………… 607 28................................................................1...............

........3.................................654 31....................................3.............................. 651 31...8 Bypassed Effects...654 31............................................................2..................654 31...655 31.......................652 31..............4 Tips for Achieving Optimal Sound Quality in Live…………………………………………………655 31...................7 Consolidate..................3.................................................................3........................................3................................8 Clip fades...650 31...............3....2....9 Routing.............................5 Tips for Achieving Optimal MIDI Performance…………………………………………………… 662 32.....6 Editing………………………………………………………………………………………………………… 667 33............10 Grooves....2..............655 31.......................1 Undithered Rendering...........6 Recording internal sources at 32 bit.........  17 31..........3.........2 Matching sample rate/no transposition.........6 Recording internal sources below 32 bit...........................3 Live’s MIDI Solutions………………………………………………………………………………………658 32............4 Browsing………………………………………………………………………………………………………666 33.......3 Non-Neutral Operations………………………………………………………………………………… 652 31.....5 Summary and Conclusions………………………………………………………………………………656 MIDI Fact Sheet 657 32.......................................................................................2................3 Unstretched Beats/Tones/Texture/Re-Pitch Warping..........................................653 31.... 651 31....................................................648 31...............................................................................2 MIDI Timing Problems……………………………………………………………………………………658 32..2.............1 Showing and Hiding Views………………………………………………………………………………665 33....................2.......................................1 Playback in Complex and Complex Pro Mode....................................................3.........................1 Ideal MIDI Behavior……………………………………………………………………………………… 657 32.....653 31.....649 31.........................................................2........3 Volume Automation....................................652 31...............649 31..........................................4 Variables Outside of Live’s Control……………………………………………………………………659 32.................................5 Transport……………………………………………………………………………………………………… 667 33....649 31.................................3.......................5 Recording external signals (bit depth < A/D converter)...........................2 Neutral Operations………………………………………………………………………………………… 647 31.............................................. Flatten.........................10 Splitting Clips..5 Recording external signals (bit depth >/= A/D converter)............................3 Adjusting Values……………………………………………………………………………………………666 33...4 Dithering.....654 31...............................................7 Freeze.....................................9 Panning.............650 31.....................650 31...2 Accessing Menus……………………………………………………………………………………………666 33........2 Sample rate conversion/transposition.................7 Loop Brace and Start/End Markers…………………………………………………………………668 ............2................653 31..........................2......................................................4 Summing at Single Mix Points.............................................................6 Summary and Conclusions………………………………………………………………………………663 Live Keyboard Shortcuts 665 33......2..3.....

13 Zooming.19 Working with Plug-Ins and Devices…………………………………………………………………… 674 33.17 Global Quantization……………………………………………………………………………………… 673 33.15 Clip View MIDI Editor…………………………………………………………………………………… 672 33.11 Commands for Breakpoint Envelopes………………………………………………………………… 670 33.12 Key/MIDI Map Mode and the Computer MIDI Keyboard…………………………………… 671 33. Display and Selections……………………………………………………………………… 671 33.18 Working with Sets and the Program………………………………………………………………… 673 33.8 Session View Commands…………………………………………………………………………………669 33.14 Clip View Sample Display……………………………………………………………………………… 671 33.  18 33.16 Grid Snapping and Drawing…………………………………………………………………………… 672 33.9 Arrangement View Commands…………………………………………………………………………669 33.20 Using the Context Menu………………………………………………………………………………… 674 Index 675 .10 Commands for Tracks……………………………………………………………………………………… 670 33.

1 Dual Monitor Support Live can now be viewed on two monitors at the same time. This allows you to. This effort continues even as you read these lines. or choose the Check for Updates command from the Help menu. work with the Session/Arrangement and Clip/Device Views simultaneously. Your Ableton Team.2. a new. 1. or dedicate a single monitor to detailed MIDI clip editing. 1 http://www.. produce and perform music us- ing a computer.ableton. Welcome to Live 19 Chapter 1 Welcome to Live 1. improved Live version might already be available for download! Please check on our website now1.com/downloads . yet at the same time capable of helping you create music with unlimited depth and sophistication.. in fact. We hope you enjoy using Live and that it enhances your creative process. for example.2 What’s New in Live 9? 1. A great deal of effort has been put into making Live easy and fun to use.1 The Ableton Team Says: Thank You Live is the result of musicians wanting a better way to create.

alongside modula- tion envelopes. •MIDI notes can now be moved and resized freely without a modifier. Double-clicking while holding [ALT] (PC) / [ALT](Mac) returns the segment to a straight line. •Clip Envelopes in Linked mode will now respond to changes in the clip’s Warp Markers (page 302). Transpose.2.5 MIDI Editing Improvements •A new set of transform tools (page 135) allows for fast manipulation of a MIDI clip’s contents. 1.2. or apply legato in a single click. 1. Welcome to Live 20 1. . It is also possible to adjust note lengths while in Draw Mode (page 287). and vice versa when bringing Arrangement clips back to the Session. •MIDI Note Stretch (page 167) markers are now available whenever notes are selected in a MIDI clip. and edited in Session View clips (page 282). Curves are created and adjusted by holding the [ALT](PC) / [ALT](Mac) modifier while dragging an envelope segment.2.3 Envelope Editing Improvements •Envelope breakpoints are now created by single-clicking on the envelope. reverse. even while off the grid is active.2. Hovering near the envelope or holding the [Shift] modifier while clicking on an envelope segment (a portion of the envelope between breakpoints) now selects the entire segment. drawn. Automation in Session clips becomes timeline automation when recording from the Session to the Arrangement. invert. a pseudo-breakpoint appears to show where the breakpoint will be placed after clicking.4 Envelope Curves It is now possible to create convex and concave curves in all breakpoint envelopes in both the Arrangement timeline and in clips. Automation envelopes appear in a clip’s Device and Control Choosers. When hover- ing over the envelope.2 Session View Automation •Automation can now be recorded. 1.

pressing [Enter] will switch the selection to the time within the loop brace. or Drums to MIDI Three new commands (page 174) allow you to extract the musical information from audio clips and place it into MIDI clips on new tracks: •Convert Harmony to MIDI extracts the notes from polyphonic audio and is designed for reimagining samples or loops. •The browser’s Preview Tab now previews Live’s instrument presets. •[Q] toggles Hot-Swap mode (page 60). notes or clips can be activated or deactivated with the [0] key. •A search field in the browser filters results as you type.7 Redesigned Browser •Live’s new browser (page 53) features a two-pane view that shows all of Live’s devices and Packs clearly separated. snare. The new MIDI track will contain a Drum Rack with the kick. 1. Holding [B] while editing with the mouse toggles Draw Mode temporarily. Welcome to Live 21 1. If the loop brace is selected. You can navigate between the search field and the filtered entries using your computer keyboard’s arrow keys.8 Convert Harmony.2. by playing a short ex- ample sound when presets are selected. Melody. devices.6 Improved Keyboard Workflow • [B] toggles Draw Mode. •The [Enter] key now toggles between time and note selection in MIDI clips. 1. MIDI notes can now be resized while in Draw Mode. •[D] toggles the Hot-Swap selection between a Drum Rack and its last selected pad.2. •The currently selected tracks. . •Convert Melody to MIDI extracts the notes from monophonic audio.2. •Convert Drums to MIDI extracts the rhythms from unpitched. Additionally. percussive audio. and hihat notes from the original audio playing the appropriate instruments.

12 Improved Waveforms Live now has redesigned waveforms.9 Consolidate Time to New Scene The Consolidate Time to New Scene command consolidates the material within the selected time range in the Arrangement View to one new clip per track.10 Default Presets for MIDI and Audio Tracks Newly-created MIDI and Audio tracks can now come with devices already loaded (page 246).14 Improved Coloring Tracks are now automatically colored by default. so you can always see exactly what’s happening in your audio.2.2. and new clips take their track’s color. Additionally. Welcome to Live 22 1.2. the waveforms look smooth during zoom operations and during recording.11 Default Presets for Plug-in Parameter Configurations VST and Audio Units plug-ins can be loaded with a specific collection of parameters already configured in Live’s panel (page 246). meant to show more detail at all zoom levels and track heights. 1. . 1.2. 1. 1.2. The new clips are placed into a new Session View scene below the previously selected scene. Auto- coloring can be toggled on or off via the Auto-Assign Track Colors option in the Look/Feel Pref- erences.13 Improved Meters The track volume meters in both the Session and Arrangement mixers now show both peak and RMS levels. Peak meters show sudden changes in level. 1. while RMS meters give a better impres- sion of perceived loudness.2.

•The Multiband Dynamics device (page 361) now has a sidechain circuit. These are based on classic vintage hardware models and will self-resonate. making it easier to adjust parameters. Finally. Welcome to Live 23 1. •Tuner (page 381) analyzes and displays the incoming monophonic pitch as well as its distance from the nearest semitone. The shape of the envelope follower can be switched between linear and logarithmic. 1. •Compressor (page 324) now has an Auto Release mode. There is also a new Re- turn control (also known as “hysteresis”) to help reduce “chatter” when the level changes quickly near the threshold. •New analog-modeled filters are available in Simpler. warping. Finally. sample-rate conversion is now done using the high-quality SoX Resampler Li- brary. optional “Adaptive Q” and Audition modes. for upward expansion.2. allowing it to be triggered based on the level of another signal. and Auto Filter. a new display shows input and output levels. and a number of other improve- ments.2. a detachable display that shows the frequency spectrum of the output signal and allows multiple filter dots to be adjusted simul- taneously. A Dry/Wet control allows for easy paral- lel compression. as well as a sidechain EQ. resulting in higher quality exports when rendering to a lower sample rate. a new display shows input and output levels. •Live’s Gate effect (page 348) now responds more accurately. making it easier to adjust parameters. The filters were built in collaboration with Cytomic.16 Rendering Improvements During export. which automatically adjusts the release time based on the incoming audio. . and distort beautifully. slic- ing. and new analog-modeled filters built in conjunction with Cytomic. The Ratio can be set below 1:1. feedback. Sampler. Operator. •EQ Eight (page 335) now has improved filters. •The Glue Compressor (page 350) is a new analog-modeled compressor based on the classic bus compressor from a famous ‘80s mixing console.15 Device Improvements •Simpler (page 482) has been completely overhauled with a new interface.

and any Link-enabled software can play in time with any other Link-enabled software simply by joining the same network. and song structure. 1. a technology that keeps devices in time over a wired or wireless network.18 Ableton Link Live now supports Ableton Link (page 633). beats. Welcome to Live 24 Additionally. making it easier to see and adjust your export settings. Link is built into Live as well as a growing number of iOS applications.2.2. an improved export dialog groups related controls together. . 1. samples. sounds.17 Ableton Push and Push 2 •Support for Ableton Push (page 527) and Push 2 (page 575): instruments for song creation that provide hands-on control of melody and harmony.

We highly recommend following the lessons. We also recommend that you read the Live Concepts chapter (page 35). The lessons are organized in a table of contents. For cer- tain items. The remaining chapters of this manual serve as in-depth reference for the material introduced in Live Concepts. . 2. Many users have told us that the lessons helped them become familiar with the program very quickly.1.1 Learn About Live Live comes with a set of interactive lessons to take you step by step through the key features of the program.1 Using the Info View and Index Live’s Info View tells you the name and function of whatever you place the mouse over. you can create your own text and it will appear in this window. which can be opened directly in the program via the Help menu. and is therefore a worthwhile read for both beginners and experienced users. First Steps 25 Chapter 2 First Steps 2. which encapsulates everything that Live is and can do.

which in Windows is available in the Options menu and in OS X is available in the Live menu. please consult this reference manual.](PC)/[CMD][. or “skin. If you require more information on a specific user interface element or topic. Please take the time to follow the program’s built-in “Setting up Au- dio I/O“ lesson. including the language used for text display and the color scheme. •The Audio Preferences are used to set up Live’s audio connections with the outside world via an audio interface. you can modify various settings. This is also where you can adjust the size of objects displayed on the screen: the Zoom Display slider allows you to zoom Live’s screen to any percentage between 50% and 200% of the standard inter- face size. Live’s Preferences are distributed over several tabs: •In the Look/Feel tab. which will walk you through all the steps required to set up and optimize . First Steps 26 The Info View and its Show/Hide Button. behaves and interfaces with the outside world. 2.2 Setting up Preferences Live’s Preferences window is where you can find various settings that determine how Live looks. This window is accessed from the Preferences command.](Mac) shortcut. The index. found at the end of the manual.“ for the Live user interface. Preferences can also be accessed with the [CTRL][. contains the names of all user in- terface elements and will lead you to the relevant section.

This screen consists of a number of views. and ReWire chapter (page 633) for details. To access the lesson. This subject is covered in detail in the MIDI and Key Remote Control chapter (page 515). •The Link/MIDI Preferences are used to help Live recognize external devices for three sepa- rate and distinct purposes: ―Playing MIDI notes. use the Help View command from the Help menu. 2. which is the type of document . and each view manages a specific aspect of your Live Set. •The Licenses/Maintenance Preferences are used to manage licensing and installation of the Live platform (page 31). •The File/Folder Preferences pertain to Live’s file management (page 53) and the loca- tion of plug-in devices (page 249). Please see the Link. •The CPU Preferences include options for managing the processing load (page 641). To learn how to route an external device into Live for MIDI input. either via Ableton Link or via MIDI. or how to send MIDI to an external device.3 The Main Live Screen Most of your work in Live happens in the main Live screen. as well as whether or not samples and other files are self-contained when saving Sets (page 83). ―Controlling parts of the interface remotely. including Packs and your User Library. including multicore/multiprocessor support. please see the Routing and I/O chapter (page 196). Synchronization. •The Library Preferences allow you to specify a default location for various types of in- stalled files. ―Syncing the program with external devices. •The Record/Warp/Launch Preferences allow customizing the default state for new Live Sets (page 71) and their components (page 117). as well as selecting options for new recordings (page 227). First Steps 27 the settings for any given system.

9 or higher. When using OS X version 10. . you can open a second window to display all of Live’s views at the same time. You can turn Full Screen Mode on by clicking the arrows in the top right corner. First Steps 28 that you create and work on in Live. When in Full Screen Mode on OS X version 10.9.9)). Full Screen Mode can also be toggled by pressing [F11](PC) / [CTRL][CMD][F](Mac). Each one of the selector buttons at the screen borders calls up a specific view. On Win- dows and versions of OS X prior to 10. clicking this one. for instance. You can turn Full Screen Mode off by clicking the arrows on the right side of the menu bar.9 or higher. opens and closes Live’s browser: The Browser Selector. Live uses the operating system’s native full screen con- trols. You can run Live in Full Screen Mode by selecting the Full Screen command from the View menu. Live’s menus will appear when mov- ing your mouse pointer to the top of the screen. If you have multiple monitors (or even one very large moni- tor).9). you can leave Full Screen mode by clicking a button that appears in the lower right corner of the screen. Turn Full Screen On (OS X post 10. Turn Full Screen Off (Windows and OS X (pre-10.

First Steps 29 Enabling the Second Window option via [CTRL][Shift][W](PC) / [CMD][Shift][W](Mac) or in the View menu opens a second window that will display an alternate collection of Live’s views. you can adjust the main window’s horizontal split by dragging. . If Live’s browser is open. Adjusting the Main Window Split.

First Steps 30 .

you can still try them out. The soft- ware will walk you through the steps. however. you will be prompted to complete the authorization process. you can authorize imme- diately by pressing the appropriate button in the dialog box. This scheme has been de- signed to meet the highest security standards while avoiding hassles for our customers. The first time you run Live. You can. If the computer that you wish to authorize is connected to the internet. authorize Live more than once under the legal and technical conditions described later (page 31).1.1 Copy Protection FAQs 3. please understand that the copy protection secures your investment: It allows Ableton to provide you with support and to continue developing Live. Please be aware that the standard Live license grants you the right to use Live on only one com- puter at a time. Authorizing Live 31 Chapter 3 Authorizing Live Live is protected against illegal use by a copy protection scheme. If you do not have an internet con- nection. but saving and exporting will be disabled. If you find this procedure to be an inconvenience. 3. press the “No internet on this computer“ button and follow the instructions. .1 Can I Use Live or Other Ableton Products Without a Serial Number? If you do not (yet) own Live or its add-on products.

When you go on tour. you can install and run Live on any computer available and play your backup Live Set(s). but not at the same time. Authorizing Live 32 If trying Live or another product raises your interest in purchasing it. the Ableton server will provide you with two authorizations in good faith that you will use Live on only one machine at a time.1. consider taking along your Live program CD and a CD with the last state of your Live Set(s).com/shop 3 http://www. please contact Able- ton’s technical support3.4 Can I Play my Set from a Computer That Is Not Authorized? Even if Live is not authorized. 3. You can therefore run Live on both a studio desktop computer and a tour laptop. 3. However. you can still load and perform a Live Set with no time limitation. It also offers you the opportunity to buy Ableton products online. 3.1.3 Can I Authorize Live More than Once? The standard Live license allows you to use Live on only one computer at a time. Live does not need to be reauthorized when computer peripher- als are replaced (audio or MIDI hardware. reformat- ting a hard drive will require a new authorization. you may require a secondary license or a site license. You cannot. printers.ableton. In case of an emergency.ableton. modems). 2 http://www.2 What if I Change My Computer’s Components? If you change your computer components for some reason. processor or network card is replaced.1. To use Live on more than one computer at a time. Should the Ableton server reject your demand for another authorization. Live may indeed ask you to autho- rize the software another time. please visit the Ableton web- shop2. save or export your work. This site contains information about Ableton’s distributor and dealer network. On some computers. But you may need to authorize again if the motherboard.com/support . however. Ableton offers these licenses at special rates.

.5 What Do I Do About Problems or Questions Regarding Copy Protection? Please visit Ableton’s technical support page.1. Authorizing Live 33 3.

Authorizing Live 34 .

your Ableton and third-party devices. as a solid understanding of the program’s basic principles will help you fully exploit Live’s potential for your music-making. presets and samples you’ve saved. 4. . any additional sounds you’ve installed via Ableton Packs. Live’s Browser. Live Concepts 35 Chapter 4 Live Concepts This chapter introduces the essential concepts of Live.1 The Browser Live’s browser (page 53) is the place where you interact with your library of musical assets: the core library of sounds that are installed with the program. and any folders that you’ve added manually. We advise you to read this chapter early in your Live career.

If you’re using Live in a single window. and to create larger musical structures from them: songs. The Arrangement is accessed via the Arrangement View (page 89) and the Session via the Session View (page 107). A Live Set in the Browser. Live Concepts 36 4.2 Live Sets The type of document that you create and work on in Live is called a Live Set (page 71). you can toggle between the . Clips in the Session View (Left) and in the Arrangement View (Right). Live allows you to record and alter clips. Each clip’s behavior upon launch can be precisely specified through a number of settings (page 183). 4. DJ sets or stage shows. Every Session clip has its own play button that allows launching the clip at any time and in any order. Live Sets reside in a Live Project — a folder that collects related materials — and can be opened ei- ther through the File menu’s Open command or via Live’s browser. A Live Set consists of two environments that can hold clips: The Arrangement is a layout of clips along a musical timeline. remixes. a drum pattern. scores.3 Arrangement and Session The basic musical building blocks of Live are called clips. the Session is a real-time-oriented “launching base” for clips. a bassline or a complete song. A clip is a piece of musical material: a melody.

effects processing and mixing. The Arrangement and Session View Selectors. One can.4 Tracks Tracks host clips and also manage the flow of signals. A simple rule governs the cohabitation of clips in a track: . sound synthesis. This works because Arrangement and Session are connected via tracks. they each hold individual collections of clips. 4. while in the Arrangement View they are stacked vertically. In the Session View. alter what you hear or change what is stored. with time moving from left to right. the tracks are laid out in columns. The Session and Arrangement share the same set of tracks. it is important to understand that toggling or swapping the views simply changes the appearance of the Live Set and does not switch modes. for instance. A Track in the Arrangement View. as well as the creation of new clips through recording. However. im- provise with Session clips and record a log of the improvisation (page 114) into the Arrange- ment for further refinement. Because the two views have distinct applications. pressing [Tab] will swap the Session and Arrangement from one window to the other. Live Concepts 37 two views using the computer’s [Tab] key or their respective selectors. If you’re using two win- dows. The Arrangement View and the Session View interact in useful ways.

So. This is what the Back to Arrangement button is for. or what we call scenes (page 109). The track will not resume Arrangement playback until explicitly told to do so. . which is found in the Master Track in the Ses- sion View and at the top-right of the scrub area in the Arrangement View. the respective track stops whatever it is doing to play that clip. it will stop it in favor of the Session clip — even as the other tracks continue to play what is in the Arrangement. Live Concepts 38 A track can only play one clip at a time. In particular. but never both. At any one time. if the track was playing an Arrangement clip. but are playing a clip from the Session instead. Therefore. a track can be playing either a Session clip or an Arrangement clip. A Scene in the Session View. and spreads out clips that should play together across tracks in rows. This button lights up to indicate that one or more tracks are currently not playing the Arrangement. who wins? When a Session clip is launched. one usually puts clips that should play alternatively in the same Session View column.

The Back to Arrangement Button in the Arrangement View. We can also capture the current state into the Arrangement by activating the Arrangement Re- cord button. . Live Concepts 39 The Back to Arrangement Button in the Session View. Disengaging Record Mode or stopping Live using the Stop button leaves us with an altered Arrangement. Each track in the Arrangement View also has its own Back to Arrangement button. allowing you to resume Ar- rangement playback of only certain tracks. A Single Track’s Back to Arrangement Button. We can click this button to make all tracks go back to playing the Arrangement.

It takes an instrument (page 239) to convert MIDI signals into audio signals that can actually be heard.org/wiki/Digital_audio. an audio signal is a series of numbers that approximates a continuous signal as generated by a microphone or delivered to a loudspeaker. The two track types have their own corresponding clip types.6 Audio Clips and Samples An audio clip contains a reference to a sample (also known as a “sound file“ or “audio file“) or a compressed sample (such as an MP3 file). 4.5 Audio and MIDI Clips represent recorded signals. A MIDI signal is a sequence of com- mands.org/wiki/Midi and http://en. Some instruments. The clip tells Live where on the computer’s drives to find the sample. and MIDI signals are recorded and played back using MIDI tracks. are for chromatic playing of one sound via the keyboard. 4 For an introduction to MIDI and digital audio. Audio signals are recorded and played back using audio tracks. such as “now play a C4 at mezzo piano. Live Concepts 40 4. When a sample is dragged in from Live’s built-in browser. Live deals with two types of signals: audio and MIDI. what part of the sample to play and how to play it. one can audition or preview it directly in the browser. such as Live’s Impulse (page 431). Audio clips cannot live on MIDI tracks and vice versa. Prior to dragging in a sample. please see http://en. one that is closer to a written score than to an audio recording. MIDI signals are gen- erated by input devices such as MIDI or USB keyboards4. In the digital world. have a dif- ferent percussion sound assigned to each keyboard key.wikipedia.wikipedia. such as Live’s Simpler (page 482). . Other instruments. the switch in the browser with the headphone icon activates previewing. Live automatically creates a clip to play that sample.“ MIDI is a symbolic representation of musical material. Information about inserting. reordering and deleting audio and MIDI tracks is found here (page 217).

The respective settings are made in the Clip View (page 117). An Audio Clip’s Properties as Displayed in the Clip View. Warping means changing the speed of sample playback independently from the pitch so as to match the song tempo. The most elementary use of this technique. and one that usually requires no manual setup. which appears on screen when a clip is double-clicked. The Control Bar’s Tempo Field. Many powerful manipulations arise from Live’s warping capabilities (page 139). allowing you to create an abundance of new sounds without actually changing the original sample — all the changes are computed in real time. such as a recording of a drunken jazz band’s . is synchronizing sample loops to the chosen tempo. Live’s Auto-Warp algorithm actually makes it easy to line up any sample with the song tempo. Live Concepts 41 Samples Are Dragged in from Live’s Browser. while the sample is played. Live offers many options for playing samples in exciting new ways. The tempo can be adjusted on the fly in the Control Bar’s Tempo field.

for instance to change a melody or “paint“ a drum pattern. and with the . It is also possible to radically change the sonic signature of a sound using extreme warp settings. . Live Concepts 42 performance.7 MIDI Clips and MIDI Files A MIDI clip contains musical material in the form of MIDI notes and controller envelopes. and the original file is not referenced thereafter. the data gets incorporated into the Live Set. As you’d expect. MIDI Files Are Dragged in from Live’s Browsers. a MIDI file appears with a special icon.mid file extension. 4. a MIDI clip’s contents can be accessed and edited (page 155) via the Clip View. When MIDI is imported from a MIDI file (page 69). In Live’s browser. A MIDI Clip’s Properties as Displayed in the Clip View.

. VST and Audio Units (Mac OS X only) Plug-ins are available from the browser’s Plug-Ins label. Live’s built-in audio effects (page 311). The Device View Displaying a MIDI Track’s Device Chain. Live Concepts 43 4. or into a Session or Arrangement track. MIDI effects (page 391) and instruments (page 403) are available from the browser and can be added to tracks by dragging them from there into the Device View. You can also use plug-in devices (page 249) in Live.8 Devices and the Mixer A track can have not only clips but also a chain of devices (page 239) for processing signals. Live’s Built-in Devices Are Available from the Browser. which shows the track’s device chain. Double-clicking a track’s title bar brings up the Device View.

The number of devices per track is theoretically unlimited. The Live Mixer in the Arrangement View (Left) and Session View (Right). a topic that deserves separate discussion (page 641). but the software’s inputs and outputs can be config- ured to be mono in the Audio Preferences. the individual mixer sections can be shown or hidden using the View menu’s entries. As the Session and Arrangement share the same set of tracks. To optimize the screen layout. Consider an audio clip playing in an audio track. Live Concepts 44 Plug-In Devices Are Available from the Browser’s Plug-Ins Label. In practice. This device processes (changes) the signal and feeds the result into the next device. The audio signal from the clip reaches the left- most device in the chain. When the signal has passed through the device chain. Note that the signal connections between audio devices are always stereo. . The mixer can be shown in both views for convenience. they also share the mixer. and so on. it ends up in Live’s mixer (page 213). the computer’s processor speed imposes a limit on the number of devices you can use at the same time.

Return tracks only host effects. which can create smooth transitions between clips playing on different tracks. Devices that receive and deliver audio signals are called audio effects. The MIDI signal from the clip is fed into the track’s device chain. In this case. One example is the Scale effect. Live Concepts 45 The mixer has controls for volume. Live’s crossfader works like a typical DJ mixer crossfader. Following the instrument. the track’s mix and Send controls disappear from the mixer. . The last MIDI effect in the chain is followed by an instrument. which maps the incoming notes onto a user-defined musical scale. for instance Live’s Simpler and Impulse. Consider a MIDI track playing a clip. There. it is first processed by any number of MIDI effects. A MIDI effect receives and delivers MIDI signals. Instru- ments. If a MIDI track has no instrument (and no audio effects). two more types of de- vices are available for use in MIDI tracks: MIDI effects and instruments. and not clips. there can be any number of audio effects — as in an audio track. A MIDI Effect. all tracks can feed a part of their signal into a return track and share its effects. an Instrument and an Audio Effect in a MIDI Track. Via their sends. However. which has to be sent somewhere else to be converted into audio. Live’s Crossfader. then the track’s output is a plain MIDI signal. The mixer also includes a crossfader (page 221). ex- cept that it allows crossfading not only two but any number of tracks — including the returns. pan position and sends. Audio effects are the only type of device that fit in an audio track or a return track. receive MIDI and deliver audio. which adjust the contribution each track makes to the input of any return tracks.

choosers to select a signal source and destination. 4. Where do these signals go? This is set up in the mixer’s In/Out section. is Live’s “patchbay. all tracks deliver signals. This feature allows for the creation of powerful multi-device creations and effectively adds all the capabilities of Live’s MIDI and audio effects to the built-in instruments. either audio or MIDI. complex effects setups and more.9 Presets and Racks Every Live device can store and retrieve particular sets of parameter values as presets (page 244). which offers. Drum and Effect Racks (page 261) allow saving combinations of devices and their settings as a single preset. Live Concepts 46 The Mixer for a MIDI Track without an Instrument. As presets are stored independently from Live Sets. The In/Out section. accessible through the View menu’s In/Out option. new presets become part of your user library that any project can draw from. . submixing. 4. Live’s Instrument.10 Routing As we have seen. for every track.“ Its routing options (page 193) enable valuable creative and tech- nical methods such as resampling. layering of synths.

a track can be set up to receive an input signal to be played through the track’s de- vices. by using the External Audio Effect (page 341) and External Instrument (page 429) devices. Signals from the tracks can be sent to the outside world via the computer’s audio and MIDI inter- faces. pressing any of their Arm buttons will arm all of them. . The Monitor controls regulate the conditions under which the input signal is heard through the track.11 Recording New Clips Audio tracks and MIDI tracks can record their input signal and thereby create new clips (page 227). If the Exclusive Arm option is enabled in the Record Preferences. Live Concepts 47 Track Routing Is Set up Using the In/Out Section in the Arrangement (Left) or Session View (Right). every armed track records its input signal into the Arrangement. from a ReWire program or from another track or device in Live. Every take yields a new clip per track. Again. to other programs that are connected to Live via ReWire (page 638) or to other tracks or devices within Live. Tracks can also be combined into a Group Track (page 218) which serves as a submixer for the selected tracks. When the Control Bar’s Arrangement Record button is on. You can also hold down the [CTRL] (PC)/[CMD] (Mac) modifier when clicking the Arm buttons to arm several tracks at once. inserting an instrument into a new or empty MIDI track will automatically arm the track.) 4. tracks can receive their input from the outside. Likewise. Recording is enabled on a track by pressing its Arm button. (Note: these devices are not available in the Lite or Intro Editions. It is also possible to route signals to external hardware devices from within a track’s device chain. With multiple tracks se- lected.

Live Concepts 48

Track Arm Buttons, as They Appear in the Session View.

It is also possible to record into Session View slots on the fly (page 230). This technique is
very useful for the jamming musician, as Session recording does not require stopping the music.
Clicking the Session Record button records a new clip in the selected Session scene in all armed
tracks.

The Control Bar’s Session Record Button.

Clicking the Session Record button again defines the end of the recording and launches the new
clips. As these actions are subject to real-time launch quantization, the resulting clips can be
automatically cut to the beat.

The Control Bar’s Quantization Chooser.

Session recording in conjunction with overdubbing and Record Quantization is the method of
choice for creating drum patterns, which are built up by successively adding notes to the pattern
while it plays in a loop. It only takes a MIDI keyboard (or the computer keyboard) and a MIDI
track with Live’s Impulse percussion instrument to do this (page 431).

4.12 Automation Envelopes
Often, when working with Live’s mixer and effects, you will want the controls’ movements to
become part of the Set. The movement of a control across the Arrangement timeline or Session
clip is called automation (page 281); a control whose value changes over time is automated.

Live Concepts 49

Automation is represented by breakpoint envelopes, which can be drawn, edited and recorded
in real-time.

The Automated Pan Control and its Envelope.

Practically all mixer and effect controls in Live can be automated, even the song tempo. Record-
ing automation is straightforward: all changes of a control that occur while the Control Bar’s
Automation Arm and Arrangement Record buttons are on become automation in the Arrange-
ment View. Automation is recorded to Session View clips if controls are adjusted while recording
with the Automation Arm button enabled.

Changing an automated control’s value while not recording is similar to launching a Session clip
while the Arrangement is playing: It deactivates the control’s automation (in favor of the new
control setting). The control will stop tracking its automation and rest with the new value until the
Re-Enable Automation button is pressed or a Session clip that contains automation is launched.

4.13 Clip Envelopes
Envelopes can be found in both tracks and clips. Clip envelopes (page 291) are used to au-
tomate or modulate device and mixer controls. Audio clips have, in addition, clip envelopes to
influence the clip’s pitch, volume and more; these can be used to change the melody and rhythm
of recorded audio. MIDI clips have additional clip envelopes to represent MIDI controller data.
Clip envelopes can be unlinked from the clip to give them independent loop settings, so that
larger movements (like fade-outs) or smaller gestures (like an arpeggio) can be superimposed
onto the clip’s material.

Live Concepts 50

An Envelope for Clip Transposition.

4.14 MIDI and Key Remote
To liberate the musician from the mouse, most of Live’s controls can be “remote-controlled“
via an external MIDI controller. Remote mappings are established in MIDI Map Mode (page
520), which is engaged by pressing the MIDI switch in the Control Bar.

In this mode, you can click on any mixer or effect control, and then assign it to a controller sim-
ply by sending the desired MIDI message (for example, by turning a knob on your MIDI control
box). Your assignments take effect immediately after you leave MIDI Map Mode. Session clips
can be mapped to a MIDI key or even a keyboard range for chromatic playing.

MIDI keys and controllers that have been mapped to Live’s controls are not available for record-
ing via MIDI tracks. These messages are filtered out before the incoming MIDI is passed on to
the MIDI tracks.

The Key/MIDI Map Controls.

Session clips, switches, buttons and radio buttons can be mapped to computer keyboard keys as
well. This happens in Key Map Mode (page 525), which works just like MIDI Map Mode.

Live offers, in addition to this general purpose mapping technique, dedicated support for Able-
ton Push (page 527) and Push 2.

Live Concepts 51

4.15 Saving and Exporting
Saving a Live Set saves everything it contains, including all clips, their positions and settings,
and settings for devices and controls. An audio clip can, however, lose the reference to its cor-
responding sample if it is moved or deleted from disk. The links between samples and their clips
can be preserved with a special command, Collect and Save (page 82), which makes a
copy of each sample and stores it in a project folder along with the Live Set.

A separate Save button in the Clip View saves a set of default clip settings (page 131) along
with the sample, so that each time the sample is dragged into the program, it will automatically
appear with these settings. This is especially useful if you have made warp settings for a clip and
want to use it in multiple Live Sets.

Exporting audio from Live can be done from both the Session and Arrangement Views. By de-
fault, Live will export the audio coming through on the Master output as an audio file of your
specifications via Export Audio/Video (page 63).

Live can also export individual MIDI clips as MIDI files (page 69).

Exporting and saving material for later use in Live can be done very conveniently with the Live
Clip format (page 69). Session View clips can be dragged back out of a Live Set to the
browser, and thereby exported to the disk as Live Clips.

A Live Clip in the Browser.

Live Clips are a very powerful way of storing ideas, as they save not only the clip’s Clip View
settings, but also the corresponding track’s instruments and effects chain. Live Clips in the brows-
er can be previewed and added to any open Live Set just like sample files. In the Live Set, they
restore the original clip’s creative options.

Using Live Clips, you can build your own personalized library of:

Live Concepts 52

•MIDI sequences with matching instruments and effects, e.g., a MIDI drum pattern with the
associated Impulse and effects settings;

•Different regions or loops (page 124) referencing the same source file;

•Variations of a sample loop created by applying Warp Markers (page 139), clip enve-
lopes (page 291) and effects (page 239);

•Ideas that may not fit your current project but could be useful in the future.

Managing Files and Sets 53

Chapter 5

Managing Files and Sets
Various types of files are used in making music with Live, from those containing MIDI (page
69) and audio (page 61), to more program-specific files such as Live Clips (page 69)
and Live Sets (page 71). This chapter will explain everything you need to know about work-
ing with each of these file types in Live. However, we should first take a look at Live’s browser,
through which most files arrive in the program.

5.1 Working with the Browser
Live’s browser is the place where you interact with your library of musical assets: the core library
of sounds that are installed with the program, any additional sounds you’ve installed via Ableton
Packs, presets and samples you’ve saved, your Ableton and third-party devices, and any folder
on your hard drive that contains samples, tracks, etc.

Managing Files and Sets 54

The Browser.

The browser display is divided into left and right sections, called the sidebar and the content
pane respectively. To resize the sections, drag the divider line horizontally.

5.1.1 Understanding the Browser’s Hierarchy
Working in the browser involves choosing one of the labels from the Categories or Places sec-
tions in the sidebar, and then selecting from the items that appear in the content pane.

The Categories labels show all items of a given type, regardless of where they are in your
library. Use this section to explore and discover all of the instruments and sounds you have in-
stalled. The Categories section is organized as follows:

•Sounds — all of your Instrument Racks (page 261) and instrument presets, organized by
the type of sound they make (rather than by their devices.)

•Drums — all of your drum presets. This includes full drum kits, which are available as Drum
Racks, as well as single drum hits, which are delivered as Instrument Racks.

Managing Files and Sets 55

•Instruments — all of your Instrument Racks, as well as “raw” Live instruments and their pre-
sets, organized by device (rather than by the type of sound.)

•Audio Effects — all of your Audio Effect Racks, as well as “raw” Live audio effects devices
and presets.

•MIDI Effects — all of your MIDI Effect Racks, as well as “raw” Live MIDI effects devices
and presets.

•Max for Live — all of your Max for Live (page 509) devices and presets, as well as any
Racks that are built with those devices, organized into Audio Effect, Instrument and MIDI
Effect folders.

•Plug-Ins — your third-party VST and/or Audio Units plug-ins (page 249).

•Clips — all of your Live Clips.

•Samples — all of your raw audio samples.

•All results — this section appears after you’ve typed something into the search field. It
shows search results for every section of the browser in a single list.

The Places labels show the contents of folders on your hard drives. Use this section when you
want to access a particular place, such as a folder you’ve added or an add-on Pack. The actual
contents of the Places section will vary depending on how you’ve configured your library, but
will contain at least the following:

•Packs — all Packs that come pre-installed with Live, as well as any that you’ve installed
yourself. Each Pack appears as a folder in the content pane, which can be unfolded to
reveal that Pack’s contents. Presets, samples, and Live Clips installed by Packs will also ap-
pear in the appropriate Categories labels.

•User Library — the User Library is the default location for items you save yourself, including
default presets, grooves, your personalized Racks and device presets, your own samples,
Live Clips, etc. Files that you save to your User Library will also be available in the appro-
priate Categories labels.

•Current Project — all of the files that are contained in the currently active Project (page
76). If you’re working on a Live Set that you haven’t yet saved, the current Project refers
to a temporary location.

Managing Files and Sets 56

•any folders from any of your hard drives that you’ve added to Live’s Browser.

Moving through the files in Live’s browser can be done with either the mouse or the computer
keyboard:

•Scroll up and down in the Browser with the up and down arrow keys, the mousewheel, or
by clicking and dragging while holding the [CTRL][ALT](PC) / [CMD][ALT](Mac) modifier.

•Close and open folders, or move between the sidebar and content pane with the left and
right arrow keys.

By default, any previously open folders will close when you open a new one, but you can over-
ride this behavior by holding [CTRL](PC) / [CMD](Mac) while opening new folders.

5.1.2 User Folders
Live’s browser allows you to work with your creative tools regardless of where they are installed
on your computer. This allows you to, for example, store large sample collections on one or
more external drives, and still use the browser to access their contents - there is no need to keep
them in a single centralized location.

In order to work with your own folders in Live, you must first add them to the browser, either by
dropping them directly into Live from the Explorer (Windows)/Finder (Mac) or by pressing the
Add Folder button in the browser’s sidebar.

After adding a user folder, Live will scan it, which “teaches” the browser about its contents. Fol-
lowing this, it will appear in the Places section of the sidebar.

Note: adding a user folder does not actually move the folder to a new location, but simply
makes it available in Live’s browser. If you reorganize your drives using Explorer (Windows)/
Finder (Mac), Live may not be able to find user folders if they’ve been moved. For example, if
a user folder is contained on an external hard drive, and Live is opened without the drive at-
tached, the user folder will still appear in the browser but will be grayed out. You can attempt to
find it by using the [right-click](PC) / [CTRL-click](Mac) context menu’s Locate Folder command,
or tell Live to “forget” this folder via the Remove from Sidebar command. You can also use this
command to remove folders that aren’t missing, but which you simply don’t want to work with
anymore.

Managing Files and Sets 57

5.1.3 Searching for Files
Live’s browser is equipped with a search field that filters the contents of the selected sidebar la-
bel as you type. To search across all locations, press [CTRL][F](PC) / [CMD][F](Mac).

The Browser’s Search Field.

The results will include files that match all search terms, as opposed to any. For example, if
you search for “acoustic bass,“ the search will yield all acoustic bass sounds — not all acoustic
sounds and all bass sounds.

For mouse-free searching, we suggest the following sequence of shortcuts:

1. [CTRL][F](PC) / [CMD][F](Mac) to place a cursor in the search field;

2. Type your search terms;

3. Down arrow key to jump to the search results;

4. Up and down arrow keys to scroll the search results;

5. [ESC] to clear the search field, showing all of the contents of the selected sidebar label.

Previewing Files
Live allows you to preview samples, clips, and instrument presets in the browser before they are
imported into the program. To enable previewing, activate the Preview switch next to the Preview
Tab at the bottom of the browser.

Managing Files and Sets 58

The Preview Switch.

Hint: You can preview files even when the Preview switch is not activated by pressing [Shift][En-
ter] or the right arrow key.

Click on a file (or use the up and down arrow keys) to select it. Click in the Tab’s scrub area
to make playback jump to that point. (Note that it is not possible to scrub clips that have been
saved with Warp turned off.)

You can select Live Clips in the browser to load them into the Preview Tab, but they will not play
automatically. You can click on the tab or press the right arrow key to preview them.

You can also preview Live’s instrument presets in the Preview Tab. When selected, you’ll hear a
short audio example of the preset, so you can get an idea of how it sounds before loading it.

With the Raw button enabled, files will preview at their original tempo and will not loop. With
Raw disabled, Live will try to preview files in sync with the current Set, so that you can better
judge which samples will work for you. Please note that scrubbing is not possible when Raw is
enabled.

The previewing volume can be adjusted using the mixer’s Preview Volume knob.

Managing Files and Sets 59

The Preview Volume Knob.

If your audio hardware offers multiple audio outs, you can privately audition, or cue, files via
headphones connected to a separate pair of outs — while the music continues to play. To learn
how to set up Live for cueing, please refer to the relevant section (page 224) of the Mixing
chapter.

Adding Clips from the Browser
There are several ways to add clips to a Live Set:

•Files can be dragged and dropped from the browser into tracks in the Session or Arrange-
ment View. Dragging and dropping material from the browser into the space to the right of
Session View tracks or below Arrangement View tracks will create a new track and place
the new clip(s) there.

Dropping a Clip to Create a New Track.

•In the Session View, double-clicking or pressing [Enter] on a file in the browser will auto-
matically create a new track to the right of the other tracks and load it with the clip.

•Files can be dropped directly into Live from the Explorer (Windows)/Finder (Mac).

Managing Files and Sets 60

Hot-Swap Mode
In addition to the drag-and-drop method of loading files from the browser, Live offers a Hot-
Swap Mode to reduce your mouse travel. Hot-Swap Mode can be toggled on and off with
the [Q] key, and establishes a temporary link between the browser and, for example, a virtual
instrument. While in Hot-Swap Mode, you can step through samples or presets to audition them
“in place,“ that is, within the instrument. Hot-swapping for presets is covered in the Live Device
Presets section (page 244). Let’s go through an example of hot-swapping samples:

Live’s built-in Impulse instrument features eight sample-player slots that can be filled by dropping
samples into them. Alternatively, we can click the Hot-Swap button that appears as we move the
mouse over a slot.

The Hot-Swap Button in an Impulse Slot.

Clicking the Hot-Swap button or pressing the [Q] key engages Hot-Swap Mode:

The Browser in Hot-Swap Mode.

While in Hot-Swap Mode, pressing the up or down arrow key moves to the next file in the
content pane and loads it into the Impulse slot (presumably while Impulse is playing incoming
MIDI notes). The link between the browser and the instrument will be broken if a different view is
selected, or if the [Q] key or the Hot-Swap button is pressed again. Hot-swapping can also be

5. To play a compressed sample. Please see the section on analysis (page 62) for an explana- tion. Please note. sample rate or bit depth without prior conversion. the browser will show the location of the currently loaded sound and pre-select it. This usually happens quickly enough that you will be able to play the sample right away.apple. Note: When adding a long sample to a project. Live can play both uncompressed file formats (WAV. however. (Please note that not all of these file formats can be played in the Lite Edition. however. You can.2 Sample Files A sample is a file that contains audio data. Live keeps the decoded sample files of compressed samples in the cache. AIF and Sound Designer II for Mac) and compressed file formats (MP3. without waiting for the decoding process to finish. Maintenance of the cache is normally not required.) A note on using Variable Bit Rate (VBR) files: Please install QuickTime for decoding purposes if you do not already have it on your system. Live decodes the sample and writes the result to a temporary. 5. Live can combine uncompressed mono or stereo samples of any length. Hard drive rotation speed can also affect disk performance. impose limits on the cache size using the File/Folder Preferences’ Decoding Cache section. Refer to the section on managing the disk load (page 645) for more information. When Hot-Swap Mode is re-entered. Managing Files and Sets 61 cancelled with a press of the [ESC] key or by pressing the close button in the Hot-Swap bar at the top of the browser. The cache will not grow larger 5 http://www. It can be downloaded from the Apple website5. you can work with a large number of (large) samples without running into RAM memory limitations. AAC.com/quicktime/download . as Live automatically deletes older files to make room for those that are new. Ogg Vorbis.2. that you may run into disk throughput problems if your disk is nearly full. Ogg FLAC and FLAC). As Live plays the samples directly from disk. and/or (on Windows systems) highly fragmented. Live might tell you that it cannot play the sample before it has been analyzed. uncompressed sample file.1 The Decoding Cache To save computational resources.

and it will always leave the Minimum Free Space on the hard disk.. The analysis file contains data gathered by Live to help optimize the stretching quality.e.2 Analysis Files (. keep in mind that you can use different settings for each clip within a Live Set — even if . Preferences for the Decoding Cache. An analysis file can also store default clip settings for the sample: Clicking the Clip View’s Save button (page 131) will store the current clip’s settings with the sample’s analysis file. While analysis files are a handy way to store default information about a particular sample’s settings. 5. When adding a long sample to a project.2. Live might tell you that it cannot play the sample be- fore it has been analyzed. This is particularly useful for retaining Warp Marker settings with the sample. Managing Files and Sets 62 than the Maximum Cache Size setting. it will appear with all its clip settings intact. The next time the sample is dragged into Live. Pressing the nearby Cleanup button will delete all files not being used by the current Live Set. or if the Record/Warp/Launch Preferences’ Auto- Warp Long Samples preference (page 139) has been deactivated. Stor- ing default clip settings with the analysis file is different from saving the clip as a Live Clip. Live finds an analysis file for this sample).asd) An analysis file is a little file that Live creates when a sample file is brought into the program for the first time. This will not happen if the sample has already been analyzed (i. speed up the waveform display and automatically detect the tempo of long samples (page 145).

asd“ ex- tension. Selection Options The Render Dialog’s Selection Options. But if you drag a new version of the sample into a Live Set.asd file look like this. The analysis file’s name is the same as that of the associated sample. All data (except for the default clip settings) can be recreated by Live if the . which could serve as a backup of your work or be used with other digital audio applica- tions. 5. Live puts this analysis file in the same folder as the sample.asd file are displayed like this in the browser. you can also use the Export Audio/Video command to export this to a new video file. however this will take some time for longer samples. which will be created in the same directory as the rendered audio files. Managing Files and Sets 63 those clips refer to the same sample on disk.) You can also upload your ex- ported audio files directly to your SoundCloud account. Samples that have an . with an added “. Live will use the settings stored in the analysis file for the newly created clip. If your set includes video. .asd files by turning off the Create Analysis Files op- tion in the File/Folder Preferences. The resulting files can be used to burn an audio CD for listening purposes or a data CD.asd file is missing. (Note: video export is not available in the Lite and Intro Editions. Note that you can suppress the creation of .2.3 Exporting Audio and Video The File menu’s Export Audio/Video command allows you to export Live’s audio output as new samples. Samples without an . The analysis files themselves do not appear in Live’s browser.

•Selected Tracks Only — this is identical to the All Individual Tracks option. it will include the delay “tail“ resulting from the first pass. The other Selection fields determine the start time and length of the exported material: •Render Start — sets the position at which rendering will begin. If Render as Loop is on. If you are monitoring the Master output. suppose your Live Set uses a delay effect. you can be sure that the rendered file will contain exactly what you hear. For example. •Render as Loop — If this is activated. •Master — the post-fader signal at Live’s Master output. Managing Files and Sets 64 The Export dialog’s Rendered Track chooser offers several options for which audio signal to render: The Rendered Track Chooser. Live will go through the rendering process twice: The first pass will not actually write samples to disk. . Live will create a sample that can be used as a loop. •(single tracks) — the post-fader signal at the output of the selected track. •All Individual Tracks — the post-fader signal at the output of each individual track. Live will create a separate sample for each track. As the second pass starts writing audio to disk. but only renders tracks that were selected prior to opening the Export dialog. •Render Length — determines the length of the rendered sample. includ- ing return tracks and MIDI tracks with instruments. All samples will have the same length. but add the specified delay effect. making it easy to align them in other multitrack programs.

•Dither Options — If you are rendering at a bit depth lower than 32-bit. then that is what will be captured in your rendered file — regardless of which view is active when you ren- der. if you’re playing back some combination of Session View clips and Arrangement material. Managing Files and Sets 65 Tip — a fast way to set both the Render Start and Length values is to select a range of time in the Arrangement View prior to invoking the Export Audio/Video command. Live will first export at the current project sample rate and then downsample the file in a second step using a high-quality process. The Export dialog offers several audio rendering options: •File Type. But remember — a rendered audio file contains only what you heard prior to rendering. at the sample rate you’ve chosen in the Ex- port dialog. Triangular is selected. So. Note that this may take a few moments. Note that your choice of sample rate works as follows: if you select a sample rate equal to or higher than the rate you’re using in your project (as set in the Audio tab of Live’s Preferences). choose one of the dither modes. Dithering adds a small amount of noise to rendered audio. Bit Depth — These options specify the type of sample to be cre- ated. Live will export in a single step. Audio Rendering Options Audio Rendering Options. Sample Rate. for example. If you export at a sample rate that is lower than your current project sample rate. which is the “saf- . By default. but minimizes artifacts when reducing the bit depth.

check this option. Video Rendering Options Video Rendering Options. but at the expense of additional quantization error. Managing Files and Sets 66 est“ mode to use if there is any possibility of doing additional processing on your file. •Upload Audio to SoundCloud — If activated. (Note: video rendering is not available in the Intro and Lite Editions. (Please note that the Pow-r modes are not available in the Intro and Lite Editions. it’s best to render to 32-bit to avoid the need for dithering at this stage. the Pow-r modes should never be used for any material that will be sent on to a further mastering stage — these are for final output only. the sample resulting from the render process will be nor- malized (i. the file will be amplified so that the highest peak attains the maximum avail- able headroom). Live will create a mono file instead of a stereo file. If you intend to use the new sample in Live.) •Create Analysis File — If this is activated.. The three Pow-r modes offer successively higher amounts of dithering. a helper application will launch that will al- low you to upload your exported audio file to SoundCloud.e. If you plan to do further processing on your rendered file. Rectangular mode introduces an even smaller amount of dither noise. •Normalize — If this is activated.) . In particular.asd file that contains analysis information about the rendered sample. •Convert to Mono — If this is activated. Live will create an . Note that dithering is a pro- cedure that should only be applied once to any given audio file. but with the noise pushed above the audible range.

Unless you’ve specified a special window size or aspect ratio in the encoder settings. Note that the settings options will vary depending on the encoder you have chosen. rendering happens as an offline process. Live will automatically trace each track’s signal flow and detect if real-time rendering is necessary. audio rendering will begin. Then. the Edit button will be dis- abled. For more information about working with video in Live. Cer- tain encoders have no user-configurable options. any tracks that do access these devices will be rendered in real time. After the audio rendering is complete. the video will be rendered. Note that this option is only enabled if you have video clips in the Arrangement View. Real-Time Rendering Normally. rendering the master output happens in real time. But if your set contains an External Audio Effect (page 341) or External Instrument (page 429) that routes to a hardware effects device or synthesizer. Live will display a progress bar that will indicate the status of the process. see the chapter on video (page 303). If you render single tracks. depending on the encoder used. •Video Encoder Settings — This button opens the settings window for the selected encoder. In this case. a video file will be created in the same directory as your rendered audio. In this case. The video file will also contain the rendered audio. You’ll then be presented with several options when you start to render: . the ren- dered video file will play back exactly as it appeared during real time playback in Live. Note that. •Video Encoder — This chooser allows you to select the encoder to use for the video ren- dering. Once you’ve made your selections and clicked Export to begin the rendering process. all tracks that don’t route to an external device anywhere in their signal paths will be rendered offline. Also. The choices you have here depend on the encoders you have installed. the Export dialog provides additional options for rendering video: •Create Video — If this is activated. it is not possible to only render a video file — enabling video rendering will always produce a video in addition to rendered audio. Managing Files and Sets 67 In addition to settings for audio rendering. video rendering may occur in more than one pass. the rendering process is a bit different.

and in some cases drop-outs (small gaps or glitches in the audio) can occur. •Auto-Restart on drop-outs — Rendering in real-time requires somewhat more CPU power than non-real-time rendering. you can speed the process along by pressing “Skip. if you’re sure that your external de- vices aren’t making any sound. Live will wait for ten seconds before starting a real-time render. This should allow any sound from external devices to fade out. if you’re waiting for a long reverb tail).“ which will start the render immediately. Live detects when drop-outs happen. •Cancel — stops the rendering process and deletes the partially rendered file. If you find that dropouts and restarts keep happening. you can increase the wait time by typing a new number in the number box. and rendering will start again from the beginning if the Auto-Restart option is enabled. The number of rendering attempts (if there has been more than one) will also be listed in the dia- log box. you should close other running . the dialog changes to show a recording progress bar: Real-Time Rendering in Progress. but if you need more time (for example. •Restart — manually restarts the rendering process. After the render has begun. Managing Files and Sets 68 Waiting for External Devices to Become Silent. •Skip — By default. On the other hand.

MIDI files appear with a special icon in the browser. This command will open a file-save dialog. to create specific musical output.3. MIDI files are exported by hardware and software MIDI sequencers. allowing you to choose the location for your new MIDI file. 5. A MIDI File in the Browser. Managing Files and Sets 69 applications to allow more processing power for rendering. and the resulting MIDI clips lose all reference to the original file. Please see the chapter on computer audio resources (page 641) for more tips on improving performance. 5. Audio clips only contain references to samples on disk (rather than the audio data itself). 5. so they are very small. such as Live’s Simpler. use the File menu’s Export MIDI Clip command.1 Exporting MIDI Files Live MIDI clips can be exported as Standard MIDI files. . Exporting a MIDI file is different from saving the clip as a Live Clip. Importing MIDI files into Live works differently than with samples: MIDI file data is incorporated into the Live Set.4 Live Clips Individual audio or MIDI clips can be exported to disk in the Live Clip format for easy retrieval and reuse in any project.3 MIDI Files A MIDI file contains commands that prompt MIDI compatible synthesizers or instruments. which makes it easy to develop and maintain your own collection. To export a MIDI clip.

Managing Files and Sets 70 To save a clip from the open Live Set to disk. In order to recreate a Live Clip’s device chain. For example. you could then inde- pendently sort and preview these clips. on the other hand. Live will manage the copying of the clip’s sample into this new location based on the selection in the Collect Files on Export chooser (page 83). are stored on disk as separate musical ideas. either drag it into a track containing no clips or devices. you could create a number of variations from the same audio clip by using different warp. rather than creating a new track. Live Clips are a great way of storing your ideas for later use or development.asd file annotates the sample with sensible default values (warp. or drag it into the space in the Session or Arrangement View containing no tracks. Clips belonging to any Live Sets already on disk are also Live Clips. even though they are all referring to the same source sample. . simply drag it to the Places section of the browser and drop it into the Current Project or any user folder. for instance. In the browser. but also the original track’s de- vices. The default clip in the . Live Clips. drop a bassline Live Clip on an existing track that drives a bass instrument. Note that Live Clips that are imported into tracks already containing devices or clips will appear with their clip settings but not their devices. and store them all as separate Live Clips. A Live Clip in the Browser. You could. including all its clip and envelope settings. Note that storing default clip settings with a sample’s analysis file is different from saving a Live Clip. as they save not only the original clip. For audio clips. Please see the section on merging Sets (page 71) for more on this topic. You can then type in a new name for the clip or confirm the one suggested by Live with [Enter]. pitch. envelope and effect settings. gain and pitch settings) so that it will play in a defined way when it is added to a Set.

5.1 Creating. Session View Drop Area for Importing Live Sets. Managing Files and Sets 71 5. In the browser. The tracks from the dropped Set will be completely reconstructed. which can come in handy when combining work from differ- ent versions or pieces. . The File menu’s Save Live Set command saves the current Live Set exactly as it is. Opening and Saving Sets Use the File menu’s New Live Set command to create new Live Sets.5. you can double-click or press [Enter] on a Live Set to open it. device presets. any samples used.“ Sets must be saved inside projects.5 Live Sets The type of document that you create and work on in Live is called a Live Set. 5. 5. including their clips in the Session and Arrangement View. and drop it onto any track title bar or into the drop area next to or below the tracks. so that Live can keep track of and manage all of the various components of the Live Set: Live Clips. You can use the Save Live Set As command to save the current Live Set under a different name and/or in a different directory location. and the Open Live Set or Open Recent Set command to open existing ones. etc. and their automation. their devices. including all clips and settings.2 Merging Sets Live makes it easy to merge Sets. or the Save a Copy command to create a copy of the current Live Set with a new name and/or new directory location. Think of this as a single “song. To add all tracks (except the return tracks) from one Live Set into another. drag the Set from the browser into the current Set.

you can further unfold the tracks within the Sets to access the indi- vidual Session View clips that were used on the track: . Any grooves (page 177) that were saved with your Set are also available as a folder within the unfolded Set. If you prefer to import individual tracks from a Set. Unfolding a Set to Reveal its Contents. you can unfold the Live Set in the browser just as if it were a folder. In addition to unfolding Sets. Managing Files and Sets 72 Arrangement View Drop Area for Importing Live Sets. You can now drag the individual tracks and drop them as described at the beginning of this section.

first click and drag. or use the [Shift] or [CTRL](PC) / [ALT](Mac) modi- fiers. simply drag and drop the clips into the Current Project or any user folder.4 Template Sets Use the File/Folder Preferences’ Save Current Set as Default button to save the current Live Set as the default template. preview and import Session View clips from the Set as if they had been stored as individual Live Clips. 5. . You can use this to pre-configure: •Your multichannel input/output setup. Live will use these settings as the initialized. where you can either confirm Live’s suggested name or type in one of your own. •Computer key mappings (page 525). 5. •Preset devices. to select more than one Session View clip. To export a Set. suggesting creative reuse and crossover.5.5. in every track. •MIDI mappings (page 515). This means that any Live Set can serve as a pool of sounds for any other. Managing Files and Sets 73 Revealing the Session View Clips Contained in a Set.3 Exporting Session Clips as New Sets You can export a selection of Session View clips as a new Live Set by dragging them to the browser. like EQs and Compressors. Then. default state for new Live Sets. You can browse.

Please note that re- placing a sample will change all clips in your set that reference this sample. This will restore the built-in factory template. For samples used in audio clips. Live retains the clip properties. choose the Manage Files command from the File menu. and then click the View Files button. In addition to this “master” default template. You can also temporarily load the built-in factory tem- plate by holding [Shift] while selecting New Live Set from the File menu. each with their own unique configuration of tracks. Multiple Template Sets in the User Library 5. but with the name Untitled. Live will display one line for each file used by the Live Set. press the Clear button in the File/Folder Preferences. create a folder called “Templates” within your User Library. etc.als. Managing Files and Sets 74 To delete your custom template Set. . Any Sets saved to this folder will then function as templates: they will load with the configuration you saved. Here is what you can do: •Replace a file — Dragging a file from the browser and dropping it on an entry in the list makes the Live Set reference the new file instead of the old one. To do this. you can create additional template Sets for differ- ent types of projects. To list all clips or instruments in the Live Set where the file is actually used. ready to be used as a new Set. the Warp Markers are kept if the new sample has the same or a greater length as the old sample and discarded otherwise. click the Manage Set button.5 Viewing and Changing a Live Set’s File References To view a list of the files referenced by the current Live Set. click the triangle to expand the line.5. devices.

•View a file’s location — The Location column states if a file is missing (page 80). or if it resides in your User Library. you can quickly browse through alternatives for the file that is currently being referenced. the entry shows the specific places in the Set where the file is used. The File Reference List’s Edit Switch. The File Reference List’s Hot-Swap Button. only quicker. For samples used in audio clips. Note that the Edit button is only available for samples. . When unfolded. the current set of Warp Markers is retained only if the sample length remains the same as before. •Hot-swap files — Using the Hot-Swap button at the left-hand side of each entry. a Project or somewhere else (“external“). not for other types of files such as Max for Live devices (page 509). Clicking the Edit button will open the referenced sample in the external application. •Edit a referenced sample — using an external application (which can be chosen in the Preferences’ File/Folder tab). The sample will remain offline as long as the Edit switch is en- gaged. This is like dragging files here. Managing Files and Sets 75 Every Entry in the File Reference List is a Drop Target for Files.

Managing Files and Sets 76 The File Reference List’s Location Column. 5.6 Live Projects A Live Project is a folder containing Live-related files that belong together. Live will create a new project folder and store the Live Set there — unless you are saving the Live Set into an existing Live Project. you record audio and there- by create new sample files. you save different versions of the Live Set along the way so that you can go back and compare. The project folder for this Live Project will maintain all the files related to this piece of music — and Live’s File Manager will provide the tools you need to manage them (page 79).6. Perhaps you also save Live Clips or device presets that “belong“ to this particular musical piece. work on a piece of music: You start out with an empty Live Set. The Desktop is available in the browser because we have previously added it as a user folder. 5. for exam- ple. Let’s look at an example to illustrate this process: We have recorded some audio into a new Live Set.1 Projects and Live Sets When you save a Live Set under a new name or in a new folder location. Here is the result as displayed by the Live browser: . We now save the Live Set under the name “Tango“ on the Desktop. Consider. you drag in samples from collections.

we store the new version of the song in the Tango Project folder. Note that the current Project is also indicated in the title bar of Live’s application window. A Second Version of the Live Set Has Been Added to the Project.als“) and a Samples folder. Managing Files and Sets 77 A Live Set and its Recordings in a Live Project Folder. And now for something completely different: We choose the File menu’s New Live Set command and record a samba tune. We save the modified version of the Live Set un- der a new name so that we do not lose the previous version. we record another track into our Project. which in turn contains a Recorded folder with two samples in it. and its Samples/Recorded folder contains the samples used by both of them. As this has nothing to do with our tango dabblings. The Tango Project now contains two Live Sets. Next. The project folder (“Tango Project“) contains the Live Set (“Tango. we decide to save . Accepting the Save As command’s default suggestion.

“ under a new name and in some location outside the current Project. and we feel that it should live in a Project of its own. . So. Live creates a new project folder named Samba Project next to Tango Project. Managing Files and Sets 78 it outside the Tango Project folder. A New Project Was Added Next to Tango Project.“ we get sidetracked: The piece evolves towards something entirely different.. How do we open a Project? Simply by opening any of its contained Live Sets..als“ opens that Set and the associated Project — as displayed in Live’s title bar. we “Save As.als. So far we have seen how to create Live Projects and save versions of Live Sets into them. in the course of our work on “Tango with Piano. say the Desktop: A New Project Was Added by Saving a Live Set Outside its Original Project. Double-clicking “Tango with Piano. Let’s suppose that. say on the Desktop.

new instrument and effect presets are stored in your current Project. which have the potential of confusing both the user and Live’s file management tools.als“ will be miss- ing samples. Within a project folder..“. When saving presets that contain samples to a new location. At times how- ever.3 Managing Files in a Project Live’s File Manager offers several convenient tools for managing Projects. you will be requested to “Save As.2 Projects and Presets By default. A note for users of older Live versions: Live does not allow overwriting Live Sets that were cre- ated by older major versions to prevent compatibility problems. Once you’ve opened a Live Set that is part of the Project you wish to manage. Doing this will insure that the newly saved Live Sets reside in project folders. Live’s tools for searching missing files (page 80) can help solve this problem. 5. or simply drag the title bar of the device over a folder in the sidebar. control situations in which Sets or files are moved out of order and become disorga- nized via the Explorer (Windows)/Finder (Mac). it may make more sense to save a preset to another folder or to your User Library. You can then type in a new name for the device or confirm the one suggested by Live with [Enter]. adding it to the folder. Managing Files and Sets 79 Note that the new project folder has no Samples folder (yet). then “Tango with Piano.6. Even after the fact.. The File Manager will present you with an overview of the Project’s contents and tools for: . choose the Manage Files command from the File menu.6. you can create any number of sub-folders and move files around to or- ganize them as desired. “Electro with Piano. Live will do what it can to prevent situations such as orphaned (Project-less) Live Sets. In general.als“ is still refer- encing the piano sample from the original Tango Project. It cannot. 5. wait for the content pane to open. Instead. Live may copy the samples de- pending on the settings in the Collect Files on Export chooser in the Library Preferences. and then click the Manage Project button. so that you can access them from other Projects. You can prevent this by collecting external files (page 82). however. and then drop it into the content pane. There is actually no need to keep a Project’s Live Set exactly one level below the Project itself. although you many need to use the File Manager to “teach“ the Project about the changes you’ve made (page 86). You can drag a preset between folders after saving it (page 245). There is nothing wrong with this except for when the Tango Project is moved away or deleted.

and then clicking the Locate button found in the Missing Files section. The File Manager’s List of Missing Files. . drag it over to the File Manager and drop it on the respective line in the list of missing files. (This is actually a shortcut for choosing the Manage Files command from the File menu. Live’s Status Bar (located at the bottom of the main screen) will display a warning message. Clips and instrument sample slots that reference missing samples will appear marked “Offline.7 Locating Missing Files If you load a Live Set. locate the missing file in the browser. Managing Files and Sets 80 •locating files that the Project is missing.1 Manual Repair To manually fix a broken file reference. 5. 5. Live Clip or preset that references files which are missing from their ref- erenced locations.7. Live’s File Manager offers tools for repairing these missing links. Note that Live will not care if the file you offer is really the file that was missing.“ and Live will play silence instead of the missing samples. •collecting external files into the Project (page 82). •listing unused files in the Project (page 84).) The File Manager will present you with a list of the missing files and associated controls. Click on the Status Bar message to access these. clicking the Manage Set button. •packing a Project in Pack format (page 85).

or locate the sample manually. To select the folder. Let’s consider the following cases: •No candidate found — you can choose another folder and try again. the automatic search function may find any number of candidates. •Search Project — includes this Set’s project folder in the search. •One candidate found — Live accepts the candidate and considers the problem solved. To send Live on a search. To reveal detailed options for guiding the automatic search function.. the leftmost item in every line of the list of missing files) to have the browser present the candidates in Hot-Swap Mode. You can now double-click the candidates in the browser .7. click the associated Set Folder button. For each missing file.2 Automatic Repair Live offers a convenient automatic search function for repairing file references. •Search Library — includes the Live Library in the search. •Several candidates found — Live requires your assistance: Click the Hot-Swap button (i. Automatic Repair Options in the File Manager. Managing Files and Sets 81 5. click the Automatic Search section’s Go button. as well as any sub-folders. click the neighboring triangular-shaped button. •Search Folder — includes a user-defined folder.e. in the search.

Live provides the option of collect- ing (i. Managing Files and Sets 82 to load them. as the music plays if you like. This is accomplished via the File Manager: •Choose the Manage Files command from the File menu •Click the Manage Set button •Unfold the triangular-shaped fold button in the External Files section. copying) them into the Set’s project folder. 5. Options for Collecting External Files..8 Collecting External Files To prevent a Live Set from containing broken file references. .e.

especially if your Live Set uses large multisam- ple collections! 5. Note that this can cause a lot of copying. Live man- ages the copying of associated files based on the selection made in the Collect Files on Export chooser in the Library Preferences. Live provides a dialog box with options for copying files. Note: Make sure to confirm your choices by clicking the File Manager’s Collect and Save but- ton! The File Manager’s Collect and Save Button. . Managing Files and Sets 83 Separated by location (other Projects. for example). the default setting. •A Show button that will list the files in the browser. or track without notification. the User Library. •A Yes/No toggle for engaging or disengaging collection.8. the File Manager provides: •A file count and the associated disk space used. device presets or tracks by dragging them into the Browser. This chooser provides the following options: •Always. •When Ask is selected. preset. installed by factory Packs. The File menu’s Collect All and Save command is a shortcut that collects and saves all external files referenced by the current Set.1 Collect Files on Export When you save Live Clips. and else- where — sample collections from external drives. will copy files into the same folder as the clip. including those from Live’s Core Library or other installed Packs. •Never means that files will not be copied when saving.

•Any Live Project — [right-click](PC) / [CTRL-click](Mac) on a Project in the browser’s con- tent pane. If not. Live Presets — [right-click](PC) / [CTRL-click](Mac) on the respective items in the browser. Live will inspect each file in a Project folder. you might prefer put- ting aside some dedicated housekeeping time to solve all the problems in one go. Managing Files and Sets 84 5. To find the unused files for the currently open Project. Otherwise your changes will be discarded. •All Projects found in a specific folder (and its sub-folders) — [right-click](PC) / [CTRL-click] (Mac) on a folder in the browser. Remember to click the Collect and Save button at the bottom of the File Manager when you are finished.9 Aggregated Locating and Collecting Instead of having to deal with problems while you are in a creative mode. Live Clips. and then click on the triangular-shaped fold but- ton next to “Unused Files“ to access a summary and the Show button. checking if it is referenced by any of the Live Sets. and choose the Manage Files command. Live Clips or device presets in the Project. 5. You can then review them and decide to delete them individually or collectively. and choose the Manage Project option. choose the Manage Files command from the File menu. the file is regarded as unused — even if other Projects or programs still use it. Clicking the Show button . you can find missing files and collect external files not only for the current Live Set but also for: •The User Library — choose the Manage Files command from the File menu. When searching for “unused“ files.10 Finding Unused Files Live’s File Manager can find the unused files in a Project for you. •Any selection of Live Sets. click the Manage Project button. and choose the Manage Projects command. •The current Live Project — choose the Manage Files command from the File menu. then click the Manage User Library button. Using Live’s File Manager. then click the Manage Project button.

To prevent losses. Managing Files and Sets 85 makes the browser list the unused files. Creating a new Pack from a Project does not affect the Project.alp). Live inspects each Project indi- vidually and labels a file unused even if another Projects in the same folder does use that file. you can preview samples (page 57) and delete them if you like.. this saves up to 50 percent in file size. Note you can also find the unused files from the Library: choose the Manage Files command from the File menu. 5. Live will then install the Pack to its default location and it will appear in the Packs label in the browser. 5. Depending on the audio materials in a Project. you can delete it using the browser.“ Click the Create Pack button to bring up a file-select dialog where you can specify the name and location of a new Pack file. to restore the original Live Project). . click the Manage Project button.12 File Management FAQs 5. then see the Unused Files section. Last but not least. If you want the Project deleted. or locate it via the File menu’s Install Pack command. you may want to first collect the files into their respective Projects and then purge the Projects of unused files.e. there. and then see the Unused Files section. except when you save it into a preexisting Project. then click the Manage Library button. and then click on the triangular-shaped fold button next to “Pack- ing.12. To unpack a Pack (i. double-click the Pack file (.11 Packing Projects into Packs Live’s File Manager provides the option of packing a Live Project in Pack format for convenient archiving and transfer. drag it into the Live main window. you can find the unused files for all Projects found in a specific folder (and its sub-folders): [right-click](PC) / [CTRL-click](Mac) on a folder in the browser and choose the Manage Projects command.1 How Do I Create a Project? A Project is automatically created whenever you save a Live Set. To do this. choose the Manage Files command from the File menu. Live employs lossless compression techniques to minimize the file size of Packs.

5. the Missing Samples section of the File Manager will indicate this.2 How Can I Save Presets Into My Current Project? You can save presets directly to the current project by dragging from the device’s title bar and dropping into the Current Project label in the browser. etc. but you’ll need to use the File Manager to relink the files that you’ve moved around: 1.12. collect any referenced samples. Navigate to the Project folder in the Browser and choose Manage Project via the [right- click](PC) / [CTRL-click](Mac) context menu.12.12. save them into the same Project. If a Project contains multiple Live Sets it will only collect one copy of any samples used by the vari- ous versions. which can save disk space and help with organization. You can then use the File Management tools. and should be reserved for special cases. 4. Managing Files and Sets 86 5. Since you know that your samples are all in the Project folder. 2. In Live’s Browser or via your operating system. 5. reorganize the files and folders within your Project folder.3 Can I Work On Multiple Versions of a Set? If you’d like to work on different versions of the same Live Set. but saving to pre-existing Project folders can cause problems. If you’ve changed the original location of any samples used in the Project. This will usually be the Project that was created when you saved the first version of the Live Set. 3. an alternate version of a song that’s already in the Project. 5. Click the Locate button to search for the samples.5 Can I Use My Own Folder Structure Within a Project Folder? You can organize your files any way you want within a Project.4 Where Should I Save My Live Sets? You can save Live Sets anywhere you want. . You should only save a Live Set to an exist- ing Project if it is somehow related to the Project — for example. unfold Automatic Search.12.

click Collect and Save at the bottom of the File Manager to update the Project. 5. Finally. When searching is complete. . click Go to initi- ate the search. Managing Files and Sets 87 Then enable the Search Project and Fully Rescan Folders options.

Managing Files and Sets 88 .

sound effects. loops. which contains music laid out along a song timeline. The Arrangement View is a powerful editing tool that easily lets you combine and arrange MIDI. 6. like a multitrack tape.1 Navigation Live offers several fast methods for zooming and scrolling the Arrangement display: . A Piece of Music in the Arrangement View. video and complete pieces of music. Arrangement View 89 Chapter 6 Arrangement View The Arrangement View displays the Arrangement.

To “pan“ the display. drag the outline’s left and right edges. double-clicking the beat-time ruler zooms out to show the entire Ar- rangement. turn on the Follow switch. click and drag vertically in the beat-time ruler at the top of the Arrangement View (you can also drag horizontally to scroll the display). click and drag while holding the [CTRL][ALT](PC) / [CMD][ALT] (Mac) modifier. The Arrangement Overview is like a “bird’s-eye view“ of your music. To change the displayed part of the Arrangement. drag up and down. 5. Note that you can also drag horizontally to scroll the display. to zoom out and in. To smoothly change the zoom level. It always shows the complete piece. you can zoom and scroll to focus around any part of the Arrangement with just one mouse motion. use the computer keyboard’s + and - keys. 1. 6. Arrangement View 90 6 1 2 3 4 5 Navigating the Arrangement View. Double-clicking in the beat-time ruler also zooms to the current selection. To zoom in and out around the current selection. 4. If nothing is selected. 2. . To scroll the display. from start to end. or use the Follow command from the Options menu. click within the outline and drag left or right. 3. The black rectangular outline represents the part of the Arrangement that is currently displayed in the Arrangement display below. To see a specific part of the Arrangement in more detail. click on it in the Overview and drag downwards to zoom in around that part. Using this method. To have the Arrangement display follow the song position and scroll automatically.

With small quantization settings.1. a portion of the Arrangement the size of the chosen quan- tization setting will be repeatedly played. 3. rather than from the insert marker. and stop playback by clicking the Stop button. To continue playback from the position where it last stopped.“ this allows you to scrub through the music. 2. When Permanent Scrub Areas is enabled in Live’s Look/Feel Preferences. Arrangement playback can also be toggled on and off by pressing the keyboard’s space bar.1 by double-clicking the Stop button or by pressing the Home key (PC) / Function + left arrow key (Mac). clicking in the scrub area above the tracks will make playback jump to that point. When the Permanent Scrub Areas preference is off. or a setting of “None. You can start Arrangement playback by clicking the Control Bar’s Play button. Arrangement View 91 6. The size of these jumps is quantized according to the Control Bar’s Quantization menu setting. While the mouse is held down over the scrub area.2 Transport There are a number of ways to control Live’s transport with the computer keyboard and mouse: 1. you can still scrub by [Shift]-clicking . You can return the Arrangement play position to 1. hold down the [Shift] modifier while pressing the space bar. You can set the Arrangement playback position by clicking anywhere along the Arrange- ment to place the flashing insert marker. The Play and Stop Buttons in the Control Bar. Arrangement Playback Begins from the Insert Marker.

Setting the Play Position in the Arrangement Position Fields. Several Arrangement playback positions can be set using launchable locators (page 93). 5. •Click and decrement or increment the value with the up and down arrow keys . . then hit [Enter]. Scrubbing Arrangement Playback. Arrangement View 92 anywhere in the scrub area or in the beat time ruler. •Click and type a number. Arrangement playback can be started at a particular point in one of your clips using the scrub area in the Clip View (page 117). The Arrangement Position fields show the song position in bars-beats-sixteenths. as described in the respective chapter (page 515). To change the values: •Click and drag up or down in any of these fields. Note that any computer keyboard key or MIDI message can be mapped to the transport con- trols. 4. 6. The song position can be adjusted numerically using the Control Bar’s Arrangement Posi- tion fields.

Double-clicking a locator will select it and start Arrangement playback from that point. or with the arrow keys on your computer key- board. Clicking the Set Locator button when the Arrangement is not playing will create a locator at the insert marker or selection start. or with the Previous and Next Locator buttons on either side of the Set button. Arrangement View 93 6. After jumping to the first or last locator in the Arrangement. Locators can also be recalled using MIDI/key mapping (page 515). Locators can be set at any point in the Arrangement. Note that locator recall is subject to quantization. This can be done in real time during play- back or recording with the Set Locator button. .3 Launching the Arrangement with Locators Using Locators to Launch Play in the Arrangement. You can also create a locator using the context menu in the scrub area above the tracks or via the Create menu. Locators can be moved by clicking and dragging. You can recall (jump to) locators by clicking on them. respectively. the Previous and Next Locator but- tons will jump to the Arrangement start or end. and will be quantized according to the global quantization value set in the Control Bar. Note that the position of a new locator is quantized according to the Control Bar’s Quantization menu setting. The Locator Controls.

You can also enter your own info text (page 25) for a locator via the Edit Info Text command in the Edit menu or in the locator’s [right-click](PC) / [CTRL-click](Mac) context menu. They can be also be deleted using the [Backspace] or [Delete] key. or via delete commands in the Edit and Create menus. Live’s time signature can be changed at any point in the Arrangement by using time signature markers. but this marker area is hidden if a Set contains no meter changes. Locators can be removed with your com- puter’s [Backspace] or [Delete] key . freeing up additional space at the top of the Arrangement. play starts at the locator. The time signature marker [right-click](PC) / [CTRL-click](Mac) context menu offers a number of features. In many ways. time signature markers look and function like locators. select it by clicking its triangular marker. they can be moved with the mouse or with your computer keyboard’s arrow keys. These can be added at the insert marker position via the Create menu. or anywhere below the beat-time ruler using the [right-click](PC) / [CTRL-click](Mac) context menu. the Create menu. or the Delete Locator button. and choose the Rename Edit menu command (or use the [CTRL][R](PC) / [CMD][R](Mac) shortcut). Arrangement View 94 To name a locator.4 Time Signature Changes Time Signature Changes. including a Delete All Time Signature Changes command and options to loop or select the area up to the next time signature marker. . and their value can be changed using the Edit menu’s Edit Value command (or with the [CTRL][R](PC) / [CMD][R](Mac) shortcut). The locator [right-click](PC) / [CTRL-click](Mac) context menu’s Set Song Start Time Here com- mand can be used to overrule the default “play starts at selection“ rule: when this command is checked. 6. Time signature markers appear just below the beat time ruler. Note that the locator [right-click](PC) / [CTRL-click](Mac) context menu offers a quick way of looping playback (page 96) between two locators with its Loop To Next Locator command.

A Fragmentary Bar and its Resolution Options. This creates a fragmentary bar. Delete Fragmentary Bar Time deletes the duration of the fragmentary bar from the Arrangement. and works either with the transport stopped or during playback. The next time signature marker will now fall on a “legal“ barline. thereby moving any audio or MIDI on either side of the deleted area closer together in the time- line. . period. which is represented in the scrub area by a cross- hatched region. The Time Signature Editor Can Change Time Signature Marker Values. but if you’d like your Set to conform to the rules of music theory. 8 or 16 can be used as a time signature marker value. comma. 2. This means that it is pos- sible to place meter changes in “impossible“ places — such as before the end of the previous measure. These marker values can also be set by adjusting the time signature fields in the Control Bar. When the Arrangement contains time signature changes. 4. either by typing in values or dragging the numerator and denominator sliders. This will change the time signature marker value at the current play location. and their positioning is only constrained by the editing grid (page 102). and Shows an Automation LED.or two-digit numerator and a denominator of 1. the time signature editor displays an automation LED in the upper left corner. they may be placed anywhere in the timeline. you can use the two [right-click](PC) / [CTRL- click](Mac) context menu options to “correct“ incomplete bars. or any number of spaces. Live is happy to leave these incomplete measures as they are. Time signature markers are not quantized. The next time signature marker will now fall on a “legal“ barline. The numbers must be separated by a delimiter such as a slash. Arrangement View 95 Any time signature with a one. Complete Fragmentary Bar inserts time at the beginning of the fragmentary bar. so that it be- comes complete. Please note that these resolution options affect all tracks — deleting and inserting time changes the length of the entire Arrangement.

For Live to repeatedly play a section of the Arrangement. activate the Arrangement loop by clicking on the Control Bar’s Loop switch.5 The Arrangement Loop The Control Bar’s Loop Switch. while the right-hand set determines loop length. The Edit menu’s Loop Selection command accomplishes all of the above at once: It turns the Ar- rangement loop on and sets the Arrangement loop brace to whatever timespan is selected in the Arrangement. The Loop Start Fields (Left) and the Loop Length Fields (Right). This makes it very easy to work with complex music created in other sequencer or notation software. you’ll be given an option to import any time signature information that was saved with the file. 6. You can set loop length numerically using the Control Bar fields: The left-hand set of fields deter- mines the loop start position. If you choose to do this. . Live will au- tomatically create time signature markers in the correct places. Arrangement View 96 If you import a MIDI file (page 69) into the Arrangement. The Arrangement’s Loop Brace.

6. You can also drag the Arrangement’s loop brace: Dragging the left and right ends sets the loop start and end points. Arrangement View 97 The loop brace can be selected with the mouse and manipulated with commands from the com- puter keyboard: • the right and left arrow keys nudge the loop brace to the left/right by the current grid set- ting (page 102). Moving a Clip. dragging between the ends moves the loop without changing its length.6 Moving and Resizing Clips A piece of audio or MIDI is represented in the Arrangement View by a clip sitting at some song position in one of Live’s tracks. The loop’s [right-click](PC) / [CTRL-click](Mac) context menu’s Set Song Start Time Here com- mand can be used to overrule the default “play starts at selection“ rule: when this command is checked. Dragging a clip moves it to another song position or track. play starts at the loop start. •The [CTRL](PC) / [CMD](Mac) modifier with the arrow up and down keys doubles or halves the loop length. • the up and down arrow keys shift the loop brace left/right in steps the size of its length. . •The [CTRL](PC) / [CMD](Mac) modifier used with the arrow left and right keys shortens or lengthens the loop by the current grid setting.

locators and time signature changes. as well as various objects in the Arrangement including the edges of other clips. 2. Select “Fades“ in the Fades/Device chooser.7 Audio Clip Fades and Crossfades The beginning and end of audio clips in the Arrangement View have adjustable volume fades. To access the fades for an audio track’s clips: 1. . Click and drag the fade handle to change the length of the fade. 3. 6. Click and drag the slope handle to change the shape of the fade’s curve. Arrangement View 98 Changing a Clip’s Length. 4. “Unfold“ the track by clicking the button next to the track name. Additionally. Clips snap to the editing grid. adjacent clips on the same audio track can be crossfaded. Dragging a clip’s left or right edge changes the clip’s length.

In this case. pressing . You can also set the length of a fade by selecting a range of time within the clip (page 100) that includes the clip’s beginning or end and executing the Create Fade command in the clip’s [right-click](PC) / [CTRL-click](Mac) context menu. Creating and editing crossfades is similar to creating and editing start and end fades: •click and drag a fade handle over the opposite clip’s edge to create a crossfade •click and drag the slope handle to adjust the shape of the crossfade’s curve •select a range of time that includes the boundary between the adjacent clips and execute the Create Crossfade command from the [right-click](PC) / [CTRL-click](Mac) context menu. unless the Create Fades on Clip Edges option is enabled in the Record/Warp/Launch Preferences. Selecting a fade handle and pressing the [Delete] key deletes the fade. Arrangement View 99 3 1 2 4 Fades in the Arrangement View. Crossfaded Clips. Adjacent audio clips can be crossfaded.

6. Another result of enabling the Create Fades on Clip Edges option is that adjacent audio clips will get automatic 4 ms crossfades. This is especially helpful when editing crossfades. a dotted red line will appear on the relevant clip to indicate the limit for that fade handle. Arrangement editing in Live is selection-based: You select something using the mouse.. When a fade handle is selected. There are some limits to the length of fades and crossfades: •Fades cannot cross a clip’s loop boundaries. Cut. With this option enabled.8 Selecting Clips and Time With the exception of moving and resizing clips. and are inde- pendent of automation envelopes (page 281). This editing method lends itself to an efficient division of labor be- tween the two hands: One hand operates the mouse or trackpad. new clips in the Arrangement View will have these short “declicking“ fades by default. Here is how selection works: . because one clip’s loop boundary may be “hidden“ under the other clip. The menu eventually is only used as a reference for looking up the keyboard shortcuts. Automatically Create Short Fades At Clip Edges. Note that fades are a property of clips rather than the tracks that contain them. Paste. These can then be edited just like manually-created crossfades. while the other hand issues the keyboard shortcuts for the menu commands.g. then execute a menu command (e. •A clip’s start and end fades cannot overlap each other. Duplicate) on the selection. Copy. Arrangement View 100 [Delete] returns the fade handle to a default length of 4 ms.

•Holding [Shift] while clicking extends an existing selection in the same track or across tracks. Clicking and dragging in the waveform display below the clip’s horizontal strip allows you to select time within the clip. Adjusting an Unfolded Track’s Height. “unfold“ its track by clicking the button next to the track name. which selects all material included within the loop. Arrangement View 101 •Clicking a clip selects the clip. or between tracks via the up and down arrow keys. •To access the time within a clip for editing. represented by a flash- ing insert marker. Note that you can actually unfold all of your tracks at once by holding down the [ALT](PC) / [ALT](Mac) modifier when clicking the button. Holding [CTRL](PC) / [ALT](Mac) while pressing the left and right arrow keys snaps the insert marker to locators and the edges of clips in the selected track or tracks. . •Clicking on the loop brace is a shortcut for executing the Edit menu’s Select Loop com- mand. •Clicking into the Arrangement background selects a point in time. You can also hold [Shift] and use the arrow keys to manipulate the selection. •Clicking and dragging selects a timespan. The insert marker can then be moved in time with the left and right arrow keys. Notice that you can adjust the height of the unfolded track by dragging the split line below the Unfold Track button.

•Use [CTRL][4](PC) / [CMD][4](Mac) to turn grid snapping on or off. The grid can be set to be either zoom-adaptive or fixed. doubling the density of the grid lines (e. the cursor does not snap to meter subdivisions. the cursor will snap to grid lines that represent the meter subdivisions of the song tempo. change the grid from eighth notes to eighth note triplets.. for instance. Arrangement View 102 Clicking the Loop Brace to Select the Loop for Editing. halving the density of the grid lines (e.9 Using the Editing Grid To ease editing. from eighth notes to sixteenth notes). from eighth notes to quarter notes).g. 6. You can set the width of both zoom-adaptive and fixed grid lines using the [right-click](PC) / [CTRL-click](Mac) context menu available in either the Arrangement View track area or the Clip View display. . The following shortcuts to Options menu commands allow quickly working with the grid: •Use [CTRL][1](PC) / [CMD][1](Mac) to narrow the grid. •Use [CTRL][5](PC) / [CMD][5](Mac) to toggle fixed and adaptive grid modes. When the grid is off.g.. •Use [CTRL][2](PC) / [CMD][2](Mac) to widen the grid. •Use [CTRL][3](PC) / [CMD][3](Mac) to toggle triplets mode. this would.

. Then Executing the Cut Time Command. this modifier will temporarily enable it. Time“ counterparts act upon all tracks by inserting and deleting time. If the grid is already disabled.. not only the selected ones. Arrangement View 103 The current spacing between adjacent grid lines is displayed in the lower right corner of the Ar- rangement View or Clip View. Note that the Cut Time command affects all tracks. This command reduces the length of your Arrangement by the amount of time you have deleted. You can hold down the [ALT](PC) / [CMD](Mac) modifier while performing an action to bypass grid snapping. Any time signature markers within the selected region will also be affected. A Gap Between Clips Has Been Cut by First Selecting It. Copy and Paste only affect the current selection. •Delete Time deletes a selection of time from the Arrangement.Time Commands Whereas the standard commands like Cut.10 Using the . •Paste Time places copied time into the Arrangement. not only the selected ones. thereby increasing its overall duration by the length of time you have copied.. their “. thereby moving any audio or MIDI on either side of the cut area closer together in the timeline. . thereby in- creasing its overall duration by the length of the selection. •Cut Time cuts a selection of time from the Arrangement. This command reduces the length of your Arrangement by whatever amount of time you have cut. thereby moving any audio or MIDI on either side of the deleted area closer together in the timeline. •Duplicate Time places a copy of the selected timespan into the Arrangement.. Note that the Delete Time command affects all tracks. 6.

Execute the Split command to divide the original clip into three pieces. In the waveform or MIDI display. To isolate a part of a clip. Execute the Split command. drag a selection over the part of the clip you want to isolate. 2. 3. Arrangement View 104 •Insert Silence inserts as much empty time as is currently selected into the Arrangement. Unfold the track. do the following: 1. This is very useful for creating structure. 2. In the waveform or MIDI display. do the following: 1. click at the position where you want the clip to be split. . 6. The Result of Splitting a Clip. To split a clip in two halves.12 Consolidating Clips The Consolidate command replaces the material in the Arrangement View selection with one new clip per track. 6. before the selection. Unfold the track. 3.11 Splitting Clips The Split command can divide a clip or isolate part of it.

prior to processing in the track’s effects chain and mixer. they remain at the location specified by the Temporary Folder (page 236). Selecting that part of the Arrangement. To create a new sam- ple from the post-effects signal. . When operating on audio clips. Consolidate actually creates a new sample for every track in the selection. however. by editing or improvising. drag the clip edges to create more repetitions. The new samples can be found in the current Set’s Project folder. You can now. under Samples/Processed/ Consolidate. You might also want to drag the new loop via the Session View selector into a Ses- sion View slot for real-time arrangement purposes. Until the Set is saved. time-warping and pitch shifting. the new sample incor- porates the effects of in-clip attenuation. Hence. and then executing the Consolidate command creates a new clip that can be treated as a loop. it does not incorporate the effects. and of the respective clip envelopes (page 291). come up with a layout of clips that sound good in Arrangement Loop mode. Arrangement View 105 Consolidating Several Clips Into a New Clip. please use the Export Audio/Video command (page 63). for instance. The new samples are essentially recordings of the time-warping engine’s audio output. Suppose you have. for instance by using the Edit menu’s Select Loop command.

Arrangement View 106 .

7. •In the theatre. . the length of each piece and the order of parts within each piece is generally not known in advance. This is exactly what Live’s unique Session View is for.1 Session View Clips The Controls for a Session View Clip. sound has to react to what happens on stage. it can be more efficient and inspirational to start with an improvisation. For a number of applications. as in all traditional sequencing programs. •When working along with a piece of music or a film score. Session View 107 Chapter 7 Session View In Live’s Arrangement View (page 89). which is later refined into the final product. the order of pieces. everything happens along a fixed song timeline. this is a limiting paradigm: •When playing live. or when DJing.

Session View 108 1. Click the button with the mouse to “launch“ clip playback at any time. The color of the shading is the color of the left- most clip in the group. They can even be mapped to MIDI note ranges so that they play chromatically. These fields keep a continuous flow of musical time going. The layout of clips does not predetermine their order. Group slots which have no corresponding clips contain stop buttons. or pre-select a clip by clicking on its name. These group slots also contain launch buttons which will launch all of the respective clips. Notice that. Each clip in the Session View has a triangular button at the left edge. Click on a square Clip Stop button to stop a running clip. The Arrangement Position Fields and the Stop Button. regard- less of what your individual Session clips are doing. or in the Track Status field below the Session grid. . Please refer the manual section on clip launch settings (page 183) for details on how to customize this behavior. You can then move on to the neigh- boring clips using the arrow keys. and launch it using the computer’s [Enter] key. the Session grid offers random access to the clips it contains. Slots in Group Tracks (page 218) show a shaded area to indicate that at least one of the contained tracks contains a clip in that scene. Clicking in any group slot selects all of the clips it refers to. 2. You can always return the Arrangement Position fields to 1.1. Clips can be controlled remotely with the computer keyboard or a MIDI controller (page 515). so that you can always know your position in song time during a live performance or while recording into the Arrangement (page 114). and the Arrangement Position fields will continue running.1 and stop playback for the entire Live Set by pressing the Control Bar’s Stop button twice. Clips can be played at any time and in any order. even if you stop playback for a Session View clip. either in one of the track’s slots. the Play button in the Control Bar will remain highlighted.

. or track. variations of a drum loop. etc. Tracks can be narrowed this way so that only Clip Launch buttons and essential track controls are visible. A Scene in the Session View. you can resize Session View tracks by clicking and dragging at the edges of their title bars. Session View 109 Group Slots and Group Launch Buttons. It therefore makes sense to put a set of clips that are supposed to be played alternatively in the same columns: parts of a song. For convenient access to more clips at once. can play only one clip at a time.2 Tracks and Scenes Each vertical column. 7. Resized Session View Tracks.

If you drag a selection of nonadjacent scenes. . and can appear in any position as long as they are separated from each other by at least one character. respectively. Computer keys or a MIDI controller can be used to launch scenes and scroll between them (page 523). The Scene Launch buttons are located in the rightmost column. 2. 8 or 16. The context menu also contains a color palette where you can choose a custom scene color. One can quickly rename several scenes by executing the Re- name command and using the computer’s [Tab] key to move from one scene to the next. they will be collapsed together when dropped. 4. rename the scene with a meter in the form of “x/y“ (e. To assign a tempo to a scene.7/8“ and “60 BPM Chorus 3/4“ are all scene names that will cause simultaneous meter and tempo changes. which represents the Master track (page 220).. “4/4“). if Live detects a viable tempo and/or time signature as part of a scene name. To launch every clip in a row simulta- neously. provided it has a numerator between 1 and 99 and a denominator with a beat value of 1.. Multiple adjacent or nonadjacent scenes can be selected at once by [Shift]-clicking or [CTRL]-clicking.“ This allows you to trigger scenes from top to bottom without having to select them first. You can also enter your own info text for a scene via the Edit Info Text command in the Edit menu or in the scene’s [right-click](PC) / [CTRL-click](Mac) context menu.g. “2/4+108 BPM“. use [CTRL] + the up or down arrow keys instead of the mouse. select the scene and rename it with a viable tempo (e. Scene names can be both descriptive and functional. Session View 110 The horizontal rows are called scenes. Any tempo can be used. click on the associated Scene Launch button. the project will automatically adjust to these parameters when the scene is launched. Any time signature can be used.g. Scenes can be renamed using the Rename command in the Edit menu or the [right-click](PC) / [CTRL-click](Mac) context menu. To assign a time signature to a scene. To move nonadjacent scenes without collapsing. as long as it is within the range allowed by Live’s Tempo control (20-999 BPM). This can be very useful in organizing the live performance of a song with multiple parts. For example. Scenes can be reordered by drag-and-drop. The scene below a launched scene will automatically be selected as the next to be launched un- less the Select Next Scene on Launch option in the Launch Preferences is set to “Off. Tempo and time signature changes can coexist within a single scene name. “72 BPM. “96 BPM“).

Session View 111 These Scenes Will Change the Tempo and Time Signature. The progress-bar icon represents a one-shot (non-looping) Session clip. .. Scenes with tempo and/or time signature changes in their names will have a colored Scene Launch button.. The number to the right of the circle is the loop length in beats... A pie-chart without numbers appears in the Track Status field for a Group Track if at least one clip in a contained track is currently playing. . 7.. The pie-chart icon in a clip track represents a looping Session clip (page 124). A One-shot Session Clip. and the number at the left represents how many times the loop has been played since its launch. The value displays the remaining play time in minutes:seconds.3 The Track Status Fields You can tell a track’s status by looking at the Track Status field just above the active track’s mixer controls: A Track Playing a Looping Session Clip..

If you are dragging multiple clips into your Set. If the track is playing clips from the Arrangement. Session View 112 . Monitoring the Input..... A key- board icon appears in a MIDI track under these same circumstances. vertically in the Session View or horizontally in the Arrangement View. 7. Dropping Multiple Clips Into the Session View. Hold down [CTRL](PC) / [CMD](Mac) prior to dropping them so as to lay the clips out in multiple tracks instead. . Playing the Arrangement. Note: this . A microphone icon appears in an audio track that is set to monitor its input (page 194)..4 Setting Up the Session View Grid Clips arrive in the Session View by being imported from the browser or through recording (page 227). a miniature display representing the Arrange- ment clips being played appears. Live defaults to arranging them in one track..

paste and duplicate. Clips can be moved around the Session grid by drag-and-drop. 7. some power-users don’t want the current focus (e. you don’t want scene 3 to affect track 4. clicking a Session View clip’s Launch button also selects the clip.4. 7. since you will typi- cally want the Clip View to show the newly launched clip. 7. a return track’s devices) to disappear just because a clip has been launched. This is useful for pre-configuring the scene launch behavior: If. However. You can also click into an empty slot and “rubber-band“ select from there. especially when starting a clip in order to try it with the return track device settings. To move several clips at once..2 Removing Clip Stop Buttons Slots Without Clip Stop Buttons. Turn off the Select on Launch option from the Launch Preferences if you prefer the view to remain as is when you launch clips or scenes. for in- stance. You can add and remove Clip Stop buttons from the grid using the Edit menu’s Add/Remove Stop Button command.1 Select on Launch By default.4. remove the scene 3/track 4 Stop button. Session View 113 works for raw audio or MIDI files but not for Live Clips (page 69) (because they can contain their own embedded devices).g. select them by using the [Shift] or [CTRL](PC) / [CMD](Mac) modifier before dragging. copy.4. there are two useful commands in the Create menu that apply specifically to scenes: .3 Editing Scenes In addition to the standard Edit menu commands such as cut.

) 7. Live logs all of your actions into the Arrangement: •the clips launched. or stop playback. The Arrangement Selector. This command is very helpful when developing materials in the Session View. •changes of the mixer and the devices’ controls. When the Arrangement Record button is on. also known as automation (page 281). •changes of those clips’ properties (page 117). •tempos and time signature changes. You can capture an interesting moment as a new scene and move on. To finish recording. Session View 114 •Insert Scene inserts an empty scene below the current selection. allowing for an improvisa- tional approach to composing songs and scores. . (Note: the number of scenes is lim- ited in the Intro and Lite Editions. The Control Bar’s Arrangement Record Button. if they are included in the names of launched scenes. places copies of the clips that are currently running in the new scene and launches the new scene immedi- ately with no audible interruption. changing clip properties and trying clip combinations. press the Arrangement Record button again.5 Recording Sessions into the Arrangement Your Session View playing can be recorded into the Arrangement. •Capture and Insert Scene inserts a new scene below the current selection.

Live stops playing back that track’s Arrange- ment in favor of the Session clip. As you can see. The Back to Arrangement Button in the Arrangement View. which appears in the Arrangement View and lights up to remind you that what you hear differs from the Arrangement. in the appropriate tracks and the correct song positions. The Session clips and the Arrangement clips in one track are mutually exclusive: Only one can play at a time. To disable all Arrangement clips simultaneously. Arrangement playback does not resume until you explicitly tell Live to resume by clicking the Back to Arrangement button. The Back to Arrangement Button in the Session View. When a Session clip is launched. Notice that your recording has not created new audio data. Clicking a Clip Stop button causes the Arrangement playback to stop. click on the Stop All Clips button in the Master Track Status field. bring up the Arrangement View. Session View 115 To view the results of your recording. which makes it easy to improvise into the Arrangement over and over again until it’s right. Live has copied the clips you launched during recording into the Arrangement. The clips in the Arrangement and in the Session View exist independently from one another. . which produces silence. only clips.

Another way to move material from the Arrangement to the Session is with the Arrangement View’s Consolidate Time to New Scene command. by dragging clips over the or selectors. This is use- ful for taking a composed piece of music back to the improvisational stage. or by simply dragging clips between the two windows if you’ve enabled the Second Window option via [CTRL][Shift][W](PC) / [CMD][Shift][W](Mac) or in the View menu. but also from the Session View to the Arrangement and vice versa by using Copy and Paste. . The new clips are placed into a new Session View scene below the previously selected scene. Live attempts to preserve the temporal structure of the clips by laying them out in a matching top-to-bottom order. This com- mand consolidates the material within the selected time range to one new clip per track. Note that. this command creates a new sample for every audio track in the selection that contained at least one clip. Moving through the scenes from the top down. which is available from the Create menu or in the [right-click](PC) / [CTRL-click](Mac) context menu of an Arrangement selection. Session View 116 The Stop All Clips Button. you can move clips not only within the Session grid. as with the Arrangement’s Consolidate command (page 104). you can reconstruct the original arrangement. Furthermore. When pasting material from the Arrangement into the Session View.

the Clip View will open in the same window you just clicked. The Clip View. dedicate one window to detailed clip editing while using the other window for your work in the Session or Arrangement. Clicking on the Clip Overview or double-clicking a clip in the Session or Arrangement View opens the Clip View. In the Session View. To switch the Clip View to the other window.) Clicking the Clip Overview Opens the Clip View. Clip View 117 Chapter 8 Clip View The Clip View is where clip properties can be set and adjusted. (Tip: single- clicking a clip will show that clip in the Clip View. press [Shift][Tab]. . This allows you to. If you’re using dual monitors. but will not move the Clip View from its current window. for example. clicking on a Track Status Field opens the Clip View for editing the clip that is currently running in the track.

•The Launch box controls clip launch behavior and. Clip envelopes and their associated Clip View components are covered in detail in a separate manual chapter (page 291). consequently. generally only properties which the clips have in common are shown. To create a multi-selection. The properties available in the Clip View for a multi-selection depend on the contents of the clips. do not share the same set of Clip View controls. which are used to automate or modulate the effects. only appears for Session View . MIDI clips and audio clips in Live have different sets of properties and. adjustable as a single value. and clip or MIDI controls. or select one clip and use the [CTRL](PC) / [CMD](Mac) or [Shift] modifiers to add to your selec- tion. Dragging the knob or slider to its absolute maximum or minimum value will make the clips’ settings thereafter identical. click and drag from an empty clip slot to highlight the clips. If the clips in a multi-selection have differing values for any particular knob or slider parameter (clip transposition. as such. mixer. the range of these values will be displayed and can be adjusted with the control. Clip View 118 Clicking a Session View Track Status Field Opens the Clip View. for example). The two types of clips do have the following in com- mon: •The Clip box contains basic clip settings. Creating a Clip Multi-Selection. The properties of more than one clip can be edited collectively in the Clip View as a multi-selec- tion. •The Envelopes box and the Envelope Editor manage the clip’s envelopes. Controls such as sliders and knobs behave slightly differently when they are part of a multi- selection.

•The Sample box contains settings pertaining to how the clip plays its sample and displays it in the Sample Display. and allows editing and creating MIDI notes and velocities (page 155). . MIDI clips have these additional Clip View controls: •The MIDI Editor toggles with the Envelope Editor on the right-hand side of the Clip View. •The Notes box contains settings pertaining to how Live plays a MIDI clip. and controls Live’s sample-warping capabilities and clip playback settings (page 124). Audio clips have these additional Clip View controls: •The Sample Display toggles with the Envelope Editor on the right-hand side of the Clip View. The Clip View for an Audio Clip. as well as a col- lection of tools for transforming the notes within the clip. The Clip View for a MIDI Clip. Clip View 119 clips. Setting Session View clip launch properties is covered in detail in a separate manual chapter (page 183).

Clips can also be activated/deactivated directly from the Session or Arrangement View with their [right-click](PC) / [CTRL-click](Mac) context menus. The Clip View Box Selector Shows and Hides Various Clip View Components. You can also toggle between the Sample Display/MIDI Editor and the Envelope Editor by clicking in the title bars of the Sample/Notes box and the Envelopes box. you can deactivate a clip so that it does not play when launched in the Session View or during Arrangement playback. Clip View 120 To make best use of the screen real estate. . 8. respectively. 8.1 The Clip Box The Clip Box. and Sample or MIDI boxes using the Clip View Box selector in the Clips box. you can show or hide the Launch.1 Clip Activator Switch Using this switch.1. Envelopes.

1. you can specify the time signature of a MIDI or audio clip. By default. and can be set independently for each clip. . Clip View 121 8.3 Clip Signature Using the Clip Signature fields. 8. but the Clip Color chooser allows you to choose a clip color manually. in general. This method also allows you to create your own info text for the clip via the Edit Info Text command.1. 8. Renaming an audio clip does not rename the referenced sample file. You can also rename a clip by selecting it in the Session grid or Arrangement View and using the Rename command in the Edit menu or the clip’s [right-click](PC) / [CTRL-click](Mac) context menu. This makes it easy to create complex polymetric textures by simultaneously triggering clips with different meters and/or loop lengths. This setting is relevant only for display. a clip’s name matches the name of the file it references but. To rename a file. The Clip Groove Chooser.1. Newly created clips take the same color as the track on which they’re created.4 Clip Groove Chooser The Clip Groove chooser selects the groove used for the clip from the grooves available in the Groove Pool (page 178). select it in Live’s browser. Please note that Clip Signature is completely separate from the project’s time signature.2 Clip Name and Color The Clip Name field allows naming the clip. and then choose the Edit menu’s Rename command. the clip name is independent from the file name. it does not affect playback.

. If the groove uses the Velocity parameter. The Commit button under the chooser “writes“ the current groove settings to the clip and disables the assigned groove. you can enable the Hot-Swap button above the chooser and then step through the grooves in the browser while the clip plays. 8. a scrub control will appear between the Nudge buttons and can be assigned to a rotary encoder wheel for continuous scrubbing.5 Clip Offset and Nudging To jump within a playing clip in increments the size of the global quantization period.1. Note that this will overwrite any volume Clip Envelope that was already in the clip. Clip View 122 The “Open Groove Pool“ entry in this chooser can be used to open the Groove Pool if it is closed. If you want to quickly try out a variety of grooves. Using the Nudge Buttons to Jump Through a Clip. These buttons can also be mapped to keys or MIDI controllers (page 515). In MIDI Map Mode. you can use the Nudge buttons in the Clip box. committing on an audio clip will create a volume Clip Envelope (page 291) in order to convert the groove’s velocity informa- tion into audio volume changes.

spoken word and the like. “normal“ tempo.2. irrespective of the current Live Set tempo. it is easy to offset clip playback from Live’s master clock by launching clips. 8. When the Warp switch is off. This is useful for samples that have no inherent rhythmic structure: percussion hits. etc.) in sync with the current song tempo.1 Warp Controls The Sample Box Warp Controls. sound effects. music recordings. atmospheres. complete music pieces. Clip View 123 The Scrub Control in MIDI Map Mode. using the Nudge buttons or scrubbing within the clip (page 125). Live plays the sample at its original. . With quantization set to values less than one bar. Turn the Warp switch on to play rhythmically structured samples (such as sample loops.2 The Sample Box 8.

Live needs to know the sample’s metrical structure. When Warp is disabled. you may have to provide some hints. most of the time this is accurate enough that the sample is immediately ready for use in Live.2.2 Sample Loop/Region and Display Zooming and Scrolling The Clip Zoom/Scroll Area. scrolling only happens in the beat-time ruler and the bottom half of the waveform. however. zooming and scrolling can be done anywhere in the Sample Display. note that a warped sample’s speed follows the tempo as you change the Control Bar’s Tempo control. Tempo. Zooming and scrolling in the Sample Display work much like they do in the Arrangement View. . For other samples. For properly prepared loops. Clip View 124 The Control Bar’s Tempo Field. For accurate warping. We will examine these topics thoroughly in the Audio Clips. Live offers a number of controls to adjust the time-warping engine for optimal stretching qual- ity (page 149). To verify this. 8. and Warping chapter (page 137). tempo and duration are calculated automatically. When Warp is enabled.

To have the Sample Display follow the play position and scroll automatically. The black rectangular outline represents the part of the clip that is currently displayed. and horizontally to scroll the display. Clip View 125 Click and drag vertically in these areas to smoothly change the zoom level. The Clip Overview provides additional zoom/scrolling functionality. from start to end. It always shows the com- plete clip. You can click within the outline and drag horizontally or vertically to scroll or zoom. or use the Follow command from the Options menu. . turn on the Follow switch. The Clip Overview. The Follow Switch. An unlooped clip will play from its start marker to its end marker or until it is stopped. Playing and Scrubbing Clips The section of the sample that plays when a clip is launched is set with the clip’s region and loop controls (page 127).

both the start and end markers). Using Clip Start and End Controls to Change Clip Length. clicking in the lower half of the waveform or in the beat-time ruler will make clip playback jump to that point. select either marker. or they can be moved with the left and right arrow keys. Notice that you can use the Set buttons here to place the markers during playback. Setting markers this way is quantized ac- cording to global quantization. the display is in minutes-seconds-milliseconds. these fields display values as bars-beats-sixteenths. You can also adjust the clip start and end numerically using the respective value fields to the left of the Sample Display.e. For warped clips. Clip View 126 The Clip Start and End Markers. . To move the entire clip region (i. These markers can be clicked and dragged to new positions in the Sample Display. and use the arrow keys. for unwarped clips.. hold down [ALT]. When Permanent Scrub Areas is enabled in Live’s Look/Feel Preferences.

and [0] shortcuts. While the mouse is held down over the scrub area. When the Permanent Scrub Areas preference is off. as unwarped clips cannot be looped. [9]. [8].“ this allows you to scrub through the music. With small quantization settings. which can be quickly changed using the [CTRL][6](PC) / [CMD][6](Mac). turn on the Loop switch. or you can type exact values into the Loop Length and Position fields to the left of the dis- play. [7]. or a setting of “None. . Note that the Warp switch must be activated before the Loop switch is accessible. you can still scrub by [Shift]-clicking any- where in the scrub area or in the beat time ruler. Clip View 127 The Clip Scrub Area. a portion of the clip the size of the chosen quantization setting will be repeatedly played. You can click and drag to change the position and length of the loop brace in the Sample Dis- play. The size of this jump is quantized by the global quantization setting. Looping Clips To have the clip play as a (potentially infinite) loop.

•[CTRL](PC) / [CMD](Mac) plus the up or down arrow doubles or halves the loop length. which means you can set up the clip to run into a loop. Any notes to the right of the loop will be moved. •the up and down arrow keys shift the loop brace left/right in steps the size of its length. The loop brace can be selected with the mouse and its position changed with commands from the computer keyboard: •the left and right arrow keys nudge the loop brace to the left/right by the current grid set- ting (page 102). Clip View 128 The Clip Loop Controls. •[CTRL](PC) / [CMD](Mac) plus the left or right arrow shortens or lengthens the loop brace by the current grid setting. Regardless of the position of the loop brace. clip play will begin at the position marked by the start marker. •(MIDI clips only) The loop’s length and its contents can be duplicated at once via the Edit Menu’s Duplicate Loop command. so that they maintain their position relative to the end of the loop. .

use a rotary encoder to move the loop through a sample in increments the size of the chosen quantization interval. You could. The Loop Length and Position fields are equipped with Set buttons. Then. The Set buttons. While the loop is still off. clicking the Set Loop Length button moves the end of the loop to the current playback po- sition. the Loop switch. . This lets you capture the music in a loop on the fly. the loop brace and the start/end markers can all be mapped to MIDI controls (page 515). which can be used to create loops spontaneously during playback: Playing the clip and then clicking the Set Loop Position button moves the beginning of loop to the current playback position (rounded to the global quantization setting) and engages the loop. for example. This simultaneously activates loop- ing. Clip View 129 Setting the Clip to Run Into a Loop. you can click the Set Loop Length button to set the loop to end at the current playback position without changing its preset length.

3 Clip Pitch and Gain The Clip Pitch and Gain Controls. When you return to Live.2. Remember that changes made to one sample may affect other clips that play the same sample. . which you can spec- ify in the File/Folder Preferences. The Clip Gain slider. 8. The current set of Warp Markers is retained only if the sample length remains the same as it did prior to editing. The Edit button opens the sample in an external sample editing application. Clip View 130 8. the edited version of the sample will be played back.4 Destructive Sample Editing The Launch Sample Editor Button. The Detune field fine-tunes the clip in cents (100 cents = one semitone). To process a sample in an external program. you have to stop Live’s playback. The Transpose control shifts the clip pitch in semitones. calibrated in dB.2. changes the clip gain.

8. Live will restore the current clip settings whenever you drop the sample into a Live Set. The clip data becomes part of the analysis file that accompanies the sample (page 62). If the High Quality switch is on. the Hi-Q mode uses an algorithm that produces even smaller audible artifacts than in previous versions. which have to be set correctly for Live to play long files in sync. when transposing a sample and/or matching an imported sample’s sampling rate to the system’s sampling rate. Clip View 131 8. Note: As of Live 7.2. Note that storing default clip settings with the sample is different from saving the clip as a Live Clip (page 69). With this mode enabled.6 High Quality Interpolation The High Quality Switch. samples can be transposed roughly 19 semitones in either direction before aliasing is likely to be audible. Although we think this has greatly improved sound quality. Once saved. With multiple clips selected. which also saves devices and device settings. Save just saves default settings for future clips using this sample. any Sets . This is especially useful with regards to the Warp Markers.5 Saving Default Clip Settings with the Sample The Save Default Clip Button. Samples processed with the Hi-Q algorithm generate less distortion. Note that you can use the Save button without affecting any existing clips. The Save Default Clip button saves the current clip’s settings with the sample.2. Live uses an advanced sample-rate conversion algorithm that provides better sound quality at the expense of a higher CPU load. particularly at high frequencies. this button will save them all simultaneously.

The Clip Fade switch is on by default for all new clips when the Create Fades on Clip Edges op- tion is enabled in the Record/Warp/Launch Preferences. which is enabled by default in the Options menu when- ever you load an old Set that has Hi-Q enabled for any clips. Automatically Create Short Fades At Clip Edges. This switch is only available for clips in Session View. The length of the fade is signal-dependent and ranges from 0-4 millisec- onds. 8. we have provided a Legacy Hi-Q Mode option. applies a short fade to the clip start and end to avoid clicks at the clip edges.7 Clip Start and End Fades The Clip Fade Switch. Simply disable this option if you wish to use the new mode. .2. The Clip Fade switch. In Arrangement View. Clip View 132 made in older versions that used Hi-Q mode may now sound different. when enabled. clip fades are ad- justed via envelopes (page 98). For this reason.

the higher the likelihood for them to be swapped out. Live is loading the audio referenced by the clip into the com- puter’s memory rather than reading it from disk in real time.“ 8.2. The more clips you are running in RAM Mode. Live can handle disk overloads more gracefully than swapped-out audio arriving late: Disk overloads result in unwanted mutes.8 Clip RAM Mode The RAM Mode Switch. •Use RAM Mode with care. The new sample can be found. please refer to Managing the Disk Load (page 645). RAM Mode can help with these problems: •Your computer’s hard disk is too slow to deliver audio for as many tracks as desired in real time. •You are experiencing audio dropouts when playing clips in Legato Mode (page 186). .9 Reversing Samples The Reverse Button.2. It then reapplies the old clip’s settings (according to some rules that we will explain in a moment). Your computer is using the hard disk for swapping out RAM contents that have not been used in a while. This function creates a new sample by reversing the sample referenced by the current clip. For more information on disk-related problems. as RAM is usually a scarce resource. and replaces the original sample with the reversal in the Clip View. whereas RAM overload results in both mutes and rhythmical “hiccups. Clip View 133 8. If the RAM Mode switch is on.

similarly to the Reverse function. The new sample can be found. any Warp Markers will remain fixed to their positions in the sample. This means that a Warp Marker on the downbeat of the second bar of a clip will end up on the downbeat of the second-to-last bar after reversal. after saving the Live Set. and further actions in the program will be temporarily locked (though running clips will continue to play). First. 8. There are a few rules for the reversing process. drop the new sample directly from the browser into the Clip View. under Samples/Processed/Reverse. There- fore. a new sample by copy- ing the one currently in use . The reversal process is quite fast (about as fast as copying). Second. Once a sample is reversed. in the Set’s Project folder. in the Set’s Project folder. but for very long samples it might take a little time.2. Until the Set is saved. You can play the reversed clip and perform other ac- tions in the program as soon as Live begins to draw the new waveform into the Sample Display.but only the excerpt that is actually used. new samples remain at the location specified by the Temporary Folder. Until the Set is saved. a mixer volume envelope that lowers the volume of the first half of a clip will continue to do exactly that after reversal. and reversing the same clip again (or a copy) will be instantaneous. 8.10 Cropping Audio Clips The Sample Display’s [right-click](PC) / [CTRL-click](Mac) context menu includes the Crop Sam- ple command. This opens the File Manager for the current Set with the sample refer- . the new sample remains at the location specified by the Temporary Folder. The Warp Markers will be retained only if the new sample has the exact same length as the old sample. Clip View 134 after saving the Live Set.2. as a slight glitch can sometimes occur while Live reapplies the warp and loop settings. under Samples/Processed/Crop. It is not recommended that you reverse clips in a live performance situation. The Sample Display’s [right-click](PC) / [CTRL-click](Mac) context menu includes the Manage Sample File command. clip envelopes remain fixed to their position in time. When this is the case.11 Replacing and Editing the Sample To replace the sample referenced by the clip with a different one. Clip loop/region settings are similarly flipped. Clip settings like pitch and volume will be retained. the Status Bar in the lower portion of the Live screen will give you a progress display. a link to the reversed sample will be maintained until you quit the program. This function creates.

•Legato lengthens (or shortens) each selected note so that it is just long enough to reach the beginning of the next note. 8. 8.1 Transform Tools The Note Box’s transform tools allow for fast manipulation of a MIDI clip’s contents. Adding a “-” before the note name sets the highest note. . •the :2 and *2 buttons double or halve the playback speed of the selection. •Rev reverses the selection so that the last note swaps places with the first note. Clip View 135 enced by the clip selected. •the Transpose slider transposes the selection.3 The Notes Box The Notes Box. These con- trols affect the selected notes or time range. Type a note name to set the lowest note. From there. If nothing is selected. You can also use the Show in Browser command in the [right-click](PC) / [CTRL-click](Mac) context menu to reveal the file in the browser. they affect the whole clip. you can replace and destructively edit the sample (page 74). respectively. in such a way that all clips and instruments referencing the sample will be affected. •Inv flips the selection “upside-down” so that the highest note is swapped with the lowest note. Type a number to transpose by semitones.3.

. In the MIDI Editor. If you do not want your clip to send program or bank change messages. 8. Live offers messages for 128 banks with 128 sub-banks. this means that each MIDI clip in your Live Set can play a different sound on your synth.“ 8. Clip View 136 •Dupl.4 Clip Defaults and Update Rate You can change the rate at which Live applies your Clip View settings to a running clip. each of which has 128 programs. the zoom/scroll area is located above the beat-time ruler.3. can be set up as defaults for all new clips. simply set the bank/program choosers to “---. This is also done in the Record/Warp/Launch Preferences. For a more detailed discussion of MIDI editing. Certain clip settings. so that they maintain their position relative to the end of the loop. Loop doubles the material within the loop brace (as well as the length of the loop brace itself). zooming as necessary to show the entire loop. the scrub area just below. 8.3. see the chapter on this topic (page 155). such as Launch Mode and Warp Mode.2 Bank and Program Change Live can send MIDI bank/program change messages to external devices and plug-ins that sup- port MIDI program change messages. They work the same way as those for audio clips (page 124). Please see the documentation that came with your synthesizer to determine how many of these messages it can use. Any notes to the right of the loop will be moved. If you are using Live to send MIDI to your synth. According to the settings in these controls. launching a clip also sends its bank/program change message. Clip View changes will be quantized by the rate selected from the Clip Update Rate chooser in the Record/Warp/Launch Preferences.3 MIDI Loop/Region These controls manage how the contents of a MIDI clip are played and shown in the MIDI Edi- tor.

9. Setting one knob to control coarse tempo in BPM and another to control fine tempo in hundredths of a BPM allows for enough precision to adjust to live performers or other unsynchro- nized sources. You can even automate the tempo (page 290) to create smooth or sudden tempo changes along the song timeline. and Warping Unlike music stored on tape or in a traditional digital audio workstation. The Control Bar’s Tempo field allows you to change the playback tempo of your Live Set at any time.1 Tempo 9. you can MIDI map (page 515) separate controllers to the Tempo field on both sides of the decimal point. Live is capable of time-warping samples while streaming them from disk so as to synchronize them to the current Live Set’s tempo.1. This happens without affecting the pitch. . which can be changed independently. Tempo. in real time.1 Setting the Tempo The Control Bar’s Tempo Field. the music in Live remains “elastic“ at all times. and Warping 137 Chapter 9 Audio Clips. Tempo. Mixing and matching audio from different origins is therefore extremely easy. Audio Clips. For maximum tempo control during performance.

Please refer to the chapter on synchronization (page 633) for details. like a foot switch. it takes four taps to start song playback at the tapped tempo. the more precisely it will be able to conclude the desired tempo. the tempo of the Live Set will follow your tapping.3 Nudging the Tempo The Nudge Buttons. Audio Clips. Tempo.1. The Tap button can also be assigned to a MIDI note or control- ler. press the key you would like to use for tapping. and Warping 138 You can have an external sequencer (or drum machine) play along with Live or have Live play along with the sequencer. then select the Tap button. If the “Start Playback with Tap Tempo” button is enabled in Live’s Record/Warp/Launch Prefer- ences.2 Tapping the Tempo The Tap Button. The respective settings are made in the Link/MIDI Preferences. in a similar fashion. The more taps Live receives in a row. click the KEY switch again to leave Key Map Mode. You can also assign the Tap button to a computer key instead of using the mouse. The assign- ment will take effect immediately. you can also use tapping to count in: If you are working in a 4:4 signature. Although Live responds to your tapping immediately. As you click the Control Bar’s Tap Tempo button once every beat.1. 9. . it does apply some degree of inertia to prevent sluggish behavior in the software. 9. You can use Live’s Tap Tempo function to set the tempo at any time. The Key Map Mode Switch. Click on the Control Bar’s KEY switch to enter Key Map Mode.

2 Time-Warping Samples Live’s ability to play any sample in sync with a chosen tempo is a unique and important feature. etc. music recordings. When the Warp switch is off. sound effects. The Sample Box’s Warping Controls. which is a sub- section of the Clip View. Live plays the sample at its original. In addition. Turn the Warp switch on to play rhythmically structured samples (such as sample loops. atmospheres.) in sync with the current song tempo. Tempo.“ or even move notes to other meter positions. As with the Tap button. you can use the Nudge buttons to temporarily speed up or slow down Live’s playback to match what you hear. irrespective of the current Live Set’s tempo. spoken word and the like. As long as your Set’s tempo is basically the same as that of the unsynchronized material. which toggles an audio clip’s warping on or off. changing its “feel. you can “warp“ the rhythmic flow of a piece. you may find yourself in situations in which you need to adjust to sources that aren’t locked to one tempo. such as live musicians or turntables. 9. . An audio clip’s warping properties are set in the Sample box (page 123). Audio Clips. “normal“ tempo. and Warping 139 Although Live can be easily synchronized via Link or to external MIDI devices (page 633). complete music pieces. these buttons are much easier to use when mapped to MIDI controllers. The Warp section of Live’s Preferences will determine the default warp settings for new clips. This is useful for samples that have no inherent rhythmic structure: percussion hits. The most significant control here is the Warp switch. but they can always be overridden here on a per-clip basis.

If the Auto-Warp Long Samples preference is on. or when deleting a clip that was set as tempo master. but with one important difference — the rest of the Live Set will be warped so that it plays in sync with the current tempo master. currently playing clip in the Arrangement View. The clip that is the current tempo master will play as if warping was off. disengage this preference. Warp Markers are set in the Clip View’s Sample Display by double-clicking within the sample. this is because all tempo control is handed over to the tempo master clip. In Live. 9. If you wish instead to keep the generated tempo automation to continue working with it. They can then be dragged or moved with the arrow keys to different points in time. Note that when Live’s EXT switch is enabled (page 636). This is achieved by adding tempo automation to the Master track for the duration of the tempo master clip. and choose the Un- slave Tempo Automation command. but only one clip at a time can actually be the tempo master. If you would rather have Live default to playing long samples as they are. use the Record/Warp/Launch tab of Live’s Preferences. the Master track tempo automation is removed again. then [right-click](PC) / [CTRL-click](Mac) on the Control Bar’s Tempo field. the pins are called Warp Markers. Any number of clips can be set as tempo masters. but the tempo automation will remain in place. This distinction is always granted to the bottom-most. All clips will then be set to Slave. and Warping 140 To direct Live’s assumptions about new samples.2. Warp Mark- . You will notice that the Tempo field in Live’s Control Bar becomes disabled in this state. Live assumes that long samples contain music that should be played in sync with the Live Set’s tempo. 9.2. A Warp Marker locks a specific point in the sample to a specific place in the measure. When toggling a clip’s Master/Slave switch. the Master/Slave switch has no effect and appears disabled). Tempo. You can use any number of Warp Markers to create an arbitrary mapping of the piece’s inherent rhythm to a musical meter. restoring the proper tempo to the region.1 Tempo Master/Slave All warped clips in the Arrangement View have one further option: They can be defined as tem- po masters by toggling their Master/Slave switches.2 Warp Markers Think of a sample as a rubber-band that you want to pin to a (musical time) ruler. Audio Clips.

The Follow Switch in the Control Bar. It also might be helpful to vertically resize the Sample Display by dragging on the split line between the Clip View and the Session View track area. or by pressing the computer keyboard’s [Back- space] or [Delete] key after selecting them. Transients and Pseudo Warp Markers When you first load a sample into Live. . you can have Live scroll the Sample Display to follow playback. and Warping 141 ers can also be deleted by double-clicking them. Live automatically analyzes the audio and finds its transients. Tempo. Audio Clips. Double-Clicking In the Sample Creates a Warp Marker. When working with your clip. These are the points in the audio where notes or events begin. Use the Control Bar’s Follow switch to activate this feature. Transients appear as small markers at the top of the sample display after zooming in. and are usually good places to put Warp Markers.

temporary “pseudo“ Warp Markers appear. click the Clip View’s Save button (page 131). you can use any of the [right-click](PC) / [CTRL-click](Mac) context menu commands described in this section to initiate auto-warping. holding [Shift] while drag- ging the Warp Marker will move the waveform beneath the marker. Audio Clips. Note that if a sample has a saved set of Warp Markers (page 62). Holding the [Shift] modifier while clicking on a pseudo Warp Marker allows you to drag the transient to a new position. When this is the case. changes the tempo for the clip segment. Once a Warp Marker has been created. you can delete and create transients as well. To do this. but they’re gray. Double-clicking or dragging a pseudo Warp Marker creates an actual Warp Marker or. so that they are reconstructed anytime you drag the file into Live. if there are no Warp Markers later in the clip. If there are no transients within your time selection. Although Live usually does a good job of placing transients in the right places. Tempo. and Warping 142 Transient Markers. Auto-Warp will have no effect. Holding the [CTRL](PC) / [CMD](Mac) modifier while creating a Warp Marker on a transient also creates Warp Markers at the adjacent transients. These have the same shape as regular Warp Markers. but you may also want to save them with the sample file itself. Saving Warp Markers Your Warp Markers will automatically be saved with the Live Set. As you mouse over transients. rather than the marker itself. via the corresponding commands in the Create menu. You can also select a range of time and create Warp Markers at all of the transients within the range via the Create menu’s “Insert Warp Markers“ command. . a Warp Marker will be created at the end of the selection.

one at the sample’s beginning and one at the end.4 or 8 bars in length. of course. A Two-Bar Loop as It Appears in the Clip View.3 Using Warp Markers In the following sections. BPM field displays Live’s guess of the loop’s tempo. which serves as a point of reference for determining the required time-stretch factor. The sample plays at double speed when you press :2 because you are changing Live’s interpretation of the sample’s tempo. Live usually makes the correct assumptions to play the loop in sync with the chosen tempo. by Default. You can easily correct this by placing a Warp Marker at the beginning of the audio and dragging it so that it lines up with the beginning of bar one in the timeline. we will look at a couple of applications for time-warping samples. Tempo.2. if you happen to know the tempo of the loop. Suppose there is a portion of silence at the sample beginning. you can type it in here. Syncing Uncut Loops When importing a loop that has not been edited into a well-cut loop. It cre- ates two Warp Markers. Audio Clips. respectively. The Seg. Syncing Straight Loops When you import a sample that represents a well-cut musical loop of 1. an optional property of clips. Live will play it out of sync. you can eliminate silence after the actual loop end by placing a Warp Marker at the sample’s right edge. Likewise. . Sometimes Live’s guess of the original tempo is wrong by half or double. and Warping 143 9.2. correct this by clicking on the buttons labeled *2 and :2. prior to the first beat. Warping is. If so.

In that case. depending on its length) and plays it out of sync. For correct playback. . not bar nine. simply drag the ending marker to the correct position. set a few Warp Markers. to provide a “correct“ interpretation of the flow of musical time in the sample. Warp Markers really serve two purposes: 1. the eighth bar may not initially be visible. Manipulating Grooves You can now create any number of Warp Markers by double-clicking within the clip or on tran- sient locations. Audio Clips. you can drag the Warp Marker at the end toward the right until the eight becomes visible. and move them around to see what happens. Drag in a “straight“ looped sample. 2. just pin a Warp Marker to it and drag the marker to the correct beat position. to mess up the flow of time in the sample. the marker at the end of the sample needs to be at the beginning of bar eight. You may want to pin the adjacent events as well. If Live’s initial guess had been a four-bar loop. and Warping 144 Setting the Warp Markers for a Poorly Cut Loop. Tempo. Syncing Odd-Length Loops If you import a sample that contains a seven-bar loop. to avoid affecting neighboring regions in the sample. To fix this. If a single event in a percussive audio loop comes late. Live initially assumes the loop is eight bars long (or four.

You can use the browser to import long samples or MP3. and Warping 145 Using Warp Markers to Manipulate the Groove. particularly in conjunction with Live’s ability to impose an artificial groove onto clips in real-time (page 177). Note that. “Removing“ a sample’s natural groove by applying Warp Markers is an interesting creative method. . (Please note that not all of these file formats can be played in the Intro and Lite Editions.) When you drag an audio file into Live that is too long to justify the assumption that it is a loop or a one-shot. Live will auto-warp the clip by default (though this can be changed in the Record/ Warp/Launch Preferences). for the auto-warp mechanism to work. files which are being imported into the pro- gram for the first time will need to undergo a first-time analysis process and will not be immedi- ately available for playing or editing. AAC. Ogg Vorbis. Audio Clips. Ogg FLAC and FLAC files. Syncing Longer Pieces Live’s Auto-Warp algorithm makes longer samples and entire songs readily available for inte- gration into your project. Tempo.

•Zoom in and create a Warp Marker on the downbeat. To remedy this. •Use the start marker’s [right-click](PC) / [CTRL-click](Mac) context menu to select the Set 1. you can do one of the following: •Hold the [Shift] key while dragging the first Warp Marker.1 Here command. and Warping 146 Auto-Warp’s Results in the Clip View. Audio Clips. . This will allow you to adjust the position of the waveform under the Warp Marker. Remember that the metronome in the Control Bar will probably come in handy as you warp longer pieces. if Auto-Warp does not quite do what you want. you can control its results. The remainder of this section will focus on various ways of guid- ing Live’s auto-warping. The Metronome Switch. the clip will be ready to play in perfect sync with the Live Set’s tempo. It might happen that Auto-Warp guesses the tempo correctly but gets the downbeat wrong. As long as Auto-Warp made the correct set of informed guesses. Then drag it to the beginning of bar 1 in the timeline.1. Tempo. However.

first drag in the background of the sample editor to select the part of the sample you’d like to warp.. you’d like to warp and loop an isolated breakbeat from a full song. Directing Auto-Warp is also relatively simple when you have imported a perfectly cut loop. You can tell Auto-Warp to work accordingly using the Warp Sample As . The shortcuts for working with the clip loop brace and start/end markers can speed up this process considerably (page 124). for instance..-Bar/Beat Loop command. “pinning“ it into place. Warping a Selected Portion of a Sample Sometimes more accurate control of Auto-Warp is necessary. . set the loop markers to match. for example. working gradually from left to right. lead Live to assume the loop is 8 bars at 90 BPM instead of 16 bars at 180 BPM. To do this. This is useful if.. and then warp the selection so that it fits in this time. You can also direct Auto-Warp to work on a selected portion of a sample. The best way to go about warping a clip that requires more detailed attention is in sections. Decreasing the Live Set’s tempo can. and Warping 147 Using the Context Menu to Direct Auto-Warp. Audio Clips.. You can set a Warp Marker by double-clicking in the sample to the right of each correctly warped section. Tempo. Live will propose a loop length that makes the most sense given the current Live Set’s tempo.-Bar/Beat Loop com- mand. Then use the Warp Selection As . Live will make its best guess about the correct loop length.

These commands are also available from the start marker. adding or changing Warp Markers for one clip will apply identical Warp Markers to all.. This is useful in cases when you happen to know the exact BPM value of an electronically-produced work and can type it into the Control Bar before warping. . Use the Control Bar’s Tap Tempo button to tap along. Turn warping on again and use the Warp From Here (Start At . 2. •Warp From Here (Straight) tells Auto-Warp that this is a clip with no tempo variations (common in electronically produced works). BPM From Here will also set a single Warp Marker. A common scenario would be when multi-tracking a band’s performance. leaving Warp Markers to the left untouched. and you wish to alter the timing of each recording in the same way. yet the timing itself is in some way flawed. Audio Clips. Deactivate the Warp switch for the clip so that it plays unwarped.) command to tell Auto-Warp to use your tapped tempo as a reference. The strategy here is as follows: 1.. Tempo... This is convenient in any situation where several tracks have the same rhythm. •Warp From Here (Start At . Multi-Clip Warping When clips of equal length are multi-selected. •Warp . •Warp From Here runs the Auto-Warp algorithm on the material to the right of the selected marker. and Warping 148 You might also find it helpful to select multiple Warp Markers for moving by selecting them with the [Shift] or [CTRL](PC) / [CMD](Mac) modifiers held down. thereby setting the Live Set’s tempo to match that of the clip... Auto-Warp is forced to interpret the clip as exactly matching the Live Set’s tempo. but in this case. where the musicians all play in time with each other. Auto-Warp will then set a single Warp Marker derived from its guess of the file’s original tempo.) directs Auto-Warp to use the current Live Set’s tempo as a starting point for tempo tracking. The four Warp From Here commands provide various ways of resetting Warp Markers to the right of the selected grid marker or Warp Marker.

But it is also possible to automatically snap the entire sample to the grid at once by using the Quantize command. Tempo. Quantizing Audio Samples. open the Quantization Settings dialog from the Edit menu. 9. you learned how to adjust the timing of events in audio files by manu- ally dragging Warp Markers along the timeline. The warp modes are different varieties of granular resynthesis techniques. You can also quantize without that “quantized“ feel by adjusting the Amount control. This will quantize using default settings.3 Adjusting for Good Stretching Quality Live offers a number of time-stretching modes to accommodate all sorts of audio material. To adjust your quantization parameters. Granular resynthesis achieves time compression and expansion by repeating and skipping over parts of the sample . Audio Clips. or use the [CTRL](PC) / [CMD](Mac) hotkey.4 Quantizing Audio In the previous section. or the settings that you previously applied. which will move Warp Markers by a percentage of the set quantization value. Using the options presented here.2. To do this. click in the back- ground of the sample editor and choose the Quantize command from the Edit menu. you can select either the current grid size or a specific meter value for quantization. Each clip’s time-stretching mode and associated parameters are set in the Clip View’s Sample Box. and Warping 149 9.

as well as in the details of over- lapping and crossfading between grains. Audio Clips.g. Let’s investigate which warp modes work best for different types of signals and how to adjust the warping controls for “clean“ stretching. Long envelope times can help to smooth clicks at the end of segments. can often result in very good quality at slower tempos. At 0. The warp modes differ in the selection of grains. This pattern continues until the time when the next transient occurs. Tempo. For some interesting rhythmic artifacts. in conjunction with the Preserve Transients selection. choose one of the fixed note values. while short times can be used to apply rhythmic gating effects. Loop Back-and-Forth — Each segment of audio between transients plays to its end. The Transient Envelope slider applies a volume fade to each segment of audio.3. For the most accurate results. and Warping 150 (the “grains“).1 Beats Mode Beats Mode works best for material where rhythm is dominant (e.. At 100. choose Transients. particularly with percussive material. It’s also fun to “misuse“ these controls to achieve interest- ing artifacts instead of accurate stretching. This mode. The Transient Loop Mode chooser sets the looping properties for the clip’s transients: Loop Off — Each segment of audio between transients plays to its end and then stops. drum loops as well as most pieces of electronic dance music). . Playback then jumps back to a zero-crossing near the middle of the segment and continues looping until the time when the next transient occurs. To preserve specific beat divisions regardless of the sample’s contents. each segment decays very quickly. 9. This setting uses the positions of the analyzed (or user-created) transients to determine warping behavior. Play- back then reverses until it reaches a zero-crossing near the middle of the segment. Loop Forward — Each segment of audio between transients plays to its end. there is no fade. The granulation process is optimized to preserve transients in the audio material. Any remaining time between the end of a segment and the next transient will be silent. and then proceeds again towards the end of the segment. Use the Preserve control to preserve divisions in the sample as boundaries when warping. choose large note values in conjunction with pitch transposition.

It also offers rich potential for manipulating all kinds of sounds in a creative way. it adjusts the playback rate to create the desired amount of stretching. This is like the “DJ stretching method“ of using variable-speed turntables to sync two records. Larger grain sizes help avoid artifacts that can occur when the pitch contour is unclear. it works well for warping entire songs. atmospheric pads.5 Complex Mode Complex Mode is a warping method specifically designed to accommodate composite signals that combine the characteristics covered by other Warp Modes. The Grain Size control determines the grain size used. it’s transposed up an octave. but unlike in Tones Mode. such as vocals.2 Tones Mode Tones Mode serves well for stretching material with a more or less clear pitch structure. polyphonic orchestral music. 9. to speed up playback by a factor of 2..3.3. instead. or what happens to samples in traditional sam- plers when they’re transposed. 9. noise. Audio Clips. etc.).g. this is a setting that Live will use unaltered. Grain Size provides rough control over the average grain size used. Live doesn’t really time-stretch or compress the music. For signals with a clear sense of pitch contour. without considering the signal’s characteristics. and Warping 151 9.3. Larger values give more randomness. In other words. monophonic instruments and basslines. a small grain size works best. The Transpose and Detune controls have no effect in Re-Pitch Mode. Tempo. Fluctuation introduces randomness into the process.3. 9. The actual grain size is determined in a signal-dependent manner. . but the trade-off can be audible repetitions. which usually contain beats. tones and textures.3 Texture Mode Texture Mode works well for sound textures with an ambiguous pitch contour (e.4 Re-Pitch Mode In Re-Pitch Mode.

As such. you may want to freeze tracks (page 643) where Complex Mode is used or record (page 227) the results as a new clip to use as a substitute.7 REX Mode REX Mode differs from the other Warp modes in several ways. REX files.6 Complex Pro Mode Complex Pro Mode uses a variation of the algorithm found in Complex mode. Complex Pro works especially well with polyphonic textures or whole songs. the original formants will be preserved. Clip Envelopes (page 291) that affect warping properties. The default setting of 128 should work well for most audio. Please note that Complex Pro Mode is not available in the Intro and Lite Editions.3. but is instead enabled automatically when loading a file in REX format. and Warping 152 Complex Mode is a rather CPU-intensive function. Most notably. Audio Clips. associated with the program ReCycle by Propellerhead Software. At 100%. Although REX files are audio files. it is not available as an option in the Clip View’s Sample Box. Warp Markers/parameters. you may have better results with lower Envelope values. . 9. The Envelope slider also influences the spectral characteristics of the material. 9. The Formants slider adjusts the extent to which the formants of the sample are compensated when transposing. using approximately ten times the CPU resources required by the other Warp Modes. they can quickly be transformed into playable instruments via the Slice to New MIDI Track command (page 171). Note that this slider has no effect if the sample is played back untransposed. and may offer even better results (although with an increase in CPU usage.) Like Complex Mode. contain embedded tempo and timing information and will synchronize to your Set’s tempo just like any other audio file. which allows for large changes in transposition while maintaining the sample’s original tonal quality. low-pitched material may sound better with higher values. and the Clip Nudge (page 122) controls are not available for REX files. Please note that Complex Mode is not available in the Intro and Lite Editions. which is available in the Create Menu or the [right-click](PC) / [CTRL-click](Mac) context menu for the clip. Likewise.3. Tempo. For very high-pitched samples.

and Warping 153 Please note that REX file support is not available in the Intro and Lite Editions. . Audio Clips. Tempo.

Audio Clips. Tempo. and Warping 154 .

1 Creating an Empty MIDI Clip MIDI clips are created •by means of recording (page 227). •or. in the Arrangement View. . •or by selecting an empty Session slot in a MIDI track and choosing the Create menu’s In- sert MIDI Clip command. by selecting a timespan in a MIDI track and choosing the Create menu’s Insert MIDI Clip command. specifying note pitch. position and dynamics (referred to as velocity in the MIDI lexicon). length. MIDI is composed and edited in Live’s MIDI Editor. •or by double-clicking an empty Session slot in a MIDI track. Editing MIDI Notes and Velocities 155 Chapter 10 Editing MIDI Notes and Velocities A MIDI clip in Live contains notes and controller data for playing a MIDI instrument. 10. The MIDI clip (page 42) provides the device with a musical score to play. This instru- ment can be a virtual instrument in a MIDI track’s device chain (page 239) or an external synth fed via the track’s output routing (page 193).

double-click a MIDI clip to open the Clip View. Deactivating Draw Mode allows notes to be selected and moved around via clipboard operations or by clicking and dragging. Switch to Draw Mode by activating the Control Bar’s Draw Mode switch or by pressing the [B] key. The Control Bar’s Draw Mode Switch. The MIDI Editor is divided into two editing windows: the upper Note Editor and the lower Veloc- ity Editor. MIDI notes can also be added and deleted by double-clicking when Draw Mode is inactive. The MIDI Editor.2 The MIDI Editor To bring up the MIDI Editor. Editing MIDI Notes and Velocities 156 10. You can use the Clip View Box selector to make sure the Notes box (page 135) is showing. or horizontally to change their po- sition in time. You can resize the Velocity Editor by dragging on the split line that runs between it and the Note Editor. You can now draw MIDI notes into the Note Editor with the mouse. You can also show and hide the Velocity Editor using the triangular button on the left-hand side of the split line. then click in the title bar of the Notes box to bring up the MIDI Editor on the right-hand side of the screen. either vertically to change their transposition. .

we will first ex- plain MIDI Editor navigation. If the MIDI track is armed. activating the Preview switch in the MIDI Editor allows you to hear notes as you select and move them. You can also use Draw Mode in the Velocity Editor: It will draw identical velocities for all notes within a grid “tile. by clicking and dragging on the associated markers. . you will probably want to know how to get around in the Note Editor.” After drawing a few notes and moving them around. before we get into detailed editing information. activating Preview also allows you to step record (page 232) new notes into the clip. So. Provided your MIDI track’s device chain contains an instrument (page 239). Note velocity is adjusted in the Velocity Editor. Editing MIDI Notes and Velocities 157 Previewing MIDI Notes.

displaying octaves C-2–C8. To smoothly change the time-zoom level. The vertical axis contains the note ruler. Drag horizontally in the time ruler to scroll from left to right. The MIDI Editor has both vertical and horizontal navigation. Along the horizontal axis lies a time ruler. Editing MIDI Notes and Velocities 158 10. Note that if the Preview switch at the top of the piano roll is activated. which shows note position along a musical timeline. . you can listen to the results of your piano roll playing. 1. 2 1 3 5 6 MIDI Editor Navigation.3 MIDI Editor Navigation and Transport Note Scale Position Is Shown Vertically and Beat-Time Horizontally. and a representation of a piano keyboard (the piano roll). click and drag vertically in the time ruler.

When Permanent Scrub Areas is enabled in Live’s Look/Feel Preferences. click within the outline and drag left or right. 7. double-clicking the note ruler will zoom in on the area from the lowest to the highest note in the clip. When the Permanent Scrub Areas preference is off. clicking in the scrub area below the beat-time ruler starts playback from that point. 6. If nothing is selected. Then. The black rectangular outline repre- sents the part of the clip that is currently displayed in the Editor above. then drag downwards to zoom in. or drag horizontally to change the vertical zoom size of MIDI notes and the keyboard. The Clip Overview just beneath the MIDI Editor can also be used for navigation. Learning about the loop/region controls (page 136) and associated shortcuts can also be helpful in getting around in the MIDI Editor and playing selections quickly and easily. while double- clicking the time ruler will zoom out to show the time between the first and last note. To scroll. 5. use the computer keyboard’s [+] and [-] keys. To quickly change what is shown in the Editor. The Control Bar’s Follow Switch. or over a portion of the editor’s background to select a range of time. . The area displayed in the Note Editor can be set to scroll with playback using the Follow switch from the Control Bar. 3. rounded by the global quantiza- tion setting. or scroll by dragging left and right. Editing MIDI Notes and Velocities 159 2. It always shows the complete contents of the selected MIDI clip. drag up and down. you can still scrub by [Shift]- clicking anywhere in the scrub area or in the beat-time ruler. 4. to zoom in and out. click on a section that you want to examine in the Clip Overview. Change the length of what is shown in the Editor by dragging the left or right edges of the outline in the Clip Overview. To zoom in and out around the current selection. Click and drag vertically in the note ruler to change which octaves are shown. Click and drag over one or more notes to select them. double-click on the note ruler or time ruler to automatically zoom in on your selection.

which are oftentimes mapped out along a keyboard in sections corresponding to percussion type (e.4.2 Folding and Looping An important feature of the MIDI Editor is the Fold button.. etc. if the MIDI clip being edited originated in a MIDI file on your hard drive. you may find yourself needing extra screen space. as Live incorporates its contents into your Live Set when importing. located in the upper left corner. 10.). Furthermore. Editing MIDI Notes and Velocities 160 As you work with MIDI. that do not contain MIDI notes in any clips in the track. and it becomes unnecessary to view the entire keyboard range. When working with a MIDI file created by such a mapping.4. This is very useful when working with percussion kits. . 10. snares grouped together two octaves down from hi-hat cymbals.g. for example. You can click and drag vertically on the window split between the Session or Arrangement View and the Clip View to enlarge the MIDI Editor. Enlarge the MIDI Editor by Dragging the Window Split Between Session and Clip Views. Acti- vating this button will immediately hide all rows. or key tracks.1 Non-Destructive Editing You can always return your MIDI clip to its previous state by using the Edit menu’s Undo com- mand. none of your editing will alter the original MIDI file.4 Editing MIDI 10. sometimes only one or two of each type of percussion sound is used.

” which is based on the original placement of the note relative to the grid. Editing MIDI Notes and Velocities 161 The Fold Button Extracts Key Tracks Containing Notes. Any notes to the right of the loop will be moved. so that they maintain their position relative to the end of the loop.4. You can hold down the [ALT] (PC) / [CMD](Mac) modifier while performing an action to bypass grid snapping. 10. You can use the loop/region markers (page 124) for this. or loop the clip in order to listen to it repeatedly. you might find that you want to change which part of the clip you are listen- ing to. Use the Loop/Region Markers to Select a Specific Region of the Clip to Play. This is useful for preserving a groove or loose playing style that you do not necessarily want to “set straight. Tip: Selecting the loop brace in a MIDI clip and pressing [CTRL][D](PC) / [CMD][D](Mac) dou- bles the length of the loop brace and zooms as necessary to show the entire loop.3 Grid Snapping Most functions in the MIDI Editor are subject to grid snapping (page 102). But when adjusting events with the mouse. the grid is “magnetic”. Note movements will also snap to an “offset. event positions can be moved freely up to the pre- vious or next grid line and then will snap if you continue to drag. When editing MIDI.” .

As we have seen. Here is how selection works: •Clicking a note selects the note. Paste. [CTRL](PC) / [ALT](Mac) plus the left or right arrow keys moves the insert marker to the next note boundary. •Press the left or right arrow keys to move the insert marker to the left or right. [ALT](PC) / [ALT](Mac) plus [Shift] while pressing the arrow keys extends or retracts from the opposite side of the selection. If you are playing the clip while you edit notes. Cut. Editing MIDI Notes and Velocities 162 10. Several key modifiers also apply to note editing: •To transpose selected notes by octave. while notes dragged with the mouse can be freely moved until reaching the previous or next grid or offset point. you can listen to them play in their new assignments as you change them. Copy. respectively. or with the arrow keys on your computer keyboard.. Duplicate) on the selection. notes in the MIDI Editor can be moved both horizontally (changing their posi- tion in time) and vertically (changing their transposition). you can manipulate it using your computer keyboard. They can be moved either by clicking and dragging. according to the grid settings. •Clicking into the background of the MIDI Editor selects a point in time. •The insert marker can be moved to the beginning or end of a MIDI clip by pressing the [Home] or [End] key. In both cases. [Esc] deselects all selected notes. hold down [Shift] while pressing the up or down . Multiple notes can be selected in unison: “rubber-band” select more than one note with one mouse motion by clicking in empty space. represented by a flashing insert marker.4. your actions are selection-based: you select something using the mouse. After placing the insert marker.4 Editing Notes Editing in the MIDI Editor is similar to editing in the Arrangement (page 100). Press [Enter] to toggle the selection between the timepan and any notes that begin within it. Notes moved with the arrow keys are always subject to grid and offset snapping. •Hold down [Shift] while pressing the arrow keys to extend or retract the selected timespan by moving the insert marker. then drag- ging to enclose the notes in the dotted line that appears. then execute a menu command (e.g. •Clicking and dragging in the background selects a timespan.

4. You can also remove a single note from your selection by holding down [Shift] and clicking on it. If the new note overlaps with the beginning of the original note. the original note’s length will change so that it lasts just until the new note’s beginning. you may sometimes place a new note on top of one that already ex- ists. If the new note overlaps with the “tail” of the original. 10. Notes in the clipboard will be pasted starting at the location of the insert marker. you can press the [CTRL](PC) / [ALT](Mac) modifier even after starting the drag. such as Copy and Paste. When editing or drawing. note lengths can be adjusted freely up to the previous or next grid line but will be quantized when dragging further unless the [ALT](PC) / [CMD](Mac) modifier is held down.5 Changing Note Length Clicking and dragging on a note’s left or right edges changes its length. according to the grid settings. If you click and drag to move notes but then decide that you would like to copy them instead. hold [CTRL](PC) / [ALT] (Mac) while pressing the left or right arrow keys. . [CTRL](PC) / [ALT](Mac) plus the up or down arrow keys moves the selection to the next note in time. As with note positions. •[Shift] plus the left or right arrow keys extends or retracts the duration of selected notes. the original note will vanish. •To change the selection to the next note in the same key track. also hold [ALT](PC) / [CMD](Mac). You can also use the [CTRL](PC) / [ALT](Mac) modifier to click and drag copies of notes to a new location. Editing MIDI Notes and Velocities 163 arrow keys. Selecting a note (or notes) makes it subject to commands from the Edit menu. To extend or retract notes without snapping to the grid. Holding [Shift] and clicking on the piano roll adds all notes in a single key track to the current selection. or removes them if they were already selected. •To nudge notes without snapping to the grid. hold [ALT](PC) / [CMD](Mac) and press the left or right arrow keys. •You can use the [Shift] modifier to click and add individual notes or additional “rubber- band” selections to your current selection.

. Note that these operations do not change the clip start/end position or the loop brace settings. •Insert Time inserts as much empty time as is currently selected into the clip. you will see a dialog box with several quantization options. First. Tip: To set a group of notes to the same length. Copy and Paste only affect the currently selected notes (or the notes within a time selection). thereby moving any notes on either side of the deleted area closer together in the timeline. •Delete Time deletes a selection of time from the MIDI clip.4. But. or the settings that you previously applied. Secondly. you can quantize MIDI notes as you record them (page 234).Time Commands in the MIDI Editor The standard clipboard commands like Cut. The first time you do this. •Duplicate Time places a copy of the selected timespan into the clip. as previously mentioned. before the se- lection.7 Quantizing Notes There are three options for quantizing MIDI notes in Live.. as in Arrangement editing (page 103). you can move notes so that they snap to the visible grid lines. 10.. 10. Editing MIDI Notes and Velocities 164 Changing Note Length. you can select a note or notes and choose the Quan- tize command from the Edit menu. . there are “. Time” commands that act upon the entire MIDI clip by inserting and deleting time. Finally. or use the [CTRL][U](PC) / [CMD][U](Mac) hotkey. drag them all down to zero length and then extend them.4. grab the end of the longest one. This will quantize using default settings. along with any con- tained notes.6 The .. select them all.

8 Editing Velocities To change velocity for a MIDI note. 10. you can select either the current grid size or a specific meter value for quantization and set either the note start or end (or both) to be quantized. Quantizing MIDI Notes. Live highlights the velocity marker for whichever note your mouse is hovering over. Editing MIDI Notes and Velocities 165 To adjust your quantization parameters.) Velocity changes will be shown numerically in a small display in the time ruler. Quantizing the note end will stretch the note so that it ends at the chosen meter subdivision. You can also quantize notes without giving them that “quantized” feel using the Amount control. Changing Note Velocity. .4. Using the options presented here. click and drag on the associated marker in the Velocity Edi- tor. which will move notes only by a percentage of the set quantization value. (To help you locate the velocity marker belonging to a MIDI note that may be stacked verti- cally with others. open the Quantization Settings dialog from the Edit menu.

you can select multiple velocity markers to change by clicking with the [Shift] modifier held down. This means that. This will affect only the selected notes. As we saw earlier. with one horizontal motion and one vertical motion. Editing MIDI Notes and Velocities 166 As in the Note Editor. Tip: To draw a velocity ramp with notes that are all in the same key track. and vice versa. click a key in the piano roll to select all notes within the desired key track. If you change velocity with this vertical movement. or simply hold down the [ALT] (PC) / [CMD](Mac) modifier. Draw Mode allows drawing identical velocities for all notes within a grid tile. select their markers in the Velocity Editor. click any selected note and drag vertically while pressing the [ALT](PC) / [CMD](Mac) modifier. Tip: To set a group of notes so that they all have the same velocity. for instance) deactivate grid snapping with the [CTRL][4](PC) / [CMD][4](Mac) shortcut. velocity drawing is limited to only those notes that are currently selected. you can draw multiple notes and their velocities without releasing the mouse button. Make sure Draw Mode is not activated and draw the line into the Velocity Editor while holding the [CTRL](PC) / [CMD](Mac) modifier. Live will remember the change and use your new velocity on any notes that you draw afterward. While in Draw Mode. To draw markers individually (as you would want to with a crescendo. Vertical movements in Draw Mode correspond to velocity changes. and then adjust velocity to the desired value. first select the notes that should be affected (using the [Shift] modifier to select non-adjacent notes if necessary). . drag them up or down to either maximum or minimum velocity. Drawing Identical Velocities (Left) and a Crescendo (Right). Make sure Draw Mode is activated and draw the ramp into the Velocity Editor. Tip #2: To draw a linear velocity ramp across a selection of notes. Notes in the Note Editor display their velocity in their coloring — light notes play softly. To change the velocity of notes without the Velocity Editor open.

and is only supported by certain devices. Editing MIDI Notes and Velocities 167 Note-Off Velocity By default. Please note that note-off (or “release”) velocity is a somewhat esoteric parameter. 10.4.9 MIDI Note Stretch MIDI Note Stretch Markers. Ableton’s Sampler instrument (page 456). provides note-off velocity as a controller for a variety of parameters. the Velocity Editor allows you to adjust note-on velocities. for example. The Velocity Editor Showing Note-Off Velocities. . But you can toggle the editor to show note-off velocities via options in the editor’s [right-click](PC) / [CTRL-click](Mac) context menu.

Unlinked clip envelopes are not affected.4. allowing notes to be scaled proportionally in time. As with notes. a “pseudo” stretch marker will appear. The pseudo stretch marker has the same grid snapping behavior as fixed markers.10 Cropping MIDI Clips MIDI data that is outside of the loop brace can be deleted by means of the Crop Clip command.11 Deactivating Notes To deactivate.4. You can de. making it appear gray in the display. the selected notes will move and stretch so that they continue to occupy the same proportion of time that they did when they were initially selected. 10. Editing MIDI Notes and Velocities 168 When multiple notes or a range of time are selected in the Note Editor. Unlike cropping audio clips (page 134). By clicking and dragging one of the markers horizontally. one marker can be dragged beyond the boundary of the other. . cropping a MIDI clip does not create a new file on disk. after which they will snap to the Note Editor’s grid lines unless the grid is not shown or the [ALT](PC) / [CMD](Mac) modifier is held while dragging. When the mouse is between the Note Stretch markers. this is sometimes referred to as “retrograde” behavior. 10. The markers are a pair of down- ward-pointing indicators that snap to the beginning and end of the selection. Note Stretch markers will appear. which will “reflect” the order of the stretched notes in relation to their initial sequence.or reactivate all of the notes in a single key track at once by clicking a key on the piano roll and pressing [0]. Note Stretch markers can be freely moved until reaching the pre- vious or next grid or offset point. The Deacti- vate Note(s) command will mute the note. When notes (but not time) are selected. select it and press [0]. Adjusting the Note Stretch markers will also adjust the timing of any of the clip’s linked clip enve- lopes. Press [0] again to reactivate notes. Dragging this stretches or compresses the material between the fixed markers without affecting the material outside of them. or mute. a note (or notes) in the MIDI Editor. Simply [right-click](PC) / [CTRL-click](Mac) on a MIDI clip in the Session or Arrangement View and select this option.

12 The Transform Tools In addition to the editing possibilities within the MIDI Editor itself. the Notes Box’s transform tools (page 135) offer a number of ways to quickly manipulate the notes within a MIDI clip.4. Editing MIDI Notes and Velocities 169 10. .

Editing MIDI Notes and Velocities 170 .

Context Menu Commands For Converting Audio To MIDI. it simply splits the original audio into portions of time. there are also a number of ways to extract musical information from audio clips and place it into MIDI clips. When an audio clip is selected. Slicing differs from the Convert commands below.) Although Live’s warping allows for audio files to be used much more flexibly than in traditional audio software.1 Slice to New MIDI Track This command divides the audio into chunks which are assigned to single MIDI notes. 11. in that it doesn’t analyze the musical context of your original audio. for additional creative possibilities. The Drum Rack (page 272) provides an ideal environment for working with sliced files. Instead. and most of the setup happens automatically after you make a few choices: . regardless of the content. four conversion commands are available in the Create Menu or the [right-click](PC) / [CTRL-click](Mac) context menu for the clip. Converting Audio to MIDI 171 Chapter 11 Converting Audio to MIDI (Note: the features discussed in this chapter are not available in the Intro and Lite Editions.

the slicing will be based on the file’s internal timing information and you won’t see this chooser. A new MIDI track will be created. containing one chain per slice. . This offers a list of slicing divisions. these include basic envelope controls and parameters to adjust the loop and crossfade properties of each slice. If your audio file is in REX format (page 152). 2. The clip will contain one note for each slice. any changes that result from warping will not be reflected in the sliced clip. 3. a number of things will happen: 1. Since a Rack can contain a maximum of 128 chains. Adjusting one of these Macros will adjust the mapped parameter in each Simpler simultaneously. Converting Audio to MIDI 172 The Slicing Dialog. The Slicing Preset chooser contains a few Ableton-supplied slicing templates. arranged in a chromatic sequence. as determined by the settings in the selected slicing preset. The top chooser allows you to slice at a variety of beat resolutions or according to the clip’s transients or Warp Markers. you’ll be presented with a dialog box. A Drum Rack will be added to the newly created track. containing a MIDI clip. and will contain a Simpler with the corresponding audio slice loaded. Once you’ve made your slicing choices and clicked OK. Live won’t let you proceed if your choice would result in more than 128 slices. The Drum Rack’s Macro Controls will be pre-assigned to useful parameters for the Sim- plers. In the factory Slicing presets. With “Preserve warped timing” enabled. the clip will be sliced in such a way that timing altera- tions as a result of warping are preserved. “raw” audio. the sliced version will instead sound like the original. When you select Slice to New MIDI track. as well as a chooser to select the Slicing Preset. as well as any of your own that you may have placed in your User Library’s default presets folder (page 246). Each chain will be triggered by one of the notes from the clip. With this option disabled. You can fix this by either setting a lower slice resolution or by selecting a smaller region of the clip to slice.

But you can create new patterns by simply editing the MIDI notes (page 160). Converting Audio to MIDI 173 Note: Live will take a few moments to process all of this information. Then insert the effects after this new sub-Rack. You can achieve a similar effect by dragging the Drum Rack’s pads onto each other to swap their note mappings.1 Resequencing Slices Rearranging the Sliced MIDI Data. To process several slices with the same set of effects.2 Using Effects on Slices Because each slice lives in its own chain in the Drum Rack. your sliced MIDI data will form a chromatically-ascending “staircase“ pattern in or- der to trigger the correct chains in their original order. Playing the MIDI clip will trigger each chain in the Drum Rack in order. you can easily process individual slic- es with their own audio effects. For even more creative possibilities.1. This opens up many new edit- ing possibilities. By default. multi-select their chains in the Drum Rack’s chain list and press [CTRL][G](PC) / [CMD][G](Mac) to group them to their own nested Rack. . try inserting MIDI effects (page 391) before the Drum Rack.1. The Arpeggiator and Random devices can yield particularly interesting results. according to the timing information that you specified or that was embedded in the audio. including: 11. 11.

Converting Audio to MIDI 174

Slicing is most commonly applied to drum loops, but there’s no reason to stop there. Experiment
with slicing audio from different sources, such as voices and ambient textures. The same sorts of
resequencing and reprocessing operations can be applied to anything you slice — sometimes
with unexpected results.

11.2 Convert Harmony to New MIDI Track
This command identifies the pitches in a polyphonic audio recording and places them into a clip
on a new MIDI track. The track comes preloaded with an Instrument Rack (page 261) that
plays a piano sound (which can, of course, be replaced by another instrument if you choose).

Note that this command, as with the other Convert commands, differs from slicing in that the
generated MIDI clip does not play the original sound, but instead extracts the notes and uses
them to play an entirely different sound.

The Convert Harmony command can work with music from your collection, but you can also get
great results by generating MIDI from audio recordings of yourself playing harmonic instruments
such as guitar or piano.

11.3 Convert Melody to New MIDI Track
This command identifies the pitches in monophonic audio and places them into a clip on a new
MIDI track.

The track comes preloaded with an Instrument Rack that plays a synthesizer sound. Using the
Rack’s “Synth to Piano” Macro, you can adjust the timbre of this sound between an analog-style
synth and an electric piano. The instrument was designed to be versatile enough to provide a
good preview, but can of course be replaced with another instrument if you choose.

Converting Audio to MIDI 175

The Melody to MIDI Instrument Rack.

The Convert Melody command can work with music from your collection, but also allows you
to record yourself singing, whistling, or playing a solo instrument such as a guitar and use the
recording to generate MIDI notes.

11.4 Convert Drums to New MIDI Track
This command extracts the rhythms from unpitched, percussive audio and places them into a clip
on a new MIDI track. The command also attempts to identify kick, snare and hihat sounds and
places them into the new clip so that they play the appropriate sounds in the preloaded Drum
Rack. Any additional sounds (such as cymbals, toms, or other percussion) will be retained but
placed on a silent note lane for manual editing.

As with the Convert Melody command, you can adjust the transient markers in the audio clip
prior to conversion to determined where notes will be placed in the converted MIDI clip.

Convert Drums works well with recorded breakbeats, but also with your own recordings such as
beatboxing or tapping on a surface.

11.5 Optimizing for Better Conversion Quality
The Convert commands can generate interesting results when used on pre-existing recordings
from your collection, but also when used on your own recorded material. For example, you can
record yourself singing, playing guitar, or even beatboxing and use the Convert commands to
generate MIDI that you can use as a starting point for new music.

Converting Audio to MIDI 176

For the most accurate results, we recommend the following:

•Use music that has clear attacks. Notes that fade in or “swell” may not be detected by the
conversion process.

•Work with recordings of isolated instruments. The Convert Drums command, for example,
works best with unaccompanied drum breaks; if other instruments are present, their notes
will be detected as well.

•Use uncompressed, high-quality audio files such as .wav or .aiff. Lossy data formats such
as mp3 may result in unpredictable conversions, unless the recordings are at high bitrates.

Live uses the transient markers (page 141) in the original audio clip to determine the divisions
between notes in the converted MIDI clip. This means that you can “tune” the results of the con-
version by adding, moving, or deleting transient markers in the audio clip before running any of
the Convert commands.

Although each of the commands has been designed for a particular type of musical material,
you can sometimes get very interesting results by applying the “wrong” command. For example,
Convert Harmony will usually create chords. So running it on a monophonic clip (like a vocal re-
cording) will often generate notes that weren’t present in the original audio. This can be a great
way to spark your creativity.

Using Grooves 177

Chapter 12

Using Grooves
The timing and “feel“ of each clip in your Set can be modified through the use of grooves. Live
comes with a large selection of grooves, which appear as .agr files in the browser.

Groove Files in the Browser.

The easiest way to work with library grooves is to drag and drop them from the browser directly
onto clips in your Set. This immediately applies the timing characteristics of the groove file to
the clip. If you want to quickly try out a variety of grooves, you can enable the Hot-Swap but-
ton above a clip’s Clip Groove chooser (page 121) and then step through the grooves in the
browser while the clip plays.

Using Grooves 178

The Hot-Swap Groove Button.

Grooves can be applied to both audio and MIDI clips. In audio clips, grooves work by adjusting
the clip’s warping behavior (page 139), and thus only work on clips with Warp enabled.

12.1 Groove Pool
Once you’ve applied a groove file, you can modify its behavior by adjusting its parameters in
the Groove Pool, which can be opened or closed via its selector button at the bottom of Brows-
er.

The Groove Pool Selector Button.

You can also double-click grooves in the browser to load them directly to the Groove Pool be-
fore applying them to a clip. The Groove Pool contains all grooves that have been loaded in this
way or that are being used in clips. “Inactive“ grooves (those that are not being used by a clip)
appear with their parameters grayed out.

Note: In Live Intro and Lite, grooves can be loaded from the browser and applied to clips, but
cannot be edited in the Groove Pool.

Using Grooves 179

The Groove Pool.

12.1.1 Adjusting Groove Parameters
Grooves in the Groove Pool appear in a list, and offer a variety of parameters that can be modi-
fied in real time to adjust the behavior of any clips that are using them. You can also save and
hot-swap grooves via the buttons next to the Groove’s name.

The Groove Pool’s controls work as follows:

•Base — The Base chooser determines the timing resolution against which the notes in the
groove will be measured. A 1/4 Base, for example, means that the positions of the notes in
the groove file are compared to the nearest quarter note, and all notes in any clips that are
assigned to that groove will be moved proportionally towards the positions of the groove
notes. At a base of 1/8th, the groove’s notes are measured from their nearest eighth note.
Notes in the groove that fall exactly on the grid aren’t moved at all, so the corresponding
notes in your clips will also not be moved.

•Quantize — adjusts the amount of “straight“ quantization that is applied before the groove
is applied. At 100%, the notes in your clips will be snapped to the nearest note values, as
selected in the Base chooser. At 0%, the notes in clips will not be moved from their original
positions before the groove is applied.

•Timing — adjusts how much the groove pattern will affect any clips which are using it.

•Random — adjusts how much random timing fluctuation will be applied to clips using the
selected groove. At low levels, this can be useful for adding subtle “humanization“ to high-
ly quantized, electronic loops. Note that Random applies differing randomization to every
voice in your clip, so notes that originally occurred together will now be randomly offset
both from the grid and from each other.

Using Grooves 180

•Velocity — adjusts how much the velocity of the notes in clips will be affected by the veloc-
ity information stored in the groove file. Note that this slider goes from -100 to +100. At
negative values, the effect of the groove’s velocity will be reversed; loud notes will play
quietly and vice versa.

•Global Amount — this parameter scales the overall intensity of Timing, Random and Veloc-
ity for all of the available groove files. At 100%, the parameters will be applied at their as-
signed values. Note that the Amount slider goes up to 130%, which allows for even more
exaggerated groove effects. If grooves are applied to clips in your Set, the Global Amount
slider will also appear in Live’s Control Bar.

The Global Groove Amount Slider in the Control Bar

12.1.2 Committing Grooves

The Commit Groove Button.

Pressing the Commit button below the Clip Groove chooser “writes“ your groove parameters
to the clip. For MIDI clips, this moves the notes accordingly. For audio clips, this creates Warp
Markers at the appropriate positions in the clip.

After pressing Commit, the clip’s Groove chooser selection is automatically set to None.

Using Grooves 181

12.2 Editing Grooves
The effect that groove files have on your clips is a combination of two factors: the parameter
settings made in the Groove Pool and the positions of the notes in the groove files themselves. To
edit the contents of groove files directly, drag and drop them from the browser or Groove Pool
into a MIDI track. This will create a new MIDI clip, which you can then edit, as you would with
any other MIDI clip. You can then convert the edited clip back into a groove, via the process
below.

12.2.1 Extracting Grooves
The timing and volume information from any audio or MIDI clip can be extracted to create a
new groove. You can do this by dragging the clip to the Groove Pool or via the Extract Groove
command in the clip’s [right-click](PC) / [CTRL-click](Mac) context menu.

Extract Grooves From Audio or MIDI Clips.

Grooves created by extracting will only consider the material in the playing portion of the clip.

Note: grooves cannot be extracted from clips in the Intro and Lite Editions.

12.3 Groove Tips
This section presents some tips for getting the most out of grooves.

Using Grooves 182

12.3.1 Grooving a Single Voice
Drummers will often use variations in the timing of particular instruments in order to create a
convincing beat. For example, playing hi-hats in time but placing snare hits slightly behind the
beat is a good way of creating a laid-back feel. But because groove files apply to an entire clip
at once, this kind of subtlety can be difficult to achieve with a single clip. Provided your clip uses
a Drum or Instrument Rack, one solution can be to extract the chain (page 278) containing the
voice that you want to independently groove. In this example, we’d extract the snare chain, cre-
ating a new clip and track that contained only the snare notes. Then we could apply a different
groove to this new clip.

12.3.2 Non-Destructive Quantization
Grooves can be used to apply real-time, non-destructive quantization to clips. To do this, simply
set the groove’s Timing, Random and Velocity amounts to 0% and adjust its Quantize and Base
parameters to taste. With only Quantize applied, the actual content of the groove is ignored, so
this technique works the same regardless of which Groove file you use.

12.3.3 Creating Texture With Randomization
You can use a groove’s Random parameter to create realistic doublings. This can be particu-
larly useful when creating string textures from single voices. To do this, first duplicate the track
containing the clip that you want to “thicken.“ Then apply a groove to one of the clips and turn
up its Random parameter. When you play the two clips together, each note will be slightly (and
randomly) out of sync with its counterpart on the other track.

Launching Clips 183

Chapter 13

Launching Clips
The Live Session View is set apart by the fact that it gives you, the musician, a spontaneous en-
vironment that encourages performance and improvisation. An important part of how you take
advantage of the Session View lies within how you configure your various Session View clips.
This chapter explains the group of settings used to define how each Session View clip behaves
when triggered, or “launched.“

13.1 The Launch Box
Remember that clips in the Session View are launched by their Clip Launch buttons (page 107)
or remote control (page 515). Clip launch settings are made in the Launch box. The Launch
box only applies to Session View clips, as Arrangement View clips are not launched but played
according to their positions in the Arrangement.

To view the Launch box, open the Clip View (page 117) of a Session View clip by double-
clicking the clip, then activating the leftmost Clip View Box selector panel.

Use the Clip View Box Selector to Bring up the Launch Box.

Launching Clips 184

Note that you can edit the launch settings of more than one clip at the same time by first select-
ing the clips and then opening the Clip View.

13.2 Launch Modes

The Clip Launch Mode Chooser.

The Launch Mode chooser offers a number of options for how clips behave with respect to
mouse clicks, computer keyboard actions or MIDI notes:

•Trigger: down starts the clip; up is ignored.

•Gate: down starts the clip; up stops the clip.

•Toggle: down starts the clip; up is ignored. The clip will stop on the next down.

•Repeat: As long as the mouse switch/key is held, the clip is triggered repeatedly at the clip
quantization rate.

Launching Clips 185

13.3 Clip Launch Quantization

The Clip Quantization Chooser.

The Clip Quantization chooser lets you adjust an onset timing correction for clip triggering. To
disable clip quantization, choose “None.“

To use the Control Bar’s Global Quantization setting, choose “Global.“ Global quantization can
be quickly changed using the [CTRL][6](PC) / [CMD][6](Mac), [7], [8], [9], and [0] shortcuts.

Note that any setting other than “None“ will quantize the clip’s launch when it is triggered by
Follow Actions (page 186).

13.4 Velocity

The Velocity Amount Field.

Launching Clips 186

The Velocity Amount control allows you to adjust the effect of MIDI note velocity on the clip’s
volume: If set to zero, there is no influence; at 100 percent, the softest notes play the clip silently.
For more on playing clips via MIDI, see the respective section (page 515).

13.5 Legato Mode

The Legato Mode Switch.

Suppose you have gathered, in one track, a number of looping clips, and you now want to tog-
gle among them without losing the sync. For this you could use a large quantization setting (one
bar or greater), however, this might limit your musical expression.

Another option, which works even with quantization turned off, is to engage Legato Mode for
the respective clips. When a clip in Legato Mode is launched, it takes over the play position from
whatever clip was played in that track before. Hence, you can toggle clips at any moment and
rate without ever losing the sync.

Legato Mode is very useful for creating breaks, as you can momentarily play alternative loops
and jump back to what was playing in the track before.

Unless all the clips involved play the same sample (differing by clip settings only), you might
hear dropouts when launching clips in Legato Mode. This happens because you are unexpect-
edly jumping to a point in the sample that Live has had no chance to pre-load from disk in ad-
vance. You can remedy this situation by engaging Clip RAM Mode (page 133) for the clips in
question.

13.6 Follow Actions
Follow Actions allow creating chains of clips that can trigger each other in an orderly or random
way (or both). A clip’s Follow Action defines what happens to other clips in the same group after

“Next“ triggers the next clip down in the group. 3. 1. . The Follow Action choosers allow selecting two different Follow Actions. Launching Clips 187 the clip plays. 1 2 3 The Follow Action Controls. As we can see from this example. If a clip has Chance A set to 1 and Chance B set to 0. The Chance A and Chance B controls set the likelihood of each of the two Follow Actions occurring. “Previous“ triggers the previous clip (the one above the current one). A group is defined by clips arranged in successive slots of the same track. Follow Action A will oc- cur every time the clip is launched. The Follow Action Time control defines when the Follow Action takes place in bars-beats- sixteenths from the point in the clip where play starts. this Follow Action triggers the first clip. “Play Again“ restarts the clip. There are eight Follow Actions available: “Stop“ simply stops the clip after it has played for the chosen Follow Action Time. separated by empty slots. 2. If a clip with this setting is last in a group. Note that this overrides clip loop/region settings. Changing Chance B to 10 in this scenario makes Follow Action A occur much less often — approximately once out of every ten clip launches. The default for this setting is one bar. A and B. a Chance setting of 0 means that an action will never happen. Tracks can have an unlimited number of groups.

Use the Edit menu’s Split command (page 104) to split the clip between the non-looping and looping parts. There is also the possibility to have no Follow Action by selecting “No Action. In the following sections we will look at some practical examples and ideas for Follow Actions. Launching Clips 188 “First“ launches the first (top) clip in a group.1 Looping Parts of a Clip Let’s say that you want to play a longer clip. Remember that you can always record (page 227) the results of your experiments.6. Music based on loops or short melodic fragments has a tendency to sound static. 2. but then you want only the last eight bars to loop. Click and drag the resulting two clips into the Session View by letting the mouse cursor hover over the Session View selector. “Other“ is similar to “Any. They now form a Fol- low Action group. “Any“ plays any clip in the group.“ or leaving the chooser blank. Drop the two clips into a track. 13.“ but as long as the current clip is not alone in the group. You can set this up using Follow Actions: 1. so this can provide a good source for new material.“ Fol- low Actions circumvent global quantization but not clip quantization. Drag the clip into the Arrangement View and make sure that the Clip View’s Loop switch is not activated. . Note that a Follow Action happens exactly after the duration that is specified by the Follow Ac- tion Time controls unless clip quantization is set to a value other than “None“ or “Global. Follow Actions allow you to create struc- tures that will repeat but can also be surprising. So why do you need these things? Music is repetition and change. “Last“ launches the last (bottom) clip in a group. no clip will play consecutively.

6. . 13. Activate the Loop switch for the second clip. You will want to make Follow Action Time equal to the clip’s length. Set up Follow Actions for the first clip.“ with smaller relative Chance settings. 3. Cycles can be peppered with occasional rearrangements through the addition of other Follow Actions. 13. 4. leaving Follow Action B alone. Launching Clips 189 2 3 Creating a Group With the Two Clips. the second clip will simply play in a loop until it is stopped. The first clip will now proceed to the second after it has played in its entirety.6. Set the Follow Action A chooser to “Next. If we organize several clips as a group and use the “Play Next Clip“ Fol- low Action with each clip. such as “Any. Now this clip is set up to advance to the looping clip after it plays.“ with a Chance setting of 1. or until we tell them to stop.2 Creating Cycles One of the most obvious possibilities that Follow Actions open up is using a group of samples to form a musical cycle. they will play one after the other ad infinitum.3 Temporarily Looping Clips There are some interesting applications of Follow Actions when it comes to creating temporary musical loops.

5 Mixing up Melodies and Beats You can let Follow Actions perform unpredictable remixes and solos for you: Use a clip contain- ing a beat or melody. for example. Whenever their Follow Actions tell them to move on to another clip in the group. However. but this one can be set to loop. The start and end (page 124) for each clip can be set differently.4 Adding Variations in Sync Paired with clip envelopes (page 291) and warping (page 139). you can set up two Follow Actions with different Chance values in each clip. as Legato Mode will sync the new play position with the old one in beat-time.6. Imagine that you have several identical clips of a melody that form a group. use Follow Actions to randomly trigger clips with different MIDI controller clip envelopes. Launching Clips 190 The default setting for Follow Action is actually a 1:0 chance that “No Action“ happens after the Follow Action Time. Clicking on the clip will play the first bar. and surprise yourself. after a few repetitions.“ The same file can be used in the next clip in the group. But now. when its Follow Action tells it to “Next. . and Fol- low Time is set to one bar. You could. Alter- natively. Follow Actions can be used to create all sorts of interesting variations within a group of similar clips.“ with a Chance of 8. it will eventually come to Action B — “No Action“ — and continue playing the rest of the sample. which means that there is effectively no Follow Action. you can use several different beats or melodies that you want to mix together. Audio clips could morph between different effect or clip transposition settings. for a specified time or until random chance leads to the next clip in the group. imagine a group consisting of one single clip. as can clip envelopes (page 291) and other clip settings.6. The settings and clip envelopes of each clip (or even the actual notes contained in a MIDI clip) can then be slowly adjusted. so that it might then play forever. launch a clip. As long as Follow Action Time in each clip is equal to the length of the clip that you want to play. and they are set up to play in Legato Mode. Or.“ with a Chance of 1. after which it will be very likely that it will play the first bar again. Follow Action A is set to “Play Again. This sec- ond clip can have any manner of Follow Action settings. and copy it so that there are several instances of it forming a group. 13. the melody will not change. so that fine variations in pitch bend or modulation of an instrument or synth could occur as the clips in a group interacted. Using Follow Actions and Legato Mode together provides a powerful way of gradually chang- ing a melody or beat. 13. Follow Action B is set to “No Action. so that the melody goes through a gradual metamorphosis. The clip uses a long sample. a clip can be played from its start to a specific point.

6 Creating Nonrepetitive Structures Follow Actions are great when it comes to sound installations.6. and the clips will interact with each other so that they never quite play in the same order or musical position. Remember that each clip can have two different Follow Actions with corresponding Chance settings.. as they allow you to create struc- tures that play for weeks or months and never exactly repeat. Launching Clips 191 13. You can set the Follow Action Time controls in a series of clips to odd intervals. have fun! ..

Launching Clips 192 .

Audio tracks have an audio input. the In/Out section has the same layout: •The upper chooser pair (“Audio/MIDI From“) selects the track’s input..e. Most routing happens in the mixer’s track In/Out section. •The Monitor radio button selects the monitor mode: the conditions under which the track’s input is heard through the track. The Mixer’s In/Out Section and Mixer Section Selectors. choosers to select a signal source and destination. for every track. . or via the View menu’s In/Out option. which offers. their inputs and outputs).“ The In/Out section can be independently shown or hidden from the Session and Arrangement Views. The mixer’s In/Out section is Live’s “patchbay. For every track that can play clips. Toggle its visibility using the I/O Mixer Section selector. Return tracks receive their input from the respective sends (page 220). and MIDI tracks have a MIDI input. Routing and I/O 193 Chapter 14 Routing and I/O In the context of Live. “routing“ is the setup of the tracks’ signal sources and destinations (i.

for every audio track and MIDI track. and is called the Input/Output Type chooser. choose In. these would be the individual audio/ MIDI inputs and outputs.. or the Input/Output Channel chooser. via the track’s device chain. In our “Ext. a Monitor radio button with the following three options: •The default Auto-monitoring setting does the right thing for most straightforward recording applications: Monitoring is on when the track is armed (record-enabled) (page 227).1 Monitoring “Monitoring. 14. but monitoring is inhibited as long as the track is playing clips. The In/Out section offers. for ex- ternal connections via an audio or MIDI interface). •To permanently monitor the track’s input. they are available from the lower chooser. Routing and I/O 194 •The lower chooser pair (“Audio/MIDI To“) selects the track’s output. All tracks have audio outputs.“ example. Suppose you have set up an audio track to receive its input signal from a guitar. If the track’s output is set to “Master. processed by whatever effects are used (and delayed by whatever latency the audio hardware interface incurs). Audio and MIDI Track Arm Buttons. Within a chooser pair. If this signal type offers sub-selections or channels. Remember that instruments convert MIDI to audio (page 43). the upper chooser selects the signal category (“Ext. except for MIDI tracks without instruments.“ in the context of Live. over your speakers. This setting effectively turns the track into what is called an “Aux“ on some systems: the track is not used for recording but for bringing in a signal from else- .“ for instance. regardless of whether the track is armed or clips are playing.“ you can hear the guitar signal. means passing a track’s input signal on to the track’s output. Monitoring then means that the signal from your live guitar playing actually reaches the track’s output.

Note that the Audio Preferences also provide access to the Channel Configuration dialogs. which can be reached via the Input and Output Channel choosers’ “Configure. If you are recording into Live with monitoring set to “Off. which determine which inputs and outputs are used. Essentially. In“ from the Input Type chooser of an audio track. 14. The list of available inputs and outputs depends on the Audio Preferences. and whether they are available to Live as mono or stereo pairs. it is preferable to work with an audio interface that allows for negligible latencies (a few milliseconds).2.. An “In“ monitoring setting can be easily recognized even when the In/Out section is hidden by the orange color of the track’s Activator switch. even when the track’s input is mono or when the track plays mono samples. a ReWire slave program). pressing one of the Monitor buttons applies this selection to all of the selected tracks.1 Mono/Stereo Conversions When a mono signal is chosen as an audio track’s input. •Monitoring can be turned off altogether by choosing the Off option. 14. otherwise it will record stereo samples. output from the clips is suppressed.2 External Audio In/Out An audio interface’s inputs are selected by choosing “Ext. Setting up the audio interface’s outputs works the same way via the output chooser pair. This is useful when recording acoustic instruments which are monitored “through the air. Routing and I/O 195 where (for instance. any changes you make to these choosers will be applied to all selected tracks. the track will record mono samples.“ you may want to make the Audio Preferences’ Overall Latency adjustment.“ when using an ex- ternal mixing console for monitoring or when using an audio hardware interface with a “direct monitoring“ option that bypasses the computer so as to avoid latency. With this setting. If multiple tracks are selected. The Input Channel chooser then offers the individual input channels.“ option. which is described in the built-in program tutorial on setting up the Audio Preferences.. the Channel Configuration dialog tells Live what it needs to know about how the computer is connected to the other audio components in your studio. Signals in the track’s device chain are always stereo. . If multiple tracks are selected. Generally. Entries in this chooser each have meters next to their names to help you identify signal presence and overload (when the meter flashes red).

To turn the computer MIDI keyboard on. any changes you make to these choosers will be applied to all selected tracks. use the Control Bar’s Computer MIDI Keyboard button. 14.3 External MIDI In/Out MIDI from the outside world is routed into Live just like audio. If multiple MIDI tracks are selected. the corresponding switch in the Track col- umn must be set to On. you can either select a specific MIDI input port or “All Ins. The Input Channel chooser offers the individual input channels of the selected MIDI port and the merged signal of all channels.3. From the Input Type chooser of a MIDI track. You can configure which MIDI ports are made available to Live using the MIDI Ports section of the Link/MIDI Preferences. All available input and output ports are listed here. You can use any number of MIDI ports for track input and output.2 Playing MIDI With the Computer Keyboard The computer keyboard can be used for generating MIDI notes from computer keyboard strokes. Routing and I/O 196 Mono is turned into stereo simply by using the identical signal for left and right channels. . For Live’s tracks to receive/send MIDI from/to a specific MIDI port. the Input Channel chooser also has meters next to every entry to represent activity on the respective input channel. “All Channels. the left and right signals are added together and attenu- ated by 6 dB to avoid clipping.1 The MIDI Ports List in the Preferences The MIDI Ports List in the Preferences. 14.“ As is the case with audio inputs.“ which is the merged input of all external MIDI ports.3. the mixer’s In/Out choosers allow them to be addressed individually. When a track is routed into a mono output. 14. or the [CTRL][Shift][K](PC) / [CMD][Shift[K](Mac) shortcut to the Options menu entry.

3. •The next two keys (C and V) adjust incoming note velocity by intervals of twenty (20.) addresses the Im- pulse percussion sampler’s sample slots (page 431).3 Connecting External Synthesizers Routing MIDI to an external synthesizer is straightforward: The Output Type chooser is set to whatever MIDI port the synthesizer is connected to. 40. 14. 60. then please make sure to check the synthesizer’s “Local Off“ func- tion.) Important: If you are using a keyboard synthesizer both as a master keyboard to play into Live and as a sound generator. as follows: •The leftmost keys (Z and X) adjust the keyboard’s octave range.C. when the computer keyboard is set to send notes between C3 and C4. beginning on the left with the note C3. To prevent this. Every synthesizer has this function.-English keyboard) are used to transpose the note range and to set velocity. The four leftmost letters on the lower row of the keyboard (Z. In addition to routing via a track’s In/Out section. and so on). The black keys on a piano correspond to the upper row of computer keys..S. This means that you can play and record drum patterns right off the computer keyboard. you can turn the computer MIDI keyboard off when it is not needed.. (Note: the External Instrument device is not available in the Intro and Lite Editions. Routing and I/O 197 Activating the Computer MIDI Keyboard. the keys are mapped to MIDI notes such that the center row of the keyboard (ASDF. The center row of letter keys on the keyboard will play notes corresponding to the white keys on a piano. In this case. it is also possible to route from within a track’s device chain by using the External Instrument device (page 429). As it happens. which effectively separates the keyboard from the sound . the Output Channel chooser is used to select which MIDI channel to send on. and V on a U. you can send MIDI out to the external synthesizer and return its audio — all within a single track. Note that when the computer MIDI keyboard is activated. it will “steal“ keys that may have oth- erwise been assigned to remote-control (page 525) elements of the Live interface.X.

The three indicator pairs represent. 2. In every pair. but also about their use. Routing and I/O 198 generator. as well as the MIDI from the clips. MIDI Clock and Timecode signals that are used for synchronizing Live with other sequenc- ers (page 633). As a ReWire master. Note that this set of indicators is only visible when an external sync source has been enabled in the MIDI Ports List in the Preferences. The Control Bar’s MIDI Indicators. 14. . as appropriate. These indicators tell you not only about the presence of signals. allowing you to treat both components as if they were separate devices.3. This allows you to use Live as the hub of your MIDI studio. 14.4 MIDI In/Out Indicators Live’s Control Bar contains three pairs of indicator LEDs that tell you about incoming and outgo- ing MIDI.4 ReWire Slave Routing Live can operate as a ReWire master or slave in cooperation with another ReWire application. and receive audio from. which receives MIDI from the keyboard and dis- patches the incoming MIDI. any ReWire slave applica- tion installed on the same computer. Live can send MIDI to. 3. MIDI messages coming from and going to Live’s MIDI tracks. MIDI messages that are mapped to remote-control Live’s user-interface elements are “eaten up“ by the remote control assignment and will not be passed on to the MIDI tracks. the upper indicator flashes when a MIDI message is received. and the lower indicator flashes when a MIDI message is sent. This is a common cause of confusion that can be easily resolved by looking at the indicators. MIDI messages that are used for remote-controlling Live’s user-interface elements (page 515). from left to right: 1.

start Reason and set up the Reason rack as desired. select the instrument you want to address. Routing and I/O 199 An Audio Track Receiving Audio From and a MIDI Track Sending MIDI to Reason. Set the audio track’s Monitor radio button to “In. Select “Reason“ from the MIDI track’s Output Type chooser. any MIDI that you are playing into Live will arrive in Reason. The Output Channel chooser presents you with a list of the instruments that you currently have in your Reason rack. 4. ready for further processing in Live’s mixer and . Select “Reason“ from the audio track’s Input Type chooser. 5. Select “All Ins“ from the MIDI track’s Input Type chooser. 9.“ 8. which will generate the cor- responding audio back into the audio track. 3. Then. and then route the audio result back into an audio track: 1. 2. Arm the MIDI track. 6. Now. The following example shows how to send MIDI from one of Live’s MIDI tracks into an instrument within Propellerhead’s Reason. First. From the audio track’s Input Channel chooser. select the audio channel that corresponds to the instrument to which you are sending MIDI. 7. start Live.

It can be used to record tracks that include processor-intensive devices. 7. so as to delete the devices. Then. Select “Reason“ from the External Instrument’s first MIDI To chooser. Routing and I/O 200 effects. You can then decide on what exactly you will be resampling and mute. select the audio channel that corre- sponds to the instrument to which you are sending MIDI. or resampled. start Live. From the External Instrument’s Audio From chooser. 6. The second chooser presents you with a list of the instruments that you currently have in your Reason rack. Arm the MIDI track. solo or other- wise adjust the tracks that are feeding the Master output. 4. Resampling can be a fun and useful tool. You will probably want to use the Mas- ter Volume meter to make sure that your level is as high as possible without clipping (indicated by red in the meter).5 Resampling Live’s Master output can be routed into an individual audio track and recorded. select the instrument you want to address. 8. as it lets you create samples from what is currently hap- pening in a Live Set that can then be immediately integrated. The “Resampling“ option in any audio track’s Input Type chooser will route the Master output to that track. Adjust the External Instrument’s Gain knob as necessary. 5. Insert an External Instrument device into a MIDI track. A similar procedure is possible with the External Instrument device. 14. If you want to continue work on the project without reopening Reason. Then you can arm the track and record into any of its empty clip slots (page . 3. 2. The following example shows how to send MIDI from within a track’s device chain and return the audio to the same track: 1. simply record Reason’s audio by arming the audio track and engaging Record Mode. start Reason and set up the Reason rack as desired. or for quickly previewing before rendering to disk (page 63). First.

Until the Set is saved. Via the mixer. This is the method of choice for “many-to-one“ routings such as submixes or several MIDI tracks playing the same instrument. albeit potentially confusing. Both approaches result in Track A’s output being fed into Track B. and we can. 14. they remain at the location specified by the Temporary Folder (page 236). This is possible because every track that can receive an output signal of the appropriate type from Track A shows up in its Out- put Type chooser. Two Ways to Route Track A into Track B. add more tracks that feed their output into Track B. Track B is set up to receive its input signal from Track A. Approach 1 leaves Track B’s in/out settings alone. These routings. Track A is set up to send its output signal to Track B. enable many valuable creative and technical options. under Samples/Recorded. Routing and I/O 201 230). Note that the recording track’s own output will be suppressed while resampling is taking place. soloing Track B will still allow you to hear the . Samples created by resampling will be stored in with the current Set’s Project folder (page 76).6 Internal Routings Live’s mixer and external routing devices allow for inter-track routings. In this scenario. and will not be included in the recording. inter- track routing can work two ways: 1. This works because every track that delivers a signal of the appropriate type appears in Track B’s Input Type chooser. 2. at any time.

Changes to the tapped track’s devices will therefore alter the tapped signal. including those that might also feed into Track B. •Pre FX taps the signal that is coming directly from a track. where they might become panned or have their levels altered by the tracks’ faders.1 Internal Routing Points Signals travel from Live’s tracks into their respective device chains and then into the track mixer. but changes to its mixer settings will not. but before it has been passed back to the track mixer. changes that are made to the tapped track’s devices or mixer have no effect on the tapped signal. Whenever a track’s Audio From input chooser is set to another track (as described in the previ- ous section’s Approach 2). We can easily add more tracks like Track B that all tap Track A’s output. Instrument layering is a good example of such a “one-to-many“ routing setup. Also. 14. on the other hand. what you hear is the output of Track B. Routing and I/O 202 output of the tracks that are feeding it. before it has been passed on to the track’s device chains (FX) or mixer. you can still solo Track A and hear its output signal. after it has passed through its device chains . Post FX or Post Mixer. leaves Track A unaffected except for Track B tapping its output. all other tracks are muted. •Post Mixer taps the final output of a track. •Post FX taps the signal at the output of a track’s device chains (FX). Soloing a track that taps an- other track Pre FX will allow you to hear the tapped track.6. Tap Points for Track Routing. Approach 2. Therefore. the signal received can be tapped from one of three different points chosen from the Input Channel chooser: Pre FX. Techni- cally. In this case. with everything except Track A’s signal removed. Soloing a track that taps an- other track Post FX will allow you to hear the tapped track.

Routing and I/O 203 and mixer. •(Rack Name) | (Chain Name) | Post Mixer — The signal will be tapped from the output of the chain’s mixer. Post FX and Post Mixer) will also be available for every chain within the Rack. Each Rack will also be listed in the Input Channel chooser: •(Rack Name) | (Chain Name) | Pre FX — The signal will be tapped from the point that it enters the Rack. internal routing points will be available for any of the Rack’s return chains. •(Rack Name) | (Chain Name) | Post FX — The signal will be tapped from the end of the chain. internal routing points (Pre FX. before it reaches the chain’s devices. Soloing a track that taps another track Post Mixer will not allow you to hear the tapped track. just before the point where all of the chains in the Rack are summed together to create the Rack’s output. Soloing a track that taps a Chain at any of these points will still allow you to hear the output at that point. Routing Points in Racks Tap Points for Every Chain in a Track. . If a track contains one or more Drum Racks (page 272). but before it passes to the chain’s mixer. If a track has one or more Instrument or Effect Racks (page 261) in its device chain.

Recording MIDI as Audio When working with MIDI and complex software instruments. because we always want to listen to our guitar through this track. As for monitoring. Routing and I/O 204 14.2 Making Use of Internal Routing This section presents several internal routing examples in more detail. We do not record directly into the Guitar track. for example. building up a song track by track. instead we create a couple more tracks to use for recording. however. An Example Setup for Post-Effects Recording. we set the Guitar track’s Monitor radio button to In. Those tracks are all set up to receive their input Post FX from the Guitar track. want to run the guitar signal through effects (a noise gate or an amp model. and record the post-effects signal. We call this track “Guitar“ and drag the desired effects into its device chain. for instance) before the recording stage. Note that we could also tap the Guitar track Post Mixer if we wished to record any level or pan- ning from it. This is easily accomplished by devoting a special audio track for processing and monitoring the incoming guitar signal. It is certainly powerful to have a separate effects chain per track for applying dif- ferent effects to different takes — after the fact. The other tracks’ Monitor radio buttons are set to Off. Post-Effects Recording Let’s say that you are feeding a guitar into Live. . it is sometimes more useful to re- cord the resulting audio than the incoming MIDI. overlaying take onto take. A single MIDI note can prompt.6. no matter what else is going on in Live. You might.

Recording the Output of a Complex Instrument in Audio Tracks. We have one MIDI track hosting the virtual instrument. A setup similar to the one described above (page 204) accomplishes the task. . This output lends itself more to representation as an audio waveform than a single note in a MIDI clip. Creating Submixes Submixing the Individual Drums of a Drum Kit. and we use additional audio tracks to record the audio result of playing the instrument. Routing and I/O 205 Native Instruments’ Absynth to produce something that sounds more like a piece of music than a single tone. particularly when comparing the editing options.

. which outputs to the Master. We could now drag another Simpler into the new track. This is done by selecting the Sends Only option in a track’s Output Type. This automatically creates the necessary output routings and also allows you to hide or show the component tracks. but we would really like to reuse the Simpler from the pad track. The submix track gives us a handy volume control for the entire drum kit. Alternatively. we add a new audio track to submix the drums. so that changing the pad’s sound affects the notes from both tracks. In the mix. but adjusting the volume of the entire drum kit against the rest of the music is less convenient. The correspond- ing return track will then act as a submixer channel. Several MIDI Tracks Playing the Same Instrument Consider a MIDI track containing a virtual instrument — a Simpler playing a pad sound. The individual drum tracks are all set to output to the submix track. you could combine the separate drum tracks into a Group Track (page 218) for even more flexibility. then turning up a Send control as desired. we can easily change the volumes of the individual drums. Routing and I/O 206 Suppose we have the individual drums of a drum kit coming in on separate tracks for multitrack recording. We have already recorded MIDI clips into this track when we realize that we would like to add an independent. parallel take for the same instrument. Therefore. Submixing by setting a track’s Output Type to Sends Only A third possibility is to use Live’s return tracks for submixing. So we add another MIDI track. for ex- ample.

To be precise. but its MIDI is . Routing and I/O 207 Feeding an Additional MIDI Track Into an Existing MIDI Track to Reuse its Instrument. We might be bothered by the fact that muting the pad track (by turning off its Activator switch) also mutes the other MIDI track. With this setup.“ Note that the Output Channel chooser now offers a selection of destinations: We can either feed the new track’s output into the input of the pad track. bypassing the recording and monitoring stage. which is not what we want. We instead select “Simpler Ch. 1“ to send the new track’s MIDI directly to the Simpler. the other track keeps playing. we can choose to record new takes on either track and they will all play the same pad sound. or we can directly address the Simpler. The Instrument Has Been Isolated in a Dedicated Track. This is accomplished by setting the new MIDI track’s Output Type chooser to “Pad. The “Track In“ option in the Output Channel represents the pad track’s input signal (the signal to be record- ed).

This convenience is not standard behavior of most plug-in instru- ments. Post FX and Post Mixer. Tapping Individual Outs From an Instrument Some software instruments. offer multiple audio outputs for the signals they produce. As we are not recording new clips into this track. Impulse mixes the output of its eight sample slots inter- nally and delivers the mix at the instrument’s audio out. This is possible because Im- pulse offers its sample slots as audio sources to other tracks.“ which makes its Arm button disappear and helps to avoid confusion when the mixer’s In/Out section is hidden. Soloing a track that taps one of Impulse’s sample slots will still allow you to hear the output of that slot. Any audio effects following Impulse in the same track process the composite signal. The original pad track now acts as a mere instrument container. like Live’s Impulse percussion sampler. however. Impulse’s eight individual outputs. in addition to Pre FX. . Notice that routing an individual output from Impulse into another track automatically takes this signal out of Impulse’s own internal mix. Routing and I/O 208 played by an instrument that is out of the mix. Sometimes it is desirable to take an individual drum sound out of the mix for individual effects processing and mixing. By default. labeled according to the sample used in each slot. we can set its Input Type chooser to “No Input. We simply create an audio track and select from its Input Type chooser the track with the Im- pulse. The Input Channel chooser now offers. Using Impulse’s Individual Outs to Separately Process Sample Slots. This can be easily remedied by cutting the clips from the pad track and pasting them into a third track that can be independently muted (and that can hold its own MIDI effects).

Usually. and its Output Channel chooser refer- encing the target MIDI channel. 2. One MIDI track hosts the multi-timbral instrument. 3. Sending MIDI from the mixer to a multi-timbral instrument is a variation of a case described above (page 206). A multi-timbral instrument is like sev- eral instruments in one. as described earlier (page 208). Select the track that contains the instrument in the first MIDI To chooser on the External Instrument device. the instrument might offer a submixer of its own. Insert the multi-timbral instrument on a MIDI track. with each component “part“ (or whatever term the manufacturer uses) receiving MIDI on a separate MIDI channel. Or. Tracks Feeding MIDI to and Tapping Audio From the Parts of a Multi-Timbral Instrument. This scenario eliminates the need to create an ad- ditional audio track for each tapped output: 1. . It is also possible to use the External Instrument device to route MIDI to (and audio from) the secondary outputs on multi-timbral plug-ins. Routing and I/O 209 Using Multi-Timbral Plug-In Instruments Many plug-in instruments support multi-timbral operation. the multi-timbral instrument offers indi- vidual outputs so that the parts can be separately routed into the mixer. Additional audio tracks can then be used to tap the instrument’s individual outputs. Insert an External Instrument device on another MIDI track. Each additional MIDI track has its Output Type chooser pointed to the track that contains the instrument. and additional MIDI tracks are used to feed its individual parts.

Routing a Speech Signal Into a Vocoder’s Sidechain Input. It has a sidechain input for the speech signal. spoken word) onto another signal. for instance a string pad. for instance. Select the MIDI channel to route to in the second chooser on the External Instrument de- vice. . Note that the main outputs of the multi-timbral instrument will still output to the track that contains the instrument — only auxiliary outputs are available to the External Instrument device. Feeding the sidechain audio input works as described above. Repeat steps 2-5 to feed and tap additional components of your multi-timbral instrument. Routing and I/O 210 4. The vocoder is inserted as an audio effect into the string track. From the External Instrument’s Audio From chooser. which has to be delivered from another track. we create an additional audio track named “Speech“ and set its Output Type chooser to the “Strings“ track. the only difference from the above procedure is that the vocoder instrument is dragged into a MIDI track. Feeding Sidechain Inputs Some effects have so-called “sidechain inputs. Some vocoder plug-ins include a built-in synthesizer to generate the “carrier“ signal. You could also put the entire system of External Instrument devices into a single track.“ A vocoder. In this case. imposes spectral char- acteristics taken from one signal (say. 5. select a secondary output on the in- strument to which you are sending MIDI. we select the vocoder’s sidechain input. by placing each one in a Rack’s device chain. So. From the Output Channel chooser.

given that the string track’s output is audio and not MIDI. This can be easily done by adding a MIDI track that contains an instrument playing the brass sound and setting its Input Type chooser to tap the string track’s Post FX signal. . and just before the instrument. Layering Instruments Suppose that we have a MIDI track containing an instrument playing a string sound. which is after any MIDI Effects. we are tapping the MIDI at the latest possible stage. Thus when using these devices. When routing MIDI in from another track. Using an Auxiliary MIDI Track to Layer Instruments. which we would like to augment by adding a brass sound playing the same notes. it is not necessary to follow the above procedure — you can simply select the sidechain source from within the device itself. Routing and I/O 211 A number of Ableton’s built-in devices have their own sidechain controls with integrated routing choosers that match those found in tracks. Perhaps you wonder why this works.

Routing and I/O 212 .

In the Arrangement View. unfold the track using the button next to its name. the mixer appears as a horizontal strip to the right of the track area. To display all mixer controls for a track. and adjust its height accordingly.1 The Live Mixer Live includes a mixer section that is accessible from two views: The Arrangement View Mixer. Mixing 213 Chapter 15 Mixing 15. .

The Session View is a standard vertical mixer layout. Note that the [Tab] key toggles between the Arrangement and Session Views if you’re working with a single window. The View menu options listed below show or hide mixer components. You can use different mixer view setups in the Session View and in the Arrangement View: •In/Out •Sends •Returns •Mixer •Track Delays •Crossfader The Mixer Section selectors on the right-hand side of the screen duplicate the View Menu com- mands. which allows you to see your Ar- rangement while using the Session mixer. If you’re working with two windows. . the [Tab] key swaps the Arrangement and Session between the windows. which you may find more intuitive than the Arrangement mixer. making it possible to quickly show or hide different mixer components. Mixing 214 The Session View Mixer.

pressing any of their Solo switches will solo all of them. With multiple tracks selected. . it shows peak and RMS input levels. With multiple tracks selected. To mute the track’s output. With multiple tracks selected. Otherwise. The Pan control positions the track’s output in the stereo field. While monitoring. adjusting the volume of one of them will adjust the others as well. 1. Let’s look at the mixer controls: 5 6 3 4 1 2 4 1 5 6 2 3 The Mixer Controls. adjusting the pan knob for one of them will adjust the others as well. but can also be used for cueing (page 224). The Volume control adjusts the track’s output level. click on its associated triangle. tracks can only be soloed one at a time unless the [CTRL](PC) / [CMD] (Mac) modifier is held down or the Exclusive Solo option in the Record/Warp/Launch Preferences is deactivated. 5. Peak meters show sudden changes in level. while RMS meters give a better impression of perceived loudness. toggling one of their Track Activators will toggle the others as well. Mixing 215 The Mixer Section Selectors. turn off the Track Activator switch. 3. The Solo switch solos the track by muting all other tracks. The Meter shows both peak and RMS output levels for the track. With multiple tracks selected. 4. 2. To reset the Pan control to center. how- ever.

or when saving audio to a file. The only time that signals over 0 dB will be problematic is when routing to or from physical inputs and outputs. pressing any of their Arm switches will arm all of them. inserting an instrument into a new or empty MIDI track will automatically arm the track. With multiple tracks selected. . These enhancements are tailored for use in traditional mixing settings. 15. Because of the enormous headroom of Live’s 32-bit floating point audio engine. tracks can only be armed one at a time unless the [CTRL](PC) / [CMD](Mac) modifier is held down or the Exclusive Arm option in the Record/Warp/Launch Preferences is deactivated. The mixer is resizable. Increasing a track’s width in this state will add a decibel scale alongside the meter’s tick marks. With Exclusive Arm enabled. Live’s meters can be driven far “into the red“ without causing the signals to clip. The Mixer section of the Session Mixer has several additional features that are not visible by default. the track is record-enabled (page 227). like those of your sound card. and dragging upwards on the top of the mixer will extend the height of the track meters. adding tick marks. Mixing 216 6. Otherwise.1 Session Mixer Features The Session Mixer’s Possibilities. but are available anytime the Mixer section is displayed. If the Arm Recording button is on. a numeric volume field and resettable peak level indicators.1.

they will be collapsed to- . When a # symbol precedes a name. respectively. 15.g. One such command is Rename. Mixing 217 Nevertheless. or click and drag on their edges to change their width (in the Session View) or height (in the Arrangement View). You can add new audio and MIDI tracks to your Live Set’s mixer using the appropriate Create menu commands. If you drag a selection of nonadjacent tracks. Tracks are Represented by Track Title Bars. as explained earlier (page 35). Tracks can also be created by double-clicking or pressing [Enter] on files in the browser to load them. Live provides this optional visual feedback for signals that travel beyond 0 dB in any track. You can drag tracks by their title bars to rearrange them.2 Audio and MIDI Tracks Audio and MIDI tracks in Live are for hosting and playing clips. Adding additional # symbols will prepend the track number with additional zeros. the track will get a number that updates automatically when the track is moved. You can click on a track title bar to select the track and then execute an Edit menu command on the track. One can quickly rename a series of tracks by executing this command (or the Rename shortcut [CTRL][R] (PC) / [CMD][R](Mac)) and then using the [Tab] key to move from title bar to title bar. A track is represented by its track title bar. Devices or files loaded into Live in this manner will cre- ate tracks of the appropriate type (e. You can also enter your own info text (page 25) for a track via the Edit Info Text command in the Edit menu or in the tracks’s [right-click](PC) / [CTRL-click](Mac) context menu.. Multiple adjacent or nonadjacent tracks can be selected at once by [Shift]-clicking or [CTRL]- clicking. a MIDI track will be created if a MIDI file or effect is dragged in). or by dragging objects from the Browser into the space to the right of Session View tracks or below Arrangement View tracks.

Tracks are deleted using the Edit menu’s Delete command.3 Group Tracks You can combine any number of “normal“ audio or MIDI tracks into a special kind of summing container called a Group Track. but they are similar to audio tracks in that they have mixer controls and can host audio effects. Group Tracks cannot contain clips. select the tracks to include and ex- ecute the Edit menu’s Group Tracks command. use [CTRL] + arrow keys instead of the mouse. You can then type in a name for the newly created Set or confirm the one suggested by Live with [Enter]. If the tracks in the multi-selection have differing values for any particular knob or slider parameter (volume. This can help you to organize large Sets by hiding away tracks that you don’t need to see. When multiple tracks are selected. Mixing 218 gether when dropped. for example). this difference will be maintained as you adjust the parameter. If a track contains au- dio clips. Live will manage the copying of the referenced sampled into this new location based on the selection in the Collect Files on Export chooser (page 83). To create a Group Track. adjusting one of their mixer controls will adjust the same con- trol for the other tracks. Group Tracks provide a quick way to create submixes (page 205). If you drag a track’s title bar to the Browser it will be saved as a new Set. . To move nonadjacent tracks without collapsing. 15. and also offer the ability to fold and unfold their contained clip tracks via the button in the title bar.

“) You can also use a Group Track purely as a “folder“ track by rerouting the outputs of the contained tracks to some other destination. slots in Group Tracks have launch and stop buttons whenever at least one clip is available in a given scene. Mixing 219 An Unfolded Group Track Visualized in Session View. Group Tracks in Arrangement View show an overview of the clips in the contained tracks. Delet- ing a Group Track deletes all of its contents. Likewise. When tracks are placed into a group.. to a destination other than “Master.e. In Session View. but a group can be dissolved back into individual tracks by executing the Edit Menu’s Ungroup Tracks command. Launching or stopping this button has the same effect as launching or stopping all contained clips.. tracks can be dragged into or out of the group. their Audio To routing choosers (page 201) are auto- matically assigned to “Group“ unless they already had a custom routing (i. selecting a Group Slot serves as a shortcut for selecting all of the contained clips.. Once a Group Track has been created..and in Arrangement View. . .

but allow for more flexible signal processing and routing. independently of the main mix. The “Pre“ setting allows you to create an auxiliary mix that is processed in the return track. allowing you to create feedback. [right-click](PC) / [CTRL-click](Mac) on a Return track’s Send knob and select Enable Send or Enable All Sends. the pan.4 Return Tracks and the Master Track In addition to Group Tracks and tracks that play clips. For example. the Send controls in Return tracks are disabled by default. The return tracks and the Master track occupy the right-hand side of the Session mixer view and the bottom end of the Arrangement View. Note that you can hide and show the return tracks using the Returns command in the View menu. Because runaway feedback can boost the level dramatically and unexpectedly. If you drag the ef- fect into a clip track. the returns and the Master can host effects devices. What’s more. these cannot play clips. even the return track’s own output can be routed to its input.. Mixing 220 15. whereas a clip track’s effect processes only the audio within that track. Like the “normal“ clip tracks. Every return track has a Pre/Post toggle that determines if the signal a clip track sends to it is tapped before or after the mixer stage (i. . A clip or group track’s Send control regulates how much of the track’s output feeds the associat- ed return track’s input. To enable them. However. a Live Set has a Master track and return tracks.e. As the return track can be routed to a separate output. suppose you want to create rhythmic echoes with a delay effect. return tracks can process audio sent to them from numerous tracks. Placing this effect in a return track lets it receive audio from any number of tracks and add echoes to them. this can be used to set up a separate monitor mix for an individual musician in a band. volume and track-active controls). only clips playing in this track will be echoed. The Send Controls and Pre/Post Toggle.

Live’s crossfader works like a typical DJ-mixer crossfader. Drag effects here to process the mixed signal before it goes to the master output. The crossfader is accessed via the Session View’s mixer selectors. You can create multiple return tracks using the Create menu’s Insert Return Track command. . then select an entry from the con- text menu. but any number of tracks — including the returns. To change the curve. there is only one Master track.5 Using Live’s Crossfader Live includes a crossfader that can create smooth transitions between clips playing on different tracks. It features seven different crossfade curves so that you can choose the one that fits your style the best. The Crossfader and Selector. [right-click](PC) / [CTRL-click](Mac) on the crossfader. Mixing 221 The Master track is the default destination for the signals from all other tracks. except that it allows crossfad- ing not only two. but by definition. 15. such as compression and/or EQ. Effects in the Master track usually provide mastering-related functions.

In addition to the crossfader’s central slider. its absolute left and right positions are . A+B Power Level Crossfader Response Transition Dipped Intermediate Constant Power Slow Fade Slow Cut Fast Cut Crossfader Curve Properties. The chart below details the power level and response of each crossfader curve. Mixing 222 Choose from Seven Crossfader Curves. The crossfader can be mapped to any continuous MIDI controller (absolute or incremental) (page 515).

you can think of the crossfader as an on-the-fly VCA group. The track can have three states with re- spect to the crossfader: •If neither Assign button is on. To edit each track’s crossfade assignment. There are two special scenarios for remote control with respect to the crossfader: •A key mapped to any one of the three assignable crossfader positions (left. Mixing 223 separately available for MIDI or keyboard mapping. Each track has two Crossfade Assign buttons. Crossfade Assign Buttons. As the crossfader moves toward the right across the center position. if B is on. the track’s volume will be affected only as the crossfader moves left across its center position. the track fades out. It is important to understand that the Crossfade Assign buttons do not affect the signal routing: The crossfader merely influences the signal volume at each track’s gain stage. As with almost everything in Live. the track will be played unattenuated as long as the crossfader is in the left half of its value range. the crossfader does not affect the track at all. At the crossfader’s rightmost position. your crossfading maneuvers can be recorded into the Ar- rangement (page 281) for later in-depth editing. center or right) will toggle the crossfader’s absolute left and right positions. •If A is on. •Mapping to two of the three fields allows for a “snapping back“ behavior when one of the assigned keys is held down and the other is pressed and released. The track can be routed to an individual output bus regardless of its crossfade assignment. the track is muted. In studio parlance. A and B. •Likewise. please choose “Mixer“ from the Envelope Device chooser and “X-Fade Assign“ from the Control .

Mixing 224 chooser. Soloing a return track mutes the main output of all other tracks. The signal from the soloed tracks is heard through their respective outputs. before bringing tracks into the mix. provided that the Solo in Place option is enabled in the Solo button’s [right-click](PC) / [CTRL-click](Mac) context menu. This allows choosing clips and adjusting effects without the audience hearing. 15.6 Soloing and Cueing By default. . Soloing a clip track leaves any return tracks audible. The crossfader’s automation curve is accessible when “Mixer“ is chosen from the Mas- ter track’s Device chooser and “Crossfade“ is selected from its Control chooser. In order to set Live up for cueing. The respective settings are accessible in the Ses- sion View mixer. Live allows you to replace the standard soloing operation with a cueing operation that lets you preview tracks as though you were cueing a record on a DJ mixer. but still allows you to hear any signals that arrive at the return via track sends. Make sure you have the Mixer and In/Out options checked in the View menu. 4 5 3 2 1 The Cueing-Related Session Mixer Controls. with the pan setting of each track preserved. soloing a track simply mutes all other tracks (except in some cases where tracks are feeding other tracks (page 201)). you must be using an audio interface with at least four dedicat- ed outputs (or two dedicated stereo outputs). Solo in Place can also be set as the default behavior by selecting the entry in the Options menu.

We do not recommend changing track delays on stage. When a track’s Cue switch is pressed.“ 4. The tracks’ Solo switches are now replaced by Cue switches with headphone icons. If the desired outputs don’t show up in these choosers. as it could result in undesirable clicks or pops in the audio signal. The control allows delaying or pre-de- laying the output of tracks in milliseconds in order to compensate for human. The Master Out chooser selects the output on your interface to be used as the main output. Mixing 225 1.7 Track Delays A Track Delay control is available for every track in Live. acoustic. The Cue Volume control adjusts the volume of the cueing output. hardware and other real-world delays. The Cue Out chooser selects the output on your hardware interface to be used for cueing. Note that when cueing is set up and activated. . 5. This section of the interface can be shown or hidden using its respective Mixer Section selector. Note that the Track Activator switch on the same track still controls whether or not the track is heard at the Master output. The Track Delay Control and Selector. please check the Audio Preferences. 15. the output of audio files that you are previewing in the browser is also heard through the Cue Out. Activate cueing by setting the Solo/Cue Mode switch to “Cue. that track’s output signal will be heard through the output selected in the Cue Out chooser. This has to be set to an output other than that selected for the Master. 2. however track delays can be used in the Arrangement View for such offsets. 3. Micro-offsets in Session View clips can be achieved using the nudge buttons in the Clip View (page 122).

Note that the Track Delay controls are unavail- able when device delay compensation is deactivated. You may also find that adjusting the individual track delays is useful in these cases. you may want to try turning off device delay compensation. . Unusually high Track Delay settings or reported latencies from plug- ins may cause noticeable sluggishness in the software. Mixing 226 Note that delay compensation for plug-ins and Live devices is a separate feature (page 258). and is automatic by default. however this is not normally recommended. If you are having latency-related difficul- ties while recording and playing back instruments.

Note that this is a different kind of recording than the capturing of Session clips into the Arrangement (page 114). you must therefore use either an audio interface with a preamp. For more on this.) The Track In/Out Section in the Arrangement (Left) and Session View (Right). Recording New Clips 227 Chapter 16 Recording New Clips This chapter is about recording new clips from audio and MIDI input signals. keep in mind that devices such as microphones. or an external preamp. meaning that they will need to have their levels boosted before they can be recorded. . For these devices. guitars and turntables do not operate at line level. please see the built-in program lesson on setting up Audio Preferences. 16. which appears when the View menu’s In/Out option is checked. unfold and resize the track in order to completely see the In/Out section. Also. For successful audio recording. MIDI tracks default to recording all MIDI that is coming in through the active external input devices (page 196).1 Choosing an Input A track will record whatever input source is shown in its In/Out section. Audio tracks default to recording a mono signal from external input 1 or 2. please make sure the audio preferences are set up properly. (In the Arrangement View.

Recording New Clips 228

The computer keyboard is, by default, activated as a pseudo-MIDI input device (page 196),
allowing you to record MIDI even if no MIDI controller hardware is currently available.

For every track, you can choose an input source other than the default: any mono or stereo ex-
ternal input, a specific MIDI channel from a specific MIDI-in device, audio from ReWire slave
programs or a signal coming from another track. The Routing chapter (page 193) describes
these options in detail.

16.2 Arming (Record-Enabling) Tracks

Track Arm Buttons in the Arrangement (Left) and Session (Right) Mixers.

To select a track for recording, click on its Arm button. It doesn’t matter if you click a track’s
Arm button in the Session View or in the Arrangement View, since the two share the same set of
tracks.

By default, armed tracks are monitored, meaning that their input is passed through their device
chain and to the output, so that you can listen to what is being recorded. This behavior is called
“auto-monitoring“ and you can change it to fit your needs (page 194).

If you are using a natively supported control surface, arming a MIDI track will automatically lock
this control surface to the instrument in the track (page 516).

Clicking one track’s Arm button unarms all other tracks unless the [CTRL](PC) / [CMD](Mac)
modifier is held. If multiple tracks are selected, clicking one of their Arm buttons will arm the
other tracks as well. Arming a track selects the track so you can readily access its devices in the
Device View.

Recording New Clips 229

16.3 Recording
Recording can be done in both the Session and the Arrangement Views. If you want to record
onto more than one track simultaneously and/or prefer viewing the recording linearly and in-
progress, the Arrangement View may be the better choice. If you want to break your recording
seamlessly into multiple clips or record while you are also launching clips in Live, use the Session
View.

16.3.1 Recording Into the Arrangement

6
1 3 2
4 5

Recording Into the Arrangement.

1. Pressing the Control Bar’s Arrangement Record button starts recording. The specific behav-
ior depends on the state of the “Start Playback with Record” button in the Record/Warp/
Launch preferences. When enabled, recording starts as soon as the button is pressed.
When disabled, recording will not start until the Play button is pressed (or Session clips are
launched.) Tip: regardless of the state of this preference, holding [Shift] while pressing Ar-
rangement Record will engage the opposite behavior.

2. Recording creates new clips in all tracks that have their Arm button on.

3. When MIDI Arrangement Overdub is enabled, new MIDI clips contain a mix of the signal
already in the track and the new input signal. Note that overdubbing only applies to MIDI
tracks.

4. To prevent recording prior to a punch-in point, activate the Punch-In switch. This is useful
for protecting the parts of a track that you do not want to record over and allows you to set
up a pre-roll or “warm-up“ time. The punch-in point is identical to the Arrangement Loop’s

Recording New Clips 230

start position.

5. Likewise, to prevent recording after the punch-out point, activate the Punch-Out switch. The
punch-out point is identical to the Arrangement Loop’s end position.

6. When you are recording into the Arrangement Loop (page 96), Live retains the audio
recorded during each pass.

You can later “unroll“ a loop recording, either by repeatedly using the Edit menu’s Undo com-
mand or graphically in the Clip View: After loop recording, double-click on the new clip. In the
Clip View’s Sample Display, you can see a long sample containing all audio recorded during
the loop-recording process. The Clip View’s loop brace defines the audio taken in the last pass;
moving the markers left lets you audition the audio from previous passes.

16.3.2 Recording Into Session Slots
You can record new clips, on the fly, into any Session slots.

3 6
1 5 4 2

Recording Into the Session View.

Recording New Clips 231

1. Set the Global Quantization chooser to any value other than “None“ to obtain correctly
cut clips.

2. Activate the Arm button for the tracks onto which you want to record. Clip Record buttons
will appear in the empty slots of the armed tracks.

3. Click the Session Record button to record into the selected scene in all armed tracks. A
new clip will appear in each clip slot, with a red Clip Launch button that shows it is cur-
rently recording. To go from recording immediately into loop playback, press the Session
Record button again.

4. Alternatively, you can click on any of the Clip Record buttons to record into that slot. To go
from recording immediately into loop playback, press the clip’s Launch button.

5. To stop a clip entirely, press its Clip Stop button or the Stop button in the Control Bar.

6. To stop playback and prepare for a new “take,” press the New button. This stops the clips
in all armed tracks selects a scene where new clips can be recorded, creating a new scene
if necessary.

Note that, by default, launching a Session View scene will not activate recording in empty re-
cord-enabled slots belonging to that scene. However, you can use the Start Recording on Scene
Launch option from the Record/Warp/Launch Preferences to tell Live that you do want empty
scene slots to record under these circumstances.

16.3.3 Overdub Recording MIDI Patterns
Live makes pattern-oriented recording of drums and the like quite easy. Using Live’s Impulse
instrument and the following technique, you can successively build up drum patterns while listen-
ing to the result. Or, using an instrument such as Simpler, which allows for chromatic playing,
you can build up melodies or harmonies, note by note.

1. Set the Global Quantization chooser to one bar.

2. To automatically quantize the notes you are about to record, choose an appropriate value
for Record Quantization (page 234).

3. Double-click any of the Session View slots in the desired MIDI track (the one containing
the Impulse or other instrument). A new, empty clip will appear in the slot. The new clip will
default to a loop length of one bar, but you can change that by double-clicking the clip

Recording New Clips 232

and changing its loop properties (page 135).

4. Arm the track.

5. Press the Session Record button.

6. The notes you play are added into the looping clip, and you can observe your recording in
the Clip View.

7. The clip overdubs as it loops, allowing you to build your pattern layer by layer. However, if
you would like to pause recording for a moment to rehearse, you can deactivate overdub-
bing by pressing the Session Record button again. The contents of the clip will continue
to play, but you can play along without being recorded. When you are ready to record
again, press the Session Record button once again. Subsequent presses of the Session
Record button will toggle between playback and overdub.

Note that holding [ALT](PC) / [ALT](Mac) while double-clicking the empty slot to create a new
clip will implicitly arm the track and launch the clip.

At any time while overdub recording is going on, you can use the Undo command to remove the
last take, or even draw, move or delete notes in the Clip View’s Note Editor.

16.3.4 MIDI Step Recording
The MIDI Editor allows you to record notes with the transport stopped by holding down keys on
your controller or computer MIDI keyboard and advancing the insert marker according to the
grid settings. This process, known as step recording, allows you to enter notes at your own pace,
without needing to listen to a metronome or guide track.

Recording New Clips 233

2 1 3

Step Recording in the MIDI Editor.

1. Arm the MIDI track that contains the clip into which you want to record.

2. Enable the Preview switch in the clip’s MIDI Editor.

3. Click in the MIDI Editor to place the insert marker at the position where you want to begin
recording.

Pressing the right arrow key on your computer keyboard will move the insert marker to the right,
according to the grid settings. Any notes that are held down as you press the right arrow key will
be added to the clip. If you continue holding notes as you press the right arrow key again, you
will extend their duration. To delete notes that you’ve just recorded, keep them depressed and
press the left arrow key.

The step recording navigators can also be MIDI mapped (page 236).

16.4 Recording in Sync
Live keeps the audio and MIDI you have recorded in sync, even when you later decide on a
different song tempo. In fact, Live allows you to change the tempo at any time before, after and

Recording New Clips 234

even during recording. You could, for instance, cheat a bit by turning down the tempo to record
a technically difficult part, and pull it up again afterwards.

It is important to record in sync to make sure everything will later play in sync.

The Metronome Switch.

The easiest way to record in sync is to play along with or to use the built-in metronome, which is
activated via its Control Bar switch and will begin ticking when the Play button is pressed or a
clip is launched.

The Preview Volume Knob.

To adjust the metronome volume, use the mixer’s Preview Volume knob.

Notice that Live’s metrical interpretation of the material in a clip can be edited, at any time, using
Warp Markers. Warp Markers can be used to fix timing errors and to change the groove or feel
of your audio or MIDI recordings. Using Warp Markers, you can fix things that would otherwise
require complicated editing or could not be done at all.

16.5 Recording Quantized MIDI Notes
If you will be recording MIDI, you have the option of automatically quantizing MIDI notes while
recording. The Record Quantization chooser in the Edit menu allows selecting the meter subdivi-
sions with which your recorded notes will align. When recording into the Arrangement, record
quantization is an independent step in Live’s Undo history. This means that if, for example, you

Recording New Clips 235

recorded with Record Quantization set to “Eighth Note Triplet Quantization“ and then changed
your mind, using the Edit menu’s Undo command would undo only the quantization and leave
your recording otherwise intact.

For Session and Arrangement recording, the Record Quantization setting cannot be changed
mid-recording.

When overdub recording with the Clip View Loop activated, changes to the Record Quantiza-
tion take effect immediately, and they cannot be separately undone with the Edit menu com-
mand.

Recorded MIDI notes can also be quantized post-recording with the Edit menu’s Quantize com-
mand, as described in the chapter on editing MIDI (page 164).

16.6 Recording with Count-in
A count-in for recording can be set via the pull-down menu next to the Metronome switch. When
set to any value other than “None,“ Live will not begin recording until the count-in is complete.
The Arrangement Position fields in the Control Bar display the count-in in orange as bars-beats-
sixteenths.

The Count-In is Displayed in the Control Bar.

The count-in runs from negative bars-beats-sixteenths (beginning at -2.1.1., for example, with a
Count-In setting of 2 bars) up to 1.1.1., at which point recording commences.

Note that count-in recording does not apply when using Link or when Live is synced to external
MIDI devices or being used as a ReWire slave (page 633).

Recording New Clips 236

16.7 Setting up File Types
The following Preferences from the Record/Warp/Launch tab are relevant to the sample files
that are created by recording:

•The sample file type you would like Live to create can be chosen from the File Type choos-
er in the Record/Warp/Launch Preferences.

•The bit depth of the sample file you will create by recording can be chosen from the Bit
Depth chooser in the Record/Warp/Launch Preferences.

You can save time by setting up reasonable defaults for the clips you are recording in the Re-
cord/Warp/Launch Preferences tab. In particular, it is smart to indicate the rough category of
sound to be recorded by choosing the appropriate default Warp Mode. If you decide later on a
different song tempo, the program will automatically maintain good sound quality (page 149),
usually without further adjustment.

16.8 Where are the Recorded Samples?
Recorded samples are stored with the current Set’s Project folder, under Samples/Recorded.
Until the Set is saved, it remains at the location specified by the Temporary Folder preference
which is found in the Preferences’ File/Folder tab. To make sure Live will not run out of disk space
while recording into a new Set, please make sure the Temporary Folder is on a drive/partition
with sufficient free space.

16.9 Using Remote Control for Recording
Using Key Map Mode and MIDI Map Mode (page 515), you can operate Live’s recording
functions without using the mouse.

You can map the Control Bar’s Arrangement Record and transport controls as well as the track
Arm buttons. For recording into the Session slots, you can map the Session Record and New but-
tons, the individual slots, and the relative navigation controls to initiate recording remotely; for
instance:

Recording New Clips 237

The Scene Up/Down Buttons.

One key is used to jump to the next scene...

A Track Launch Button.

... and another key to start and end recording in the respective track.

You can also map the step recording navigators (page 232).

The Step Recording Arrows.

This allows you to, for example, use MIDI foot pedals to move the clip’s insert marker, thereby
keeping both hands free for playing a keyboard.

Recording New Clips 238

Working with Instruments and Effects 239

Chapter 17

Working with Instruments and
Effects
Every track in Live can host a number of devices. These devices can be of three different sorts:

•MIDI effects act upon MIDI signals and can only be placed in MIDI tracks.

•Audio effects act upon audio signals and can be placed in audio tracks. They can also be
placed in MIDI tracks as long as they are “downstream“ from an instrument.

•Instruments are devices that reside in MIDI tracks, receive MIDI and output audio.

The Device View is where you insert, view and adjust the devices for the selected track. To select
a track and open the Device View to access its devices, double-click the track’s name. The De-
vice View appears in the bottom area of the Live screen.

Devices in the Device View.

Working with Instruments and Effects 240

To save space in the Device View, a device can be collapsed by double-clicking on its title bar
or by choosing Fold from its [right-click](PC) / [CTRL-click](Mac) context menu.

Devices Can Be Folded.

To learn about a particular device and how to operate it, consult the Live Audio Effect Reference
(page 311), Live MIDI Effect Reference (page 391) or the Live Instrument Reference (page
403).

To learn about creating and using custom groupings of instruments and effects, check out the
Instrument, Drum and Effect Racks chapter (page 261).

Get “hands-on“ with devices by assigning their parameters to MIDI or key remote control (page
515).

and MIDI Effects each have their own labels in the browser’s sidebar. the track’s Arm button in the mixer must be activated in order to hear the input through the de- vices in your track’s device chain. The easiest way to place a device in a track is to double-click on it in the browser. You will notice that Live’s Synths. Working with Instruments and Effects 241 17. this is normally activated automatically when inserting an instrument. then select a device or preset in the browser and press [Enter] to add it to the selected track. or into the Device View. Audio Effects. select a destination track by clicking within it.1 Using the Live Devices Devices in Live’s Browser. MIDI and Audio Track Arm Buttons. Alternatively. Dragging a sample to the Device View of a MIDI track creates a Simpler instrument with this sample loaded. Live’s built-in devices can be accessed in the browser. On MIDI tracks. . which creates a new track to hold the device. Note: If you are using an external input signal to feed your Live track using the default settings. You can also drag devices into tracks or drop areas in the Session and Arrangement Views.

or use a MIDI keyboard’s input to play a track’s instrument. Pasted devices are inserted in front of the selected device. If you have alternative monitoring preferences. or select Delete from the Edit menu. please see the Monitoring section (page 194) to learn how to make these set- tings. Working with Instruments and Effects 242 This is how you would play live instruments through effects on a track. If you drop an instrument into a MIDI track’s device chain. Devices can be moved to other tracks entirely by dragging them from the Device View into the Session or Arrangement Views. To add another device to the track. keeping in mind that the order of effects determines the resulting sound. To change the order of devices. and finally audio effects. Signals preceding (to the left of) the instrument are MIDI signals. click on its title bar and press your computer’s [Backspace] or [Delete] key. You can drop audio effects in at any point in an audio track’s device chain. for example. A MIDI Track’s Device Chain Can Contain All Three Device Types. You can paste at the end of a device chain . copy. be aware that signals following (to the right of) the instrument are audio signals. then an instrument. simply drag it there or double-click its name to append it to the device chain. Edit menu commands such as cut. This means that it’s possible for a MIDI track’s device chain to hold all three types of devices: first MIDI effects. available only to MIDI effects. available only to audio effects. drag a de- vice by its title bar and drop it next to any of the other devices in the Device View. Signals in a device chain always travel from left to right. To remove a device from the chain. The same is true for a MIDI track’s device chain. Note that you can easily move from this setup into recording new clips for further use in Live (page 227). paste and duplicate can be used on devices.

For more information. Note that no clipping can occur between devices because there is practically unlimited head- room. including information on using return tracks to distribute the effect of a single device amongst several tracks. or the device can be turned off or removed. it might also be interesting to . These meters are helpful in finding problematic devices in the device chain: Low or absent signals will be revealed by the level meters. please refer to the CPU load section (page 641). Devices are turned on and off using their Activator switches. Clipping can occur when an overly strong signal is sent to a physical output or written to a sample file. Generally. After reading about using devices in Live. and the device does not consume CPU cycles. Live devices generally do not load down the CPU unless they are active. reordered and deleted without interrupting the audio stream. Devices in Live’s tracks have input and output level meters. devices can be placed. Device Activator Switches. The Level Meters Between Devices in a Chain. Turning a device off is like tempo- rarily deleting it: The signal remains unprocessed. The Freeze Track command discussed there is especially helpful when working with CPU-intensive devices. or by using the right arrow key to move the selec- tion there. and relevant device settings can then be adjusted. Working with Instruments and Effects 243 by clicking in the space after the last device. Further information about track types in Live can be found in the Routing and I/O chapter (page 193).

Pressing [Q] or clicking a device’s Hot-Swap Presets button will temporarily link the browser to a device and reveal its presets. select the parent folder of its presets (i. the one with the device’s name) from the browser.1.e. 17. To load a device’s default factory settings. In Hot-Swap Mode. . Working with Instruments and Effects 244 look into clip envelopes (page 291). With the device and browser linked in this manner. devices and presets are loaded au- tomatically upon selection in the browser. Each device ap- pears in the content pane of the browser as a folder that can be opened to reveal its presets. Presets in the Browser. •Press [Enter] to load a device or preset. you can quickly browse and audition different presets.1 Live Device Presets Every Live device can store and retrieve their parameter settings as presets.. •Close and open device folders using the left and right arrow keys. which can automate or modulate individual device pa- rameters on a per-clip basis. You can browse and load presets quickly with the computer keyboard: •Scroll up and down using the up and down arrow keys.

If no device was selected. To cancel preset saving. The link between the browser and the device will be broken if a different view is selected. swap will be enabled from the first audio effect (on audio tracks) or the instrument (on MIDI tracks). or you can type one of your own. Saving Presets You can create and save any number of your own presets in the browser’s User Library. please see the Managing Files and Sets chapter (page 53). The Hot-Swap Presets Button. presets can also be dropped directly into Live from the Explorer (Windows)/Finder (Mac). You can also save presets to specific folders in the Places section of the browser (such as your Current Project folder) by dragging from the title bar of the device and dropping into the brows- er location of your choice. Preset hot-swapping can also be cancelled with a press of the [Esc] key or by pressing the close button in the Hot-Swap bar at the top of the browser. or if the [Q] key or the Hot-Swap button is pressed again. You will be redirected to the browser. Click the Save Preset button to save a device’s current settings (including any custom info text) as a new preset. where you can press [Enter] to use Live’s suggested name. For detailed information on what can be done with the browser. For more on how to store project-specific presets. . press the [Esc] key. Note that although importing via the browser is the recommended method. see the ap- propriate section (page 79). The Save Preset Button. Working with Instruments and Effects 245 Note that pressing [Q] to enter Hot-Swap mode will swap from the last selected device on a given track.

Live will ask you before overwriting it.“ This works for all of Live’s instruments. slicing. The Default Presets folders in the User Library. open the [right-click](PC) / [CTRL-click](Mac) context menu on the device’s header and select “Save as Default Preset. There are also Defaults folders that allow you to: •customize how Live responds to various user actions. and converting audio to MIDI. To save the current settings of a Live device as a default preset. Working with Instruments and Effects 246 Default Presets Presets saved to the Defaults folders in your User Library will load in place of the generic device settings. •cause newly-created MIDI and audio tracks to load with certain devices already in place. such as sample dropping. complete with custom parameter settings. •load VST and Audio Units plug-ins with a specific collection of parameters already config- ured in Live’s panel. MIDI effects and audio effects (including the various types of Racks (page 261)). To create a default configuration preset for a VST or Audio Unit plug-in: •Load the selected plug-in to a track . If you have already saved a default preset for a particular device.

Drum Rack pad de- faults can also be saved via a [right-click](PC) / [CTRL-click](Mac) context menu option on a Drum Rack’s pad To adjust how Live behaves when slicing an audio file: •Create an empty Drum Rack •Add an empty Simpler or Sampler to the Drum Rack to create a single chain •Add any additional MIDI or Audio Effects to this chain . Note that default presets for plug-ins do not save the settings of the configured parameters. Working with Instruments and Effects 247 •From the plug-in’s Configure Mode (page 252). if you would like your default track to be empty) •Adjust the device parameters as you like •Open the [right-click](PC) / [CTRL-click](Mac) context menu on the track header and se- lect “Save as Default [Audio/MIDI] Track” To specify how Live behaves when dragging a sample to a Drum Rack or the Device View of a MIDI track: •Create an empty Simpler or Sampler •Adjust the parameters as you like •Drag the edited device to the “On Drum Rack“ or “On Device View“ folder. you can create separate default configuration presets for each type. which can be found in the Defaults/Dropping Samples folders in your User Library. only the parameter configuration within Live’s panel is saved. To create default presets for MIDI and audio tracks: •Load the device(s) you would like as default onto a track (or no devices. set up your desired collection of param- eters •Open the [right-click](PC) / [CTRL-click](Mac) context menu on the track header and se- lect “Save as Default Configuration” If you have both VST and Audio Units versions of a particular plug-in installed.

group them to a Rack •Drag the entire Rack to the appropriate folder in Defaults/Audio to MIDI in your User Li- brary In addition to these “master” default presets. To create Project-specific default presets: •Recreate the Defaults folder and any desired subfolders within the Project folder. whenever you’ve loaded a Set from this Project. Working with Instruments and Effects 248 •Adjust parameters in any of the devices •Assign Macro Controls (page 276) to any of the controls in the chain’s devices •Drag the entire Drum Rack to the Defaults/Slicing folder in your User Library You can create multiple slicing presets and choose between them in the Slicing Preset chooser in the slicing dialog. •Save the device or track to the appropriate folder in your Project-specific Defaults folder. Harmony. This can be useful if. but without overwriting the more generalized default presets you use for your other types of work. etc. Now. (Note that default presets for converting drums must contain a Drum Rack) •Add any additional MIDI or Audio Effects to the track •Adjust parameters in any of the devices •If you’re using multiple devices. you can also create default presets that are specific to only one Project. Note that slicing is not available in the Intro and Lite Editions. and would like to create variations of the Set which will also have access to these presets. any default presets that you’ve saved into these Project folders will be used instead of those found in the User Library. To create default presets for converting Drums. for example. or Melody to MIDI (page 174): •Create a MIDI track containing the instrument you would like to use as your default for a particular conversion type. •Depending on which types of Project-specific defaults you’d like to work with. adjust the corresponding device parameters. track settings. you’re using specialized device or track configurations for a particular Set. Note that the [right- .

Plug-in audio effects can only be placed in audio tracks or fol- lowing instruments. for details. Plug-Ins in the Browser.2 Using Plug-Ins The collection of devices that you can use in Live can be extended with plug-ins. Note: The first time you start Live. Activating your plug-in sources tells Live which plug-ins you . as they appear with a keyboard icon. factory presets for Audio Units will only appear in the browser once the device has been placed in a track and its Hot-Swap button activated. they will receive MIDI and output audio signals. and so cannot be used to save Project-specific defaults. Plug- in instruments can be differentiated from plug-in effects in the browser. 17. as well as the Audio Units (AU) Plug-ins format (Mac OS X only). VST and AU instruments can only be placed in Live MIDI tracks and. Live supports Steinberg Media’s VST Plug-ins format. Note that plug-in presets are only available in the browser for Audio Units Plug-ins. Please see the previous section. In some instances. Using the Live Devices (page 241). Working with Instruments and Effects 249 click](PC) / [CTRL-click](Mac) context menu options for saving default presets will save them to your main User Library. Working with VST and Audio Units Plug-ins is very much like working with Live devices. Audio Units and VST Plug-ins are browsed and imported using the browser’s Plug-In label. no plug-ins will appear in the Plug-In label as you must first “activate“ your plug-in sources. like Live instruments.

a Live panel will represent all of the param- eters as horizontal sliders. Once a plug-in is dragged from the browser into a track. Live will not detect your changes or implement them in the browser until the next time you start the program.1 Plug-Ins in the Device View A VST Plug-In in the Device View. Information on activating (and de- activating) plug-in sources can be found later in this chapter. it will show up in the Device View. If you install/de-install a plug-in while the program is running. Working with Instruments and Effects 250 want to use and where they are located on your computer. The plug-in’s original interface can be opened in a separate window (page 251).2. 17. Use the Rescan but- ton in the File/Folder Preferences to rescan your plug-ins while Live is running. Note for “Intel® Mac“ users: Intel® Mac computers cannot natively run VST or AU plug-ins that have been written for the PowerPC platform. . which you can then configure to show the parameters you want to access. For plug-ins with fewer than 32 modifiable parameters. in the sections on the VST Plug-in folder (page 254) and Audio Units Plug-ins (page 257). Holding down the [ALT](PC) / [ALT](Mac) modifier while pressing Rescan will delete your plug- in database altogether and run a clean scan of your plug-ins. Plug-ins that contain more than 32 parameters will open with an emp- ty panel. You can also rescan if you believe that your plug-in database has somehow become corrupted. Only plug-ins of type Universal or Intel® can be used in Live. so that newly installed devices become immediately available in the browser.

To assign any two plug-in parameters to the Live panel X-Y field. Even with this option off. Changing parameters on the floating window has the same effect as changing them in the Live panel. the Auto-Open Plug-In Custom Editor Preference assures that plug-in custom editor windows open automatically when plug-ins are loaded into tracks from the browser. Working with Instruments and Effects 251 The Plug-In Unfold Button. You can view or hide the plug-in’s parameters by toggling the button in the plug-in’s title bar. •If the Multiple Plug-In Windows option in the Plug-In Preferences is activated. Showing Plug-In Panels in Separate Windows The Plug-In Edit Button. you can open any number of plug-in windows at once. use the drop-down menus directly beneath it. There are a few important Plug-In Preference settings for working with plug-in edit windows: •If activated. •Using the Auto-Hide Plug-In Windows preference. you can choose to have Live display . and vice versa. The X-Y control field can be used to control two plug-in parameters at once and is therefore especially well-suited for live control. The Plug-In Edit button opens a floating window that shows the original VST or Audio Units Plug- in panel. you can hold down the [CTRL](PC) / [CMD](Mac) modifier when opening a new plug-in window to keep the previous window(s) from closing.

parameters in Live’s panel can be reordered or moved by dragging and dropping them to new locations. clip envelopes. Racks can then be . •Click on a parameter in the plug-in edit window to add it to Live’s panel. and are saved with the Set. Live will warn you before proceeding. Parameters can be deleted by pressing the [Delete] key. If you try to delete a parameter that has existing automation data. (For some plug- ins. key or Macro mappings. If you would like to save a setup using a particular collection of param- eters. Working with Instruments and Effects 252 only those plug-in windows belonging to the track that is currently selected. Plug-In Configure Mode The Configure Button. Notice that the name of the track to which the plug-in belongs is displayed in the title bar of the plug-in editor window. To do this: •Enter Configure Mode by pressing the “Configure“ button in the device’s header. it may be necessary to actually change the parameter’s value.) While in Configure Mode. The parameters that you assign are unique for each instance of a given plug-in in your Set. Configure Mode allows you to customize Live’s panel to show only the plug-in parameters that you need to access. certain plug-ins do not “publish“ all of their parameters to Live. You can use the View menu’s Show/Hide Plug-In Windows command or the [CTRL][ALT][P](PC) / [CMD][ALT][P](Mac) shortcut to hide and show your open plug-in windows. or MIDI. you can create a Rack (page 261) containing the configured plug-in. Additionally. These parameters cannot be added to Live’s panel.

key or Macro mapping mode. automation data is recorded automatically. For these plug-ins. Certain plug-ins do not have their own windows. •You can create custom info text for the plug-in. •You can drag or copy the device to different locations in the device chain or to other tracks. . either edit the parameter’s automation or clip envelope. according to the rules of audio effects and instruments. •When a parameter is changed on a plug-in’s edit window during recording. See the Routing and I/O chapter (page 193) for details. select another parameter in the automation or clip envelope choosers or select the temporary parameter in one of the X-Y field’s choosers. and instead only show their parameters in Live’s panel. as well as the choosers in the panel’s X-Y field. •When in MIDI. These entries are removed when you adjust another parameter. To make the entry permanent (thus adding it to Live’s panel). Once a plug-in is placed in a track and you have (optionally) configured its parameters in Live’s panel. When recording is stopped. the automated parameters are automatically added to Live’s panels for any plug-ins that were adjusted. you can use it just like a Live device: •You can map MIDI controller messages to all of the parameters in Live’s panel. allowing you to map it immediately. •You can automate or modulate its continuous parameters with clip envelopes. The new panel entry will be automatically selected. it is not possible to delete parameters when in Configure Mode (although they can still be moved and reordered). Working with Instruments and Effects 253 saved to your User Library and loaded into other Sets. adjusting any parameter in the plug-in’s window will create it in Live’s panel. You can also save a particular parameter configuration as a default preset (page 246). There are several ways to add plug-in parameters to Live’s panel without entering Configure Mode: •Adjusting a parameter in the plug-in’s floating window creates temporary entries for that parameter in the clip envelope and automation choosers. •You can use the multiple I/O features of some plug-ins by assigning them as sources or targets in the routing setup of tracks.

3 VST Plug-Ins 17. The editor window will then appear as a “normal“ applica- tion window. There you will find the Plug- In Sources section. For Windows. rather than as a floating window. press the Activate button in the browser’s Plug-In panel. Setting up VST Plug-In Sources for Windows. and receive your typing. on Windows. then reopening it normally before working with the plug-in parameters.](PC) / [CMD][. This is generally an implementation error in the plug-in itself. If it is necessary to type into a plug-in window. 2. you may also have to tell Live about the location of the VST Plug-in folder containing the devices you want to use. Use the VST Plug-In Custom Folder entry to tell Live about the location of your VST Plug-ins: Click the Browse button to open a folder-search dialog for locating and selecting the ap- propriate folder. 17. for instance for entering a serial number or unlock code. . proceed as follows: 1.1 The VST Plug-In Folder When you start Live for the first time. Once you have selected a VST Custom Folder and Live has scanned it. or open the File/Folder Preferences by pressing [CTRL][. Live may have found a path in the registry without the need for browsing. Working with Instruments and Effects 254 Macintosh only: The floating editor windows of some VST Plug-ins do not receive computer key strokes.3. Note that. We recommend clos- ing the window after you have finished typing. Depending on your computer platform.](Mac). you will need to activate your VST Plug-in sources before working with VST Plug-ins. In order to set up your VST sources. hold down [Shift] while clicking the Plug-In Edit button. the path will be displayed. Note that this function- ality is intended only as a workaround for the limitations of such plug-ins.

To do this. Set up your VST Plug-ins under Mac OS X by doing the following: 1. the browser will display all plug-ins it finds in the selected VST Plug-in folder(s) as well as any sub-folders. click the Browse button next to the VST Plug-In Custom Folder entry to open a folder-search dialog for lo- cating and selecting the appropriate folder. You may have an alternative folder in which you store your VST Plug-ins (perhaps those that you use only with Live). You can turn Live’s use of these plug-ins on or off with the Use VST Plug-ins in System Folders option. those in the System folders. Once you have configured your Plug-In Preferences. . Your VST Plug-ins will normally be installed in the following folder in your home and local directories: /Library/Audio/Plug-Ins/VST. create a Mac OS or Windows alias of the folder where additional VST Plug-ins are stored. Note that you can turn off your VST Plug-ins in this folder using the Use VST Plug-In Custom folder option. Setting up VST Plug-In Sources for Mac OS X. 2. It is also possible to use VST Plug-ins stored in different folders on your computer. Working with Instruments and Effects 255 3.“ so that your se- lected folder is an active source for VST Plug-ins in Live. Make sure that the Use VST Plug-In Custom Folder option is set to “On. or instead of. To tell Live about the location of this folder. Note that you can choose not to use your VST Plug-ins in Live by turning off the Use VST Plug-In Custom Folder option. and then place the alias in the VST Plug-In Custom folder (or in the VST Plug-In System folder on Mac OS X) selected in Live’s File/Folder Preferences. Live will scan the set VST Plug-in folder as well as any alias folders contained therein. The alias can point to a different partition or hard drive on your computer. You can use VST Plug-ins in this folder in addition to. 3.

The VST Plug-In Program Chooser. If you choose to rescan and they crash the program a second time. Live will automatically make them unavailable. Then type in a new program name and confirm by pressing [Enter]. 17. . you may be given the choice between performing another scan or making the problem- atic plug-in unavailable. these may cause the program to crash. When you re-launching Live. To rename the current program. Depending on what Live detects about the plug-in. all changes to the plug-in’s controls become part of the selected program. meaning that they will not appear in the browser and will not be rescanned again until they are reinstalled.3. a dialog will appear to inform you about which plug-in caused the problem.2 VST Programs and Banks Every VST Plug-in instance “owns“ a bank of programs. the VST programs “belong“ to this specific instance of the VST Plug-in. that is. Working with Instruments and Effects 256 Some VST Plug-ins contain errors or are incompatible with Live. use the chooser below the title bar. A program is meant to contain one com- plete set of values for the plug-in’s controls. select the VST’s Device Title Bar and execute the Edit menu’s Rename Plug-In Program command. The number of programs per bank is fixed. Note that VST programs are different from Live device presets: Whereas the presets for a Live device are shared among all instances and Live Sets. VST programs and banks can be imported from files. You are always working “in“ the currently selected program. Renaming a VST Plug-In Program. Clicking a VST’s Load Program or Bank button brings up a standard file-open dialog for locating the desired file. During the scanning process. To select a program from the plug-in’s bank.

or go to the File/Folder Preferences by pressing [CTRL][. In most respects. There you will find the Plug-In Sources section. Windows only: Please select from the File Type menu whether you want to locate VST Device Program files or VST Device Bank files. Working with Instruments and Effects 257 The VST Load Program or Bank Button (Left) and Save Program or Bank Button (Right).](Mac). In order to acti- vate your Audio Units as a plug-in source. please press the Activate button in the browser’s Plug- In label. Audio Units Plug-ins will not appear in the browser. An Audio Units Plug-In. Turning on the Use Audio Units option activates Audio Units Plug-ins so that they appear in Live’s browser. 17. click the VST Save Program or Bank button to bring up a standard file-save dialog.4 Audio Units Plug-Ins Audio Units Plug-ins are only available in Mac OS X. they operate just like VST Plug-ins. select a folder and name. select “VST Program“ from the Format menu (Macintosh)/ from the File Type menu (Windows). The first time you open Live. For saving the entire bank as a file. To save the currently selected program as a file.](PC) / [CMD][. proceed likewise but choose “VST Bank“ as a file type/format. .

aupreset extension and are stored in the following directory ac- cording to their manufacturer’s name: [Home]/Library/Audio/Presets/[Manufacturer Name]/[Plug-in Name] 17. . Activating Audio Units Plug-Ins. which is opened using the Plug-In Edit button. Audio Units have presets that function just like those for the Live effects. You might be able to choose. Opening an Audio Units Plug-In Window. The compensation algorithm keeps Live’s tracks in sync while minimizing delay between the player’s actions and the audible result.5 Device Delay Compensation Live automatically compensates for delays caused by Live and plug-in instruments and effects. as they are read-only. Working with Instruments and Effects 258 Note that you can always turn this option off later if you decide not to use Audio Units. Audio Units Plug-ins sometimes have a feature that allows choosing between different modes for the device. for example. some AU pre- sets cannot be dragged to different locations in the browser. Choosers for these device modes can only be accessed through the origi- nal plug-in panel. including those on the return tracks. between different levels of quality in the rendering of a reverb. These delays can arise from the time taken by devices to process an input signal and output a result. However. Audio Units presets have an .

Note that device delay compensation can. increase the CPU load. the Reduced Latency When Monitoring option is available in the Options menu. This option toggles latency compensation on and off for tracks which have in- put monitoring on. use the Delay Compensation option in the Options menu. however this is not normally recommended. Note that tempo-synced effects and other devices that get timing information from Live’s internal clock may sound out of sync if they are placed in a device chain after devices which cause de- lay. you may want to try turning off device delay compensation. but please note that the Track Delay controls are unavailable when device delay compensation is deactivated. but may be out of sync with some other tracks in your Set (such as Return tracks. input-monitored tracks will have the lowest possible latency. Working with Instruments and Effects 259 Device delay compensation is on by default and does not normally have to be adjusted in any way. which are still delay compensated. If you are having latency-related difficulties while recording and playing back instruments. . depending on the number of tracks and devices in use. However. When enabled. You may also find that adjusting the individual track delays is useful in these cases. all tracks will be in sync. Live Sets that were created with Live 4 or earlier will open without device delay compensation.) When disabled. When Delay Compensation is on. but input-monitored tracks may have higher latency. To manually turn latency compensation on (or off). Unusually high individual track delays (page 225) or reported latencies from plug-ins may cause noticeable sluggishness in the software.

Working with Instruments and Effects 260 .

they can extend the abilities of even a single device by defining new control relationships between its parameters. dynamic performance instruments. can no longer be opened in older versions of Live. once saved. . While Racks excel at handling multiple devices. Racks greatly expand upon the concept of device groups introduced in Live 5. stacked synthesizers and more. Racks can be used to build complex signal processors. A Rack is a flexible tool for working with effects. The device groups of any Live Sets imported from Live 5 are automatically converted to Racks. Instrument. Drum and Effect Racks Inside An Audio Effect Rack. Drum and Effect Racks 261 Chapter 18 Instrument. plug-ins and instruments in a track’s device chain. Yet they also streamline your device chain by bringing together your most essential controls. Note that these Live Sets.

When a track has multiple chains. left to right. passing their signals from one device to the next. devices are connected serially in a device chain. but there is actually no limit to the number of chains contained within a track. they operate in parallel: In Instrument and Effect Racks. Drum Racks also allow multiple parallel chains to be used simultaneously. each chain receives the same input signal at the same time. producing the Rack’s output. The output of each of the parallel chains is mixed together. but their chains pro- cess input somewhat differently: Rather than receiving the same input signals.1 An Overview of Racks 18. In any of Live’s tracks. If more devices are placed after a Rack in a track’s de- vice chain. Drum and Effect Racks 262 18. Racks allow (among other things) additional device chains to be added to any track. as usual. the Device View displays only a single chain. Instrument. and Racks can contain any number of other Racks. This means that adding a new Rack at any point in a device chain is no different than adding any other device.1 Signal Flow and Parallel Device Chains Inside An Audio Effect Rack. the Rack’s output is passed on to them. but then processes its signal serially through its own devices.1. By default. . The entire contents of any Rack can be thought of as a single device. each Drum Rack chain receives input from only a single assigned MIDI note.

2 Macro Controls The Macro Controls. The Macro Controls are a bank of eight knobs. •Audio Effect Racks contain only audio effects. For the greatest degree of expression. each capable of addressing any number of parameters from any devices in a Rack. Drum and Effect Racks 263 18. and hiding it away behind a single customized interface. Instrument. try MIDI-mapping (page 520) the Macro Controls to an external control surface. multi- parameter morphs of rhythm and timbre. Audio Effect Racks and MIDI Effect Racks. Just as with track types.2 Creating Racks Four Rack variants cover the range of Live’s devices: Instrument Racks. They can also be placed in MIDI tracks. by making an important device parameter more accessible. Drum Racks. and can only be placed in MIDI tracks. as long as they are “downstream“ from an instrument. for defining exotic. One unique property of Racks are their Macro Controls. See Using the Macro Controls (page 276) for a detailed explanation of how to do this. How you use them is up to you — whether it be for con- venience. 18. or for constructing a mega-synth.1. and can be placed in audio tracks. each kind of Rack has rules regarding the devices it contains: •MIDI Effect Racks contain only MIDI effects. .

the contents of Racks are always contained between end brackets: Just as with punctuation or in mathematics. Devices can then be dropped directly into the Rack’s Chain List or Devices view. A new. . Instrument. which are introduced in the next section. Do- ing this also creates a Rack within a Rack. followed by an instrument. Drum Racks can also contain up to six return chains of audio effects. but can additionally contain both MIDI and audio effects. they can contain instruments as well as MIDI and audio effects and their devices must be ordered according to the same signal flow rules. empty Rack can be created by dragging a generic Rack preset (“Audio Effect Rack. and then use the Edit menu or the context menu to access the Ungroup command.3 Looking at Racks 1 2 3 4 5 Components of an Effect Rack. In the Device View. a Rack within a Rack will have a pair of brackets within a pair of brackets. To ungroup devices. Note that if you repeat this command again on the same device. and [right-click](PC) / [CTRL-click](Mac) on one of the title bars to reveal the Group and Group to Drum Rack commands in the context menu. then simply select the title bars of those devices in the Device View. Drum and Effect Racks 264 •Instrument Racks contain instruments. you will create a Rack within a Rack. with independent send levels for each chain in the main Rack. You can also group multiple chains within a Rack using the same procedure. •Drum Racks (page 272) are similar to Instrument Racks. all MIDI effects have to be at the beginning of the Instrument Rack’s device chain. and then any audio effects. In this case. 18. There are different ways to create Racks. dismantling their Racks.“ for example) from the browser into a track. If a track already has one or more devices that you would like to group into a Rack. select the Rack’s title bar.

simply select it by its title bar (as opposed to the title bars of any devices that it contains). This has the same effect as choosing Fold from the [right-click] (PC) / [CTRL-click](Mac) context menu or double-clicking on the Rack’s title bar. Devices 5. In Drum Racks. Racks have distinct views that can be shown or hidden as needed. its title bar will fold into the view column. 4. the end bracket visually detaches itself to keep the Rack hierarchy clear. 2. a Rack can also be renamed by using the Edit menu’s Rename command. When the Devices view is shown. and a hierarchical list of all devices in the track’s device chain will . You can also enter your own info text for a Rack via the Edit Info Text command in the Edit menu or in the Racks’s [right-click](PC) / [CTRL-click](Mac) context menu. Drum and Effect Racks 265 1 2 6 3 4 5 Components of a Drum Rack. 6. 1. The ac- tual view selectors available differ depending on whether an Instrument. Instrument. Therefore. every Rack has a view column on its far left side that holds the corresponding view selectors. which bracket and enclose their content. To move. Chain List. Racks are also identifiable by their round corners. When selected. this view can include both drum chains and return chains. If you would like to locate a particular device in a Rack without searching manually through its entire contents. Pad View (page 274). When all of a Rack’s views are hidden. Drum or Effect Rack is being used. copy or delete an entire Rack at once. making the entire Rack as slim as possible. Macro Controls 3. you will appreciate this navigation shortcut: [right-click](PC) / [CTRL-click](Mac) on the Device View selector. This is unique to Drum Racks.

We will therefore also choose this point for our own introduction. The Chain List represents the branching point for incoming signals: Each parallel device chain starts here. where new chains can be added by dragging and dropping presets. devices. Below the list is a drop area. Instrument. as an entry in the list. As signals enter a Rack. they are first greeted by the Chain List. or even pre-existing chains. 18.4 Chain List The Chain List in an Audio Effect Rack. . Simply select an entry from the list. Drum and Effect Racks 266 appear. Navigate Racks Quickly Via a Context Menu. and Live will select that device and move it into view for you.

The Chain List also supports multi-selection of chains. Auto Select works in conjunction with . You can give a chain a descriptive name by selecting it. In this case. Chains in Instru- ment. Each chain has its own Chain Activator. for convenient copying. In Instrument and Effect Racks. When the Auto Select switch is activated. its Device View will open. Selecting a chain. organizing and regrouping. and you’ll find that you can quickly flip through the contents of a Rack. You can also enter your own info text for a chain via the Edit Info Text command in the Edit menu or in the chain’s [right-click] (PC) / [CTRL-click](Mac) context menu. and even between tracks. In Drum Racks. then dragging and hovering over another Session or Ar- rangement View track will give that track focus.4. 18. this feature will select a chain if it receives its assigned MIDI input note. the Chain List also serves as a navigational aid: The list selection determines what will be shown in the adjacent Devices view (when enabled). chains and devices can be freely dragged into and out of other Racks. Instrument. Like Live Clips. then choosing the Edit menu’s Rename command. Drum and Effect Racks 267 Note: Racks. the Devices view will indicate how many chains are currently selected. Try using your computer keyboard’s up and down arrow keys to change the selection in the Chain List.1 Auto Select Auto Select in an Audio Effect Rack. allowing you to drop your chain into place. The context menu also contains a color palette where you can choose a custom chain color. Drum and Audio Effect Racks also have their own volume and pan sliders. Since the Device View can show only one device chain at a time. every chain that is currently processing signals be- comes selected in the Chain List. entire chains can be saved and recalled as presets in the browser. and Drum Rack chains have additional send level and MIDI assignment controls. as well as Solo and Hot-Swap buttons.

a velocity zone and a chain select zone. Every chain in a MIDI Effect Rack has three zones: a key zone.5 Zones Zones are sets of data filters that reside at the input of every chain in an Instrument or Effect Rack. 3. 2. never requiring your attention. main section. They can be reconfig- ured. while moving is accomplished by clicking and dragging a zone from anywhere except its edges. 18. and is quite helpful when troubleshooting complex configura- tions. Together. Zones contain a lower. Our MIDI Effect Rack resides in the device chain of a MIDI track.1 Signal Flow through Zones To understand how zones work. and a narrow upper section that defines fade ranges. All MIDI data in the track is passed to its device chain. Before any MIDI data can enter a device chain. Drum and Effect Racks 268 zones. since these two zone types filter MIDI data only. and Chain Select. We will assume that it contains four parallel device chains. . and therefore processes MIDI signals. whose editors are toggled with the buttons above the Chain List. they determine the range of values that can pass through to the device chain. let’s examine the signal flow in a MIDI Effect Rack. By default. used for resizing and moving the zone itself. Instrument. zones behave transparently. and therefore into the input of the MIDI Effect Rack. The three types of zones. Our MIDI Effect Rack has four device chains. Velocity. 1. The adjacent Hide button whisks them out of sight. Drum Racks have no zones at all. Note: Audio Effect Racks do not have key or velocity zones. it must be able to pass through every zone in that chain.5. which are discussed next. are Key. however. 18. to form sophisticated control setups. Resizing of either section is done by clicking and drag- ging on its right or left edges. each containing one MIDI effect. they filter MIDI notes based on choosers in their chain lists. all of which receive the same MIDI data at the same time. Likewise.

If a note also lies within both of these zones. if it does not.5. The output of all parallel chains is mixed together to produce the MIDI Effect Rack’s final output. If there happened to be another device following after the Rack in the track’s de- vice chain. The zones of individual chains may occupy any number of keys.2 Key Zones The Key Zone Editor. Instrument. . An incoming MIDI note gets compared to a chain’s key zone. If the MIDI note lies within the key zone. il- lustrating how each chain maps to the full MIDI note range (nearly 11 octaves). allowing for flexible “keyboard split“ setups. 5. The same comparisons are made for the chain’s velocity and chain select zones. Chains will only respond to MIDI notes that lie within their key zone. the Key Zone Editor appears to the right of the Chain List. 18. Key zone fade ranges attenuate the velocities of notes entering a chain. then it is passed to the input of the first device in that chain. it would now receive the Rack’s output for processing. Drum and Effect Racks 269 4. When the Key button is selected. it is passed to the next zone for comparison. then we already know that the note will not be passed to that chain’s devices. 6.

Activating the Chain button in an Instrument or Effect Rack displays the Chain Select Editor. however. which allow you to filter chains spontaneously via a single parameter. the functionality here is identical to that of the Key Zone Editor. Each chain in an Instrument Rack or MIDI Effect Rack also has a velocity zone. Otherwise.5. Above the value scale. The editor has a scale of 0-127.3 Velocity Zones The Velocity Zone Editor. Velocity zone fade ranges attenuate the velocities of notes entering a chain. Drum and Effect Racks 270 18.5. MIDI Note On velocity is measured on a scale of 1-127. similar to the Velocity Zone Editor. 18. . you will find a draggable indicator known as the Chain selector. The Velocity Zone Editor. These Racks have chain select zones. and this value range spans the top of the editor.4 Chain Select Zones The Chain Select Editor. replaces the Key Zone Editor to the right of the Chain List. when displayed. Instrument. specifying the range of MIDI Note On velocities that it will respond to.

and the default value is 0. Again. enable the Chain Selector Filters MIDI Ctrl option. So what happens. we will use a Rack with four chains as our starting point. the chain’s output volume is attenuated to zero while the Chain selector is outside of the zone. . we can quickly create “preset banks“ using the Chain Select Editor. Unlike the other zone types. fade ranges attenuate the vol- ume level at each chain’s output. Each of the four chains contain different effects that we would like to be able to switch between. available in the context menu [right-click](PC) / [CTRL-click] (Mac) of a Rack’s Chain Select Ruler. although all chains in a Rack re- ceive input signals. which both output audio signals. Drum and Effect Racks 271 The chain select zone is a data filter just like the other zones. Instrument. Let’s consider how we can make use of chain select zones in a performance situation: Making Preset Banks Using Chain Select Using Chain Select Zones to Create Effects Presets. From this setup. By default. the output volume is not attenuated. If the zone had no fade range. In Instrument Racks and Audio Effect Racks. then. To make this a “hands-on“ experience. allowing the chain’s effects (like long reverb tails or delays) to fade out according to their own settings. only those with chain select zones that overlap the current value of the Chain selector can be addressed and thereby produce output. ignoring all other incoming MIDI events (such as MIDI CCs). the chain select zones of Instrument and MIDI Effect Racks filter only notes. To filter all MIDI events. if the Chain selector is moved outside of the chain select zone where a sound is currently playing? If the zone ends in a fade range. we have MIDI-mapped the Chain selector to an encoder on an external control surface. the default length of a chain select zone is 1. In MIDI Effect Racks. fade ranges attenuate the velocities of notes entering a chain.

Instrument. we can tweak our chain select zones to produce a smooth transition between our “presets. we can now flip effortlessly between instrument or effect setups. some unique controls and special behavior that is optimized for creating drum kits. With our MIDI encoder at hand. Setting the zones as shown maintains four exclusive values for our presets. so that each still has one point where neither of the others are heard. the third has a value of 2. we determine which chain can process signals. If this is too rough a transition for your material. Therefore. we now have a situation where only one chain at a time can ever be equal to the Chain selector value (shown at the top of the editor). But Drum Racks have a slightly different layout.“ To accomplish this. simply reposition the zones to maximize the fade ranges. Drum and Effect Racks 272 Let’s move the chain select zones of the second and third chains so that each of our zones is oc- cupying its own adjacent value: The first chain’s zone has a value of 0. To create some room for fading. Crossfading Preset Banks Using Fade Ranges Crossfading Between Effects Presets Using Chain Select Zones. by moving the Chain selector. let’s extend the length of our zones a bit. . we will make use of our zones’ fade ranges. the second chain’s zone has a value of 1. We crossfade between the presets over eight steps.6 Drum Racks We’ve already talked a bit about Drum Racks. with no two zones overlapping. Taking the previous example one step further. and the fourth has a value of 3. and most of their features are the same as those found in Instrument and Effect Racks. Since each of our chain select zones has a unique value. 18.

Return Chains. The Choke chooser allows you to set a chain to one of sixteen choke groups. Instrument. 2. The list shows note names. If “All Notes“ is selected in the Receive chooser. Drum and Effect Racks 273 2 3 1 4 The Chain List in a Drum Rack. for example. In addition to the mixer and Hot-Swap controls found in other Rack types. The Play slider sets the outgoing MIDI note that will be sent to the devices in the chain. Drum Racks have four additional controls in the view column. From top to bottom. 3. Send. and Return sections. making it easy to check your mappings away from a MIDI controller. which are fed by send sliders in each of the drum chains above. the Play and Choke choosers are disabled — in this case. In addition to the standard selectors found on all Racks. Drum Racks also have send sliders. MIDI note numbers and standard GM drum equivalents. Note that send con- trols are not available until return chains have been created. and the Auto Select button. 1. these are toggles for the Input/Output. 4. This is useful for choking open hihats by triggering closed ones. The small Preview button to the left of these choosers fires a note into the chain. The Audio To chooser in the mixer for return chains allows you to route a return chain’s output to either the main output of the Rack or directly to the return tracks of the Set. A Drum Rack’s return chains appear in a separate section at the bottom of the chain list. Any chains that are in the same choke group will silence the others when triggered. Up to six chains of audio effects can be added here. Mixer Section. . the chain simply passes the note that it receives to its devices. The Receive chooser sets the incoming MIDI note to which the drum chain will respond. These sliders allow you to set the amount of post-fader signal sent from each drum chain to any of the available return chains. Input/Output Section.

with the dropped sample ready to play from the pad’s note. Dropping a sample onto an empty pad. pads can also be filled quickly via Hot-Swap.6. . as before. [ALT](PC) / [CMD](Mac)-dragging a multi-selection layers all of the samples to a single pad. instruments and presets — can be dragged onto a pad.1 Pad View Pad View. If you’re in Hot-Swap mode. Almost any object from Live’s browser — samples. effects. To replace the Simpler. Use the [ALT](PC) / [CMD](Mac) modifier to shift the view by single rows instead. new Simplers and chains will be mapped upwards chromatically from this pad. replacing any other samples that may have already been assigned to the pads in question (but. Each pad represents one of the 128 available MIDI notes. by creating a nested Instrument Rack. either by dragging the view selector to a new area or by using your computer keyboard’s up and down arrow keys. it is placed downstream from the Simpler in the same chain. If a multi-selection of samples is dropped onto a pad. In addition to dragging objects from the browser. Drum and Effect Racks 274 18. If you then drag an audio effect to the same pad. creates a new chain containing a Simpler. Instrument. The Pad View is unique to Drum Racks and offers an easy way to map and manipulate samples and devices. The pad overview to the left shifts the set of visible pads up or down in groups of 16. simply drop another sample onto the same pad — any downstream audio effects or upstream MIDI effects will be left intact and only the Simpler and sample will be replaced. mapping automatically to the pad’s note and creating or reconfiguring internal chains and devices as necessary. leaving any effects devices alone). for example. pressing the [D] key will toggle the Hot-Swap target between the Drum Rack itself and the last selected pad.

particularly when triggered by a hardware control surface with pads. preview and Hot-Swap. •A pad that triggers only one chain shows the name of the chain. If you scroll the pad overview to show a different set of pads. [ALT](PC) / [CMD](Mac)-dragging one pad to another will layer any chains from both pads in a nested Instrument Rack. If your pad controller is one of Ableton’s natively supported control surfaces (page 516). What you can control with each pad is related to how many chains it represents: •An empty pad shows only the note it will trigger. solo. •A pad that triggers multiple chains shows “Multi“ as its name. Drum and Effect Racks 275 Dragging a pad to another pad swaps the note mapping between the pads. the pad’s icons reflect this mixed state. as long as you have a Drum Rack on a track that’s receiving MIDI. In this case. solo and pre- view buttons will affect all of its chains. Pad View can make it much easier to work by letting you focus on only the top level: the notes and sounds. that note’s pad will trigger them all. your pad controller will trigger the pads that are visible on your screen. it represents all chains. by adjusting the Re- ceive choosers. but you can delete all of its chains at once. From then on. When you mouse over it. You can also rename and delete the chain via the pad. the Status Bar will display this note. no matter how deep in the Rack. and its mute. your controller will update automatically. Although Pad View is designed for easy editing and sound design. This means that any MIDI clips triggering the affected notes will now play the “wrong“ sounds — although this might be exactly what you want. More specifically. . the inner structure can quickly become complicated. rather than a chain. as well as the suggested GM instrument. simply select it as a control surface in the Link/MIDI tab of Live’s Preferences. it also excels as a perfor- mance interface. Hot-Swap and renaming are disabled for a Multi pad. If you’re working with lots of nested Racks. If you mute and solo chains individually within the chain list. the pad serves as a handy front-end for many controls that are normally accessed in the chain list. You can always change your mappings from within the chain list as well. If you set the same Receive note for multiple chains. The Pad View will update automatically to reflect your changes. Instrument. such as mute. It’s important to remember that a pad represents a note. that are able to receive that pad’s note.

3. In- verted mappings can be created by setting the Min slider’s value greater than the Max . By default the Macro will take its name and units from the device parameter it is controlling. The following steps will get you started mapping: 1. •Map buttons will appear beneath each Macro Control dial. the rest of the Rack can be hidden away. Refine the value range if desired using the Min/Max sliders in the Mapping Browser. Once you have set up your ideal mapping. Instrument. 2. of course). •The Mapping Browser (page 520) will open. 4. The Macro Control view’s dedicated Map button opens the door to this behavior. Enable Macro Map Mode by clicking the Map mode button. Drum and Effect Racks 276 18. With the potential for developing complex device chains. Select a device parameter for mapping by clicking it once.7 Using the Macro Controls Making Macro Control Assignments in Map Mode. Macro Controls keep things manage- able by taking over the most essential parameters of a Rack (as determined by you. Enabling Macro Map Mode causes three things to happen: •All mappable parameters from a Rack’s devices will appear with a colored overlay. Map the parameter by clicking on any Macro Control’s Map button. The details will be added to the Mapping Browser.

. 5. Drum and Effect Racks 277 slider’s value. A track that contains these Racks will have a button in its title bar. which will fold the Rack’s mixer in or out. If more than one parameter is assigned to a single Macro. except when all parameters possess both the same unit type and the same unit range. Select another device parameter if you’d like to create more mappings. . The current values can also be inverted by pressing [right-click](PC) / [CTRL- click](Mac) on the entry in the Mapping Browser. Note that once assigned to a Macro Control. The Macro’s units will also change to a 0 to 127 scale. since it hands over all control to the Macro Control (although it can still be modulated externally. or click on the Map mode button once more to exit Macro Map Mode. Macro 3). Instrument. colors and info text entries via the corresponding commands in the Edit menu or the context menu. 18. the Macro’s name will revert to its ge- neric name (e. any nested chains within the Rack will also have this button. via Clip Envelopes (page 291)).8 Mixing With Racks Any Instrument or Drum Rack that contains more than one chain can be viewed and mixed alongside the tracks in the Session View’s mixer. This makes it easy to get an overview of your Rack’s hierarchy — or hide it when you just want to work on your mix. You can edit or delete your assignments at any time using the Mapping Browser (which only ap- pears when Map Mode is enabled).g. Likewise. Macro controls can be given custom names. a device parameter will appear disabled.

Likewise. Their mixing and routing controls mirror those found in the Rack’s chain list. and will create new return tracks if dragged to the mixer. ei- ther from the chain list or from the Session View mixer. Clicking in a chain’s mixer title bar shows only that chain’s devices in the Device View. they take their MIDI notes with them. but they have no clip slots. Instrument. so any changes made to these controls in either area will be reflected in the other immediately. Drum and Effect Racks 278 Mixing Rack Chains in the Session View. when chains are multiselected in the Session View mixer. simply select the snare chain’s title bar . As with tracks. Note that this behavior only applies to parameters adjusted via the Session mixer and not when ad- justing the same parameters in the Rack’s chain list. A Drum Rack’s return chains can also be extracted. 18.8. if you are working on a MIDI drum loop within a single track and decide that you would like to move just the snare onto its own track. Chains in the Session View mixer look similar to tracks. Drum chains have an ad- ditional feature: when dragged from the mixer to a new track. adjusting a mixer pa- rameter for one of the chains will adjust the same parameter in the other selected chains. renaming and regrouping can be performed from either the mixer or the chain list. For example.1 Extracting Chains All chains can be dragged from their parent Racks and placed into other tracks or Racks. many chain operations such as reordering.

If you would like to extract only the devices. This creates a new track with the full contents of the snare chain: both its devices and its MIDI data. Instrument. drag from the chain list instead of from the mixer. Drum and Effect Racks 279 in the mixer and drag it to the mixer’s drop area. . Extracting Drum Chains in the Mixer Extracts MIDI Data.

Instrument. Drum and Effect Racks 280 .

1 Recording Automation in Arrangement View Automation can be recorded to the Arrangement View in two ways: 1. by manually changing parameters while recording new material directly into the Arrange- ment. if the Ses- sion clips contain automation. automation in Session clips is always recorded to the Arrangement. When recording new material directly to the Arrangement. 19. Practically all mixer and device controls in Live can be automated. by recording a Session View performance into the Arrangement (page 114). as are any manual changes to parameters in tracks that are being recorded from the Session. you will want the controls’ movements to become part of the music. including the song tempo. the Automation Arm button deter- mines whether or not manual parameter changes will be recorded. when working with Live’s mixer and devices. 2. The movement of a control across the song timeline or Session clip is called automation. During Session-to-Arrangement recording. Automation and Editing Envelopes 281 Chapter 19 Automation and Editing Envelopes Often. a control whose value changes in the course of this timeline is automated. The Automation Arm Button. .

Here is how it works: . play back what you have just recorded to see and hear the effect of the control movement. all changes of a control that occur while the Control Bar’s Ar- rangement Record button is on become Arrangement automation. for instance a mixer volume slider. Automation and Editing Envelopes 282 When Automation Arm is on. Volume. After recording. You will notice that a little LED has appeared in the slider thumb to indicate that the control is now automated. Try recording automation for a control. Pan and the Track Activator Switch Have Been Automated.2 Recording Automation in Session View Automation can also be recorded to Session View clips. their automation LEDs appear in their upper left corners. 19. Try recording auto- mation for track panning and the Track Activator switch as well.

Clip Record buttons will appear in the empty slots of the armed tracks. regardless of whether or not they are in armed tracks. Automation and Editing Envelopes 283 1 2 3 Controls for Recording Session Automation. The Session Automation Recording Preference. Click the Session Record button to begin recording automation. Activate the Arm button for the tracks onto which you want to record. Enable the Automation Arm button to prepare for automation recording. 1. . It is also possible to record automation into all playing Session clips. 2. 3. This is done via the Session Automation Recording switch in the Record/Warp/Launch Preferences.

recording stops immediately when you let go of the mouse button. You can also delete selected portions of automation by editing breakpoint envelopes (page 285). . Any automation in Session View becomes track-based automation when clips are recorded or copied into Arrangement View. This is referred to in some editing applications as “touch” behavior. nothing is forever in the world of infinite Undo (page 160). When one or more of the automated controls in your Live Set are not active. This is known as “latch” behavior in some applications. Any automation is therefore overridden by the cur- rent manual setting.1 Session Automation Recording Modes The automation recording behavior differs depending on how you adjust parameters while recording. overdub Session automation into an existing MIDI clip without also recording notes into the clip. When adjusting pa- rameters via knobs or faders on MIDI controllers.4 Overriding Automation In practice. recording will continue as long as you adjust the controller. you will often want to try out new control moves without overwriting existing automa- tion data in the Arrangement. and the control’s value stays constant across the entire Arrangement timeline and in any Session View clips. When you let go. for example.3 Deleting Automation To delete all automation data. but it’s easy to disable a control’s automation temporarily to avoid overwriting existing data: If you change an automated control’s value while not recording. 19. 19. [right-click](PC) / [CTRL-click](Mac) on an automated control to open its context menu and select Delete Automation. Well. When using the mouse. the Control Bar’s Re-Enable Automation button lights up. recording will continue until the end of the clip’s loop and then will “punch out” automatically. 19.2. Automation and Editing Envelopes 284 This allows you to. The automation LED disappears. the automation LED goes off to indicate the control’s automation is inactive.

And in the Session View. Automation and Editing Envelopes 285 The Re-Enable Automation Button. 19.“ You can also re-enable automation for only one parameter via the Re-Enable Automation option in the [right-click](PC) / [CTRL-click](Mac) context menu for that parameter. automation curves can be viewed and ed- ited as breakpoint envelopes. This button serves two purposes. you can re-enable overridden automation by simply relaunching a clip that contains auto- mation. . and you can click on it to reactivate all automation and thereby return to the automation state as it is written “on tape. Here is how automation editing works in the Arrangement: 3 5 1 4 2 8 6 7 Automation Envelopes in the Arrangement View. It reminds you that the current state of the controls differs from the state captured in Session clips or the Arrangement.5 Drawing and Editing Automation In the Arrangement View and in Session View clips.

Note that hiding a lane from view does not deactivate its envelope. . To show a track’s envelopes. It also provides you with an overview of which devices actually have automation by showing an LED next to their la- bels. 5. The button moves the envelope into its own automation lane below the clip. 4. An envelope’s vertical axis represents the control value and the horizontal axis represents time. If the Fades/Device chooser is set to “None“. (Note that. several new buttons appear: 6. Automation and Editing Envelopes 286 1. If any automation lanes have been created for a given track. The Fades/Device chooser either selects audio clip fades (page 98). you can hide or show them all by clicking the additional button that appears at the bottom of the track’s title bar. You can then select another automation parameter from the choosers to view it simultaneously. The Automation Control chooser selects a control from the device chosen in the Fades/ Device chooser. for Group Tracks (page 218). one of the track’s devices or “None“ to hide the envelope.) 2. Envelopes appear “on top of“ the audio waveform or MIDI display. 7. you may need to expand the track’s height in order to see its envelopes. 3. this button will be hidden. the track mixer. This context menu also contains commands to quickly clear all automation envelopes for the track or any of its devices. The button hides its respective automation lane. the value axis is discontinuous. Once an envelope has been selected on the track. 8. Automation editing for Session View clips is covered in detail in the Clip Envelopes chapter (page 291). The labels of automated controls have an LED. Clicking [right-click](PC) / [CTRL-click](Mac) on a track name or automation lane header opens a context menu with additional options for viewing envelopes. Clicking on one of the track’s mixer or device controls will display this control’s envelope on the clip track. “unfold“ the track by clicking the button next to the track name. You can make things clearer still by selecting “Show Automated Parameters Only“ from the bottom of the chooser. For switches and radio buttons.

or press [B]. you can click and drag to “draw“ an envelope curve. Automation and Editing Envelopes 287 19. Drawing creates steps as wide as the visible grid. The Draw Mode Switch.5. Drawing an Envelope. •Click on a breakpoint to delete it. select the Draw Mode option from the Options menu. 19. For freehand drawing. To toggle Draw Mode. hold down [ALT](PC) / [ALT](Mac) while drawing. Clicking and dragging in the enve- lope’s background defines a selection. To temporarily enable freehand drawing while the grid is shown. Here is what you can do: •Click at a position on a line segment to create a new breakpoint there. click on the Con- trol Bar’s Draw Mode switch. If the breakpoint you are . Holding [B] while editing with the mouse temporarily toggles Draw Mode.1 Drawing Envelopes With Draw Mode enabled. which you can modify using a number of handy shortcuts (page 102). you can hide the grid using the Snap to Grid Options menu entry or the [CTRL][4](PC) / [CMD][4](Mac) shortcut.2 Editing Breakpoints With Draw Mode off.5. The line segments and the breakpoints connecting them become draggable objects. •Click and drag a breakpoint to move it to the desired location. the envelope display looks and works differently.

Automation and Editing Envelopes 288 dragging is in the current selection. Your movement is constrained by the neighboring breakpoints unless you hold down the [Shift] modifier while dragging. Double-click while holding [ALT](PC) / [ALT](Mac) to return the segment to a straight line. You can also hold the mouse pointer near (but not on) the line segment in order to move it vertically. without affecting the breakpoint’s horizontal position. Dragging an Envelope Line Segment Moves the Segment Vertically. which will eliminate breakpoints as you wipe over them. the envelope moves vertically across the selected timespan and Live inserts breakpoints at the selection’s edges to make sure the move only affects the selected part of the envelope. Drag Any One of Them. all other breakpoints in the selection will follow the movement. If the line segment is in the cur- rent selection. . To Move all Breakpoints Within the Selection. •Hold [ALT](PC) / [ALT](Mac) and drag a line segment to curve the segment. Holding down the [CTRL](PC) / [CMD](Mac) modifier while dragging switches to a finer resolution. •Hold [Shift] and drag a line segment between two breakpoints to move it vertically.

make sure the parameter you want to work with is in its own lane. Any edit commands applied to an envelope selection within a single lane will only apply to this envelope. You can also work with envelopes in multiple lanes simultaneously. Live normally moves all automation with the clip.4 Edit Menu Commands When working with automation data in the Arrangement View. the Edit menu commands behave differently depending on whether or not your selection is within the clip track or its automation lanes. 19. and the Lock Envelopes switch does just that.5.3 Locking Envelopes When moving Arrangement View clips. The clip itself will be unaffected. you might want to lock the envelopes to the song position rather than to the clips. To copy. Some- times. . The Lock Envelopes Switch. independent of the associated clip. Automation and Editing Envelopes 289 A Curved Envelope Segment 19.5. You can also choose to lock envelopes from the Options menu. delete or duplicate automation from a track. cut.

The Tempo Envelope. unfold the Master track in Arrangement View. Automation and Editing Envelopes 290 If you want your edits to apply to both the clip and all of its associated envelopes. apply edit commands to a selection in the clip track.5. but also from one parameter to another. 19.5 Editing the Tempo Automation The ability to dynamically stretch and compress audio to track any tempo or tempo variation is one of Live’s specialties. In Live. Note that Live allows you to copy and paste envelope movements not only from one point in time to another. Note that these two controls also determine the value range of a MIDI controller (page 515) assigned to the tempo. Since the parameters may be completely unrelated. which is the function of the two value boxes below the envelope choosers: The left box sets the minimum. you might want to scale the value axis display. . the song tempo is just another automated control. this can have unexpected (but possibly interesting) results. in BPM. choose “Mixer“ from the top envelope chooser and “Song Tempo“ from the bottom one. and the right box sets the maximum tempo displayed. To edit the song tempo envelope. When adjusting the tempo envelope.

To work with clip envelopes. we will first look at how all clip envelopes are drawn and edited. The aspects of a clip that are influenced by clip envelopes change depending upon clip type and setup. 20. . In this chapter. and then get into the details of their various applications. clip envelopes can do anything from representing MIDI controller data to automating or modulating device parameters. The Envelopes box contains two choosers for selecting an envelope to view and edit.1 The Clip Envelope Editor Use the Clip View Box Selector to bring up the Envelopes Box. bring up the Clip View’s Envelopes box by clicking the “E” button at the bottom of the Clip View. Clip Envelopes 291 Chapter 20 Clip Envelopes Every clip in Live can have its own clip envelopes.

The top menu is the Device chooser. [right-click](PC) / [CTRL-click] (Mac) in the Clip View’s Envelope Editor to open its context menu and select Clear Envelope. which selects a general category of controls with which to work. Device chooser entries are different for different kinds of clips: •Audio clips have entries for “Clip” (the clip’s sample controls). The bottom menu. every device in the track’s device chain. to set it back to its default value). You can simplify the appearance of these choosers by selecting “Only show adjusted envelopes” from either of them. and the mixer. Let us now look at some uses of clip envelopes. . every effect in the track’s device chain. The techniques for drawing and editing clip envelopes are the same as those for automation envelopes in the Arrangement View (page 285). •MIDI clips have entries for “MIDI Ctrl“ (MIDI controller data).e. In both choosers. the Clip Envelope Control chooser. To delete a clip envelope (i. and the mixer. parameters with altered clip envelopes appear with LEDs next to their names. Please see Recording Automation in Session View (page 282) for information on recording Session View automation.. selects among the controls of the item chosen in the top menu. Clip Envelopes 292 The Clip View’s Envelopes Box.

The fast way to do this is by enabling Draw Mode (page 287) and drawing steps along the grid. you can create new sounds from a sample without actually affecting the sample on disk. 20. or by resampling (page 227).2. You can now alter the pitch transposition of individual notes in the sample as you listen to it.1 Clip Envelopes are Non-Destructive Using clip envelopes. turn Live into a mighty sound-design tool. export a newly created sound by rendering (page 63). Clip Envelopes 293 20. You can. Because Live calculates the envelope modulations in real time. of course.2. Select “Clip” in the Device chooser and “Transposition Modulation” in the Control chooser. . you can have hundreds of clips in a Live Set that all sound different. This is useful for smoothing the coarse steps by horizontally displacing breakpoints. 20. In the Arrangement View. you can create an abundance of interesting variations from the same clip in real time — anything from subtle corrections to entirely new and unrelated sounds.2 Changing Pitch and Tuning per Note Drop a sample loop from the browser into Live and play it. Using clip envelopes with audio clips.2 Audio Clip Envelopes Clip envelopes extend Live’s “elastic“ approach to audio and. you can use the Consolidate command (page 104) to create new samples. in conjunction with Live’s audio effects. Deactivate Draw Mode to edit breakpoints and line segments. but use the same sample.

or choose a smaller value for the Granulation Resolution in Beats Mode. hold down the [CTRL][ALT](PC) / [CMD][ALT](Mac) modifier while drag- ging. The result of the modulation is clipped to stay in the available range (-48. Pitch is modulated in an additive way.. hold down the [CTRL](PC) / [CMD](Mac) modifier while drawing or moving breakpoints to obtain a finer resolution. . To correct the tuning of individual notes in the sample. Clip Envelopes 294 The Transposition Envelope with Steps (Top) and Ramps (Bottom).48 semitones in this case). To obtain a more immediate response. The output of the transposition envelope is simply added to the Transpose control’s value. reduce the Grain Size value in Tones or Texture Mode. To scroll the display. Note that the warp settings determine how accurately Live’s time-warping engine tracks the envelope shape.

4 Scrambling Beats One very creative use of clip envelopes is to modulate the sample offset. choose “Clip“ from the Device chooser and “Sample Offset“ from the Control chooser. Positive envelope values move the head towards the “future. in the Envelopes box. Sample offset modula- tion makes the most sense for rhythmical samples. Clip Envelopes 295 20. Try sample offset modulation with a one-bar drum loop: Make sure Beats Mode is chosen. The Envelope Editor appears with a vertical grid overlay. The volume envelope’s output is interpreted as a relative percentage of the clip volume slider’s current value.3 Muting or Attenuating Notes in a Sample Select “Clip” in the Device chooser and “Volume Modulation” in the Control chooser. but the clip envelope can drag the audible volume down to silence. you can impose an arbitrary vol- ume shape onto the sample. the position of which is modulated by the enve- lope. . Live performs the modulation in beats rather than centimeters: A vertical grid line is worth a sixteenth note of offset and the modulation can reach from plus eight sixteenths to minus eight sixteenths. and is only available for clips that are set up to run in the Beats Warp Mode. The higher a value the envelope delivers.2. In envelope Draw Mode.2.“ negative values move it towards the “past. What is going on? Imagine the audio is read out by a tape head. Imposing a Volume Envelope on a Sample. set steps to non-zero values to hear the loop scrambled. The result of the clip envelope’s modulation can therefore never exceed the abso- lute volume setting. the farther away the tape head is from its center position.“ Fortunately. By draw- ing steps in Draw Mode or creating shapes with breakpoints. 20.

a smooth ramp with a downwards slope is slowing time and can create nice slurring effects when the slope is not quite exactly 45 degrees. Since mixer and device controls can potentially be controlled by both types of envelopes at the same time (and also by the Arrangement’s automation envelopes (page 285)). including the envelopes. Similarly. try this with a 1/32 Granulation Resolution. Repeating Steps and Slowing Time with the Sample Offset Envelope. will remain unaltered. effectively repeats the step at the envelope’s beginning. this is a potential source . or the Session or Arrangement View. You might wonder at a point: What does this clip sound like with a different sample? This is easy to find out by selecting the clip so that it is displayed in the Clip View and dragging the desired sample from the browser. We discourage using this technique for “analytical“ cut-and-splice tasks. for instance. and the results can easily be consolidated into new clips. All clip settings. onto the Clip View. only the sample will be replaced.2.5 Using Clips as Templates As you are making creative use of clip envelopes. they are much easier to perform using Live’s Arrangement View.3 Mixer and Device Clip Envelopes Clip envelopes can be used to automate or modulate mixer and device controls. 20. independent of the original sample. 20. Some sample offset envelope gestures have a characteristic effect: a downward “escalator“ shape. Clip Envelopes 296 Sample offset modulation is the tool of choice for quickly creating interesting variations of beat loops. the clips containing them develop a life of their own.

modulated volume setting.3. Clip Envelopes 297 of confusion. To prevent confusion. Modulation envelopes are always labelled with the word “Modulation” in the name. modulation envelopes differ from automation envelopes in one important way: Whereas automation envelopes define the value of a control at any given point in time. The latter is a modulation for the mixer’s gain stage and therefore affects the post-effect signal. 20. However. . as the modulation envelope gradually increases the volume within the range allowed by the automation envelope. Imagine that you have recorded volume automation for an audio clip so that it gradually fades out over four bars. But. modulation envelopes can only influence this defined value. Modulation envelopes for the mixer and devices are hidden by default in the Clip Envelope Control choosers. This difference allows the two types of envelopes to work together in harmony when controlling the same parameter. but can be shown by selecting the Show Modulation option available in the [right-click](PC) / [CTRL-click](Mac) context menu on controls. while Arrangement View clips only have modulation envelopes. your fade-out will become a cre- scendo. What happens to your fade-out when you create a modulation envelope that gradually increases the mixer volume over four bars? At first. while automation envelopes are la- belled only with the name of the parameter. Modulating the Mixer Volume. The Little Dot Below the Volume Slider Thumb Represents the Modu- lated Volume Setting. the fade-out will begin. as automation forces the absolute control value (and the operable range of the modulation envelope) down. once the decreasing automated value meets with the increasing modulation envelope value. Both automation and modulation clip envelopes are available for clips in Session View.1 Modulating Mixer Volumes and Sends Notice that there are actually two modulation envelopes that affect volume: Clip Volume Modu- lation and Track Volume Modulation. a small dot below the mixer’s vol- ume slider thumb indicates the actual.

you can observe the dot following your movement in a relative fashion. You can create new clip envelopes for any . the modulation amount is automatically reduced as you move the pan knob towards the left or right.3. the modulation is a relative percent- age: The clip envelope cannot open the send further than the Send knob. Modulating de- vice parameters works similarly to modulating mixer controls. With the pan knob set to the center position. for instance. or one from your files.2 Modulating Pan The Pan modulation envelope affects the mixer pan stage in a relative way: The pan knob’s position determines the intensity of the modulation. The Send Knob’s Position Ring Indicates the Modulated Value.3. Clip Envelopes 298 As you raise and lower the Volume slider. the pan modulation clip envelope has no effect at all. 20. Modulating the track’s Send controls is just as easy. 20. 20. When modulating device controls. Choose “MIDI Ctrl“ from a MIDI clip’s Device chooser and use the Clip Envelope Control chooser below it to select a specific MIDI controller. Modulating a Send. Again. the clip envelope cannot define the values for the devices’ controls.4 MIDI Controller Clip Envelopes Whether you are working with a new MIDI clip that was recorded directly into Live. When the pan knob is turned all the way to the left. it can only change them relative to their current setting. modulation by the clip envelope can reach from hard left to hard right. but it can reduce the actual send value to minus infinite dB. it is important to keep in mind the interaction between modulation and automation envelopes: unlike a device preset (page 241). Live allows you to edit and create MIDI controller data for the clip in the form of clip envelopes.3 Modulating Device Controls All devices in a clip’s track are listed in the upper clip envelope Device chooser.

A MIDI Controller Clip Envelope. 20. will not always achieve the results that their names imply. Note that devices to which you send your MIDI controller messages may not follow the conventions of MIDI control assignments. 20.1 Programming a Fade-Out for a Live Set Let us start with a straightforward example. Suppose you are setting up a Live Set and wish to program a fade-out over eight bars to occur when a specific audio clip is launched — but all you have is a one-bar loop. so that “Pitch Bend“ or “Pan. some of which we will present in the rest of this chapter. Live supports most MIDI controller numbers up to 119. Many of the techniques described in the following section on unlinking a clip envelope from its associated clip can be adapted for use with MIDI controller clip envelopes.5 Unlinking Clip Envelopes From Clips A clip envelope can have its own local loop/region settings. . Clip Envelopes 299 of the listed controllers by drawing steps or using breakpoints. The ability to unlink the envelope from its clip creates an abundance of exciting creative options. accessible via the scroll bar on the right side of the menu.“ for example. You can also edit clip envelope representations of controller data that is imported as part of your MIDI files or is created while recording new clips: names of controllers that already have clip envelopes appear with an adja- cent LED in the Clip Envelope Control chooser.5.

and unlink it from the sample.” 2. For a different part of your set. 3. 4. as you play the clip. 1.“ If you toggle the envelope’s Loop switch. 20. you can hear the one-bar loop fading out over eight bars.2 Creating Long Loops from Short Loops Let us take this a step further. . you’ll notice the Sample box’s Loop switch is not affected. Choose the Clip or Mixer Volume envelope. The loop/region controls in the Envelopes box “come to life. The clip envelope’s loop braces now appear colored to indicate this envelope now has its own local loop/region settings. Type “8“ into the leftmost envelope loop-length value box. The sample will keep looping although the envelope is now playing as a “one-shot. Now. You would like to somehow turn it into a longer loop. Insert a breakpoint at the region end and drag it to the bottom. Clip Envelopes 300 2 4 1 3 Using a Clip Envelope to Create a Fade-Out Over Several Repetitions of a Loop. you would like to use the same one- bar loop — because it sounds great — but its repetition bores you. Zoom the envelope display out all the way by clicking on the Envelope’s time ruler and dragging upwards.5.

You can choose an arbitrary loop length for each envelope. including odd lengths like 3. You can also think of interesting applications that work the other way around. either by dragging the loop braces beyond the view limit.3 Imposing Rhythm Patterns onto Samples So far. of course. how about a filter sweep every four bars? Note that you can create as much time as needed in the Envelope Editor. as is envelope drawing. Note that the start/end markers and loop brace are subject to quantization by the zoom-adap- tive grid (page 102). we have been talking about imposing long envelopes onto small loops. it is important to have a common point of reference.1. Activate the clip volume envelope’s Loop switch. you can hear the eight-bar fade-out repeat- ing. Consider a sample of a song that is several minutes long. Clip Envelopes 301 We depart from the clip we just set up to fade out over eight bars. You can draw or edit any envelope to superimpose onto the sample loop. The volume envelope loop now works as a pattern that is repeatedly “punching“ holes into the music so as to. perhaps. Now. not only works for volume but for any other control as well. The Sample (Left) and Envelope (Right) Start Marker. To keep this complexity under control. or by entering values into the numeric region/loop controls. as you play the clip. This sample could be played by a clip with a one-bar volume en- velope loop. You can certainly think of other parameters that such a pattern could modulate in interesting ways.5. .2. remove every third beat. 20. The start marker identifies the point where sample or envelope playback depart from when the clip starts. It is not hard to imagine great complexity (and confusion!) arising from several odd-length enve- lopes in one clip. This.

you may want to think of a clip envelope with a local loop as an LFO. Addi- tionally. Clip Envelopes 302 20. clip envelopes respond to changes in the clip’s Warp Markers. . By hiding the grid.5 Warping Linked Envelopes When in Linked mode. 20.4 Clip Envelopes as LFOs If you are into sound synthesis. This means that moving a warp marker will lengthen or shorten the clip envelope accordingly. This LFO is running in sync with the project tempo. Warp Markers can be adjusted from within the envelope editor.5.5. Clip Envelopes and Warp Markers Can Be Adjusted Together. you can adjust the clip envelope loop start and end points completely independent of meter grid. but it is also possible to set up a loop period odd enough to render the envelope unsynchronized.

Working with Video 303 Chapter 21 Working with Video Live’s flexible architecture makes it the perfect choice for scoring to video. You can trim video clips to select parts of them and use Warp Markers to visually align music in the Arrangement View with the video. (Note: video support is not available in the Intro and Lite Editions. .mov) to be used as video clips. Before diving in. If you are interested in syncing Live with external video equipment. Note that Live will only display video for video clips residing in the Arrangement View. You can then render (page 63) your edited video file along with your audio. and Warping chapter (page 137). you will want to be familiar with the concepts presented in the Audio Clips. Movie files appear in Live’s browser and can be imported by dragging them into the Live Set.1 Importing Video Live can import movies in Apple QuickTime format (. Tempo. Movie files that are loaded into the Session View are treated as audio clips.) 21. you’ll also want to read the chapter on synchronization (page 633).

and are not stored in the Live Set or video clip. and although they cannot be selected or edited in any way by Live. will cause it to be replaced by an audio clip (which by definition has no video component). except for the “sprocket holes“ in its title bar. . video clips in the Arrangement View are treated just like audio clips. there are some edit- ing commands that. They can be trimmed. Note that these markers are always read from the original movie file. QuickTime markers are created by external video authoring applications. This replacement only occurs internally — your original movie files are never altered. However. by dragging their right or left edges. they do provide visual cues that can be helpful when scoring. Reverse and Crop. Working with Video 304 21. The commands which will cause this are: Consolidate. in the Arrangement View and Clip View. For the most part.2. when applied to a video clip.1 Video Clips in the Arrangement View A video clip in the Arrangement View looks just like an audio clip.2 The Appearance of Video in Live 21. A Video Clip with a QuickTime Marker. if present. for example. Live also displays a movie file’s QuickTime markers.

the audio and video components do not have to span the entire length of a movie. .2. [ALT](PC) / [ALT](Mac) double-click in the Video Window to restore it to original size of the video. video clips are usually set as tempo masters. while audio clips are left as tempo slaves.2. the default warp properties of clips in the Arrangement View. therefore. The size and location of this window are not specific to the Set. It can be dragged to any location you like. When scoring to video. Live’s Video Window will display a black screen. In this scenario. The Video Window is a separate. floating window that always remains above Live’s main win- dow. You can toggle its visibility with a command in the View menu. and will be restored when you open a video again. Working with Video 305 21. 21.2 The Video Window The Video Window in the Arrangement View. The Video Window can be resized by dragging its bottom right-hand corner. gaps in playback are allowed. and it will never get covered up by Live. The video can be shown in full screen (and optionally on a second monitor) by double-clicking in the Video Window. These are. gaps in audio will play silence. During gaps in video. Movies with Partial Tracks In the QuickTime file format.3 Clip View Soundtrack composers will want to note the Tempo Master option in Live’s Clip View. Note that a video clip’s Warp switch needs to be activated in order for the clip to be set as the tempo master. adding Warp Markers to a video clip defines “hit points“ that the music will sync to.

Working with Video 306 Setting a Video Clip as Tempo Master. . Since Live displays a movie file’s embedded QuickTime markers. Remember from the Audio Clips. your computer keyboard’s [Tab] key will toggle between the Session View and Arrange- ment View. currently playing clip is the actual tempo master. they can be used as convenient visual cues when setting Warp Markers. 21. so that any point in the music can be eas- ily aligned with any point in the video clip. although any number of warped Arrangement clips can have the Tempo Master option activated. Make sure that Live’s Arrangement View is visible. and Warping chapter (page 137) that. Let’s look at a common scenario — matching a piece of music to edits or hit points in a video: 1. resulting in warped video output in the Video Window. Tempo. If you’re using Live on a single monitor. it takes just a few steps to get started with video. only the bottom-most. Warp Markers While dragging a Warp Marker belonging to a video clip. This also means that it is possible for video clips that are not the current tempo master to become warped. you will notice that the Video Win- dow updates to show the corresponding video frame.3 Matching Sound to Video In Live.

. 5. A new track will automatically be created for it. and adjust them to your liking. If desired. which will force the rest of the clips in the Live Set to adapt to the video clip’s tempo (i. Unfold both tracks so you can see their contents by clicking the buttons to the left of their names. composers receive movie files with a few seconds of blank space before the “real“ beginning of the action. we drop a movie file at the start of the Arrangement (1. In the Sample box. This pre-roll (“two-beep“) serves as a sync reference for the mixing engineer. its normal playback rate).1).e. 21.1. however. This can be accom- modated by trimming video clips. 7. choose the Export Audio/Video command from Live’s File menu.) 3. make sure that the Warp button is enabled.1 and SMPTE time 00:00:00:00.1. We want the Master/Slave switch set to Master. Now add Warp Markers to the video clip. The locations of the Warp Markers define the synchronizing points between our music and our video. First. 6. The Video Window will appear to display the video component of the movie file. All of your audio will be mixed down and saved as a single audio file. enable the Arrangement Loop (page 96) to focus on a specific section of the composition. drag an audio clip into the Arrangement View’s drop area. Warped clips in the Arrangement View can be set as tempo master or slave. Double-click on the video clip’s title bar to view it in the Clip View. When you have finished. Notice how the video clip’s waveform in the Arrangement View updates to reflect your changes as you make them. You can also export your video file using this command. Working with Video 307 2. 1. the pre-roll is in the composer’s way: It would be more natural for the movie action to start at song time 1. as follows.4 Video Trimming Tricks Commonly. While working on music. (Remember that you can move this window to any convenient location on the screen. Drag a QuickTime movie from Live’s browser and drop it into an audio track in the Ar- rangement View.. Now that the video clip is loaded. who expects that the composer’s audio files will also include the same pre-roll. 4.

00. then drag the en- tire composition a few seconds to the right: . we need to bring back the pre-roll: 4. we select all materials (Edit menu/Select All). both the action and the music to be composed start at 1.1 / 00. 3.00. Dragging the Start Marker behind the Pre-Roll. In the Arrangement View. we drag the Start Marker to the right so the video clip starts at the beginning of the action. Next.00. Working with Video 308 A Video Clip at the Start of the Arrangement. There. Now. Once the music is done and ready to be rendered to disk. we double-click on the video clip’s title bar to display its contents in the Clip View. 2.1.

the exported sample file will have the exact same duration as the original movie file. then drag the video clip’s left edge to the left as far as possible to reveal the pre-roll again. Now. 5. . The Video Clip with Pre-Roll Restored. as the video clip is still selected. by default. Working with Video 309 The Video Clip and the Final Clip of Music. The Export Audio/Video command. we click on the video clip’s title bar (to deselect everything else). creates sample files as long as the Arrangement selection. including the pre-roll.

Working with Video 310 .

built-in audio effects. with a simple and consistent set of controls. Amp uses physical modelling technology to provide a range of authentic and usable amplifier tones. The Working with Instru- ments and Effects chapter (page 239) explains the basics of using effects in Live. but is bundled with the Cabinet effect (page 320) as a special feature available for purchase separately. Amp is an effect that emulates the sound and character of seven classic guitar amplifiers. Devel- oped in collaboration with Softube. 22.1 Amp The Amp Effect. The full version of Amp is not included with the standard version of Live. There are seven amp models to choose from: •Clean is based on the ”Brilliant” channel of a classic amp from the ’60s. Live Audio Effect Reference 311 Chapter 22 Live Audio Effect Reference Live comes with a selection of custom-designed. . This amp was widely used by guitarists of the British Invasion.

while Volume adjust the output stage of the power amplifier. •Lead is based on the ”Modern” channel of a high-gain amp popular with metal guitarists. Higher Gain settings result in a more dis- torted sound. Middle and Treble knobs are EQ controls that adjust the timbre of the sound.” The Output switch toggles between mono and stereo (Dual) processing. rock and blues guitarists. in some cases. Note that in Dual mode. increasing EQ levels can. Amp’s EQ parameters interact with each other — and with the rest of Amp’s parameters — in non-linear and sometimes unpredictable ways. Although the real-world versions of these amplifiers all have unique parameters. For example. When using the Blues. •Rock is modeled after a classic 45 watt amp from the ’60s. This classic amp is popu- lar with country. Gain is the primary control for the distortion amount. . The Bass. •Blues is based on a ’70s-era guitar amp with a bright character. Although Gain and Volume work together to determine Amp’s overall level. Gain adjusts the level of input to the preamplifier. Live Audio Effect Reference 312 •Boost is based on the ”Tremolo” channel of the same amp. •Heavy is based on the ”Vintage” channel of the same amp and is also ideal for metal and grunge sounds. Amp uses twice as much CPU. As on a real-world amplifier. high Volume levels can also add considerable distortion. and is great for edgy rock riffs. also increase the amount of distortion. Presence is an additional tone control for mid/high frequencies in the power amp stage. The Dry/Wet control adjusts the balance between the processed and dry signals. Heavy and Bass models. This makes it very easy to quickly change the overall character of your sound without having to make numerous adjustments. This is perhaps the best known rock amp of all time. Live’s Amp ef- fect uses the same set of controls for each model. •Bass is modeled after a rare PA from the ’70s which has become popular with bass players due to its strong low end and ”fuzz” at high volumes. Its influence on the sound varies considerably depending on the amp model used but can add (or subtract) ”edge” or ”crispness.

you can get very interesting results by feeding them with drums. try using Amp with Operator (page 434) or Analog (page 403) to add analog grit to your digital sounds. . You may find that you need to carefully adjust a number of seemingly unrelated parameters to get the results you want. For example. its behavior can sometimes be difficult to predict.1 Amp Tips Because Amp is modeled on real-world analog devices. Amp comes with a companion effect called Cabinet (page 320) which is designed to be used after Amp in a device chain. turning up a particular parameter may inadvertently decrease the amount of avail- able energy somewhere else in the amp. Here are some tips on getting the most out of Amp: Amps and Cabinets Guitar amps are designed to be used with accompanying speaker cabinets.1. More than guitars While Amp and Cabinet sound great with guitars. If you’re looking for authenticity. For this reason. This is particularly noticeable in the EQ controls. Electricity The various circuits in guitar amps work with a continuous and fixed amount of electricity. turning up Treble can reduce the level of bass and midrange frequencies. Live Audio Effect Reference 313 22. synthesizers or other sound sources. we recommend this signal flow. For this reason. But you can also achieve interesting and exotic sounds by using Amp and Cabinet independently. For example.

bandpass. It shares characteris- tics of both the MS2 and PRD circuits and is available for the lowpass and highpass filters. It can be modulated by an enve- lope follower and/or an LFO to create moving filter effects. Each filter can be switched between 12 and 24 dB slopes as well as a se- lection of analog-modeled circuit behaviors developed in conjunction with Cytomic that emulate hardware filters found on some classic analog synthesizers. Live Audio Effect Reference 314 22. highpass. It is mod- eled on the filters used in a famous semi-modular Japanese monosynth and is available for the lowpass and highpass filters. and a special Morph filter. The OSR circuit option is a state-variable type with resonance limited by a unique hard-clipping diode. The PRD circuit uses a ladder design and has no explicit resonance limiting. This is modeled on the filters used in a somewhat rare British monosynth. notch. The envelope follower can track either the filtered signal or an external sidechain source. The SMP circuit is a custom design not based on any particular hardware. The Clean circuit option is a high-quality. Auto Filter offers a variety of filter types including lowpass.2 Auto Filter The Auto Filter Effect. and is available for all filter types. CPU-efficient design that is the same as the filters used in EQ Eight (page 335). . This is available for all of the filter types. The Auto Filter effect provides classic analog filter emulation. It is modeled on the filters used in a legacy dual-oscillator monosynth from the United States and is available for the lowpass and highpass filters. The MS2 circuit option uses a Sallen-Key design and soft clipping to limit resonance.

Low Attack values cause a fast response to input levels. unfold the Auto Filter window by tog- gling the button in its title bar. it is possible to filter a signal based on the envelope of another signal. bandpass. The Envelope section controls how the envelope modulation affects the filter frequency. When using the lowpass. Frequency determines where in the harmonic spectrum the filter is applied. Live Audio Effect Reference 315 The most important filter parameters are the typical synth controls Frequency and Resonance. creating a looser. This causes the selected track’s signal to trigger the filter’s envelope follower. Lower Release values cause the envelope to respond more quickly to falling input signals. slower response. Tip: you can quickly snap the Morph control to a lowpass. the filter will continue to ring indefinitely even after the input signal has been stopped. or bandpass filter with any circuit type besides Clean. To access the Sidechain parameters. You can also click on the Freq and Res numeric displays and type in exact values. Think of it as adding inertia to the response. When using the non-Clean circuit types. Resonance boosts frequencies near that point. the Resonance control allows for self-oscillation. Normally. The Amount control defines the extent to which the envelope affects the filter frequency. The pitch of the self-oscillation depends on both the Frequency and Resonance values. there is an additional Drive control that can be used to add gain or distortion to the signal before it enters the filter. Higher values extend the envelope’s decay. The Morph filter has an additional Morph control which sweeps the filter type continuously from lowpass to bandpass to highpass to notch and back to lowpass. At Resonance values above 100%. But by using sidechaining. the signal being filtered and the input source that triggers the envelope follower are the same signal. highpass. highpass. or notch setting via dedicated options in the [right-click](PC) / [CTRL-click](Mac) context menu of the Morph knob. . You can adjust Frequency and Resonance by clicking and dragging in the X-Y controller or via the knobs. while the Attack control sets how the envelope responds to rising input signals. instead of the signal that is actually being filtered. high values integrate any changes gradually. Enabling this section with the Sidechain button allows you to select another track from the choos- ers below.

There are two LFOs. The Rate control specifies the LFO speed. It can be set in terms of hertz. Note that increasing the gain does not increase the volume of the source signal in the mix. The Phase and Offset controls define the rela- tionship between these two LFOs. For sample and hold. This can be used in conjunction with or instead of the envelope follower.) Turning this feature on updates the filter modulation rhythmically with ”stepped” changes that track the master tempo. allowing for controlled rhythmic filtering. The Quantize Beat control applies quantized modulation to the filter frequency. LFO. Instead. sawtooth up. and sample and hold (generates ran- dom positive and negative modulation values) in mono and stereo. The Auto Filter also contains a Low Frequency Oscillator to modulate filter frequency in a peri- odic fashion. so that when one LFO reaches its peak. The sidechain audio is only a trigger for the envelope follower and is never actually heard. one for each stereo channel. Live Audio Effect Reference 316 The Gain knob adjusts the level of the external sidechain’s input. the sidechain is effectively bypassed. the other is at its minimum. the envelope follower tracks the sidechain source exclusively. The respective Amount control sets how much the LFO affects the filter. Set to ”180”. square. the Auto Filter offers two kinds of sample and hold: The upper sample and hold type available in the chooser provides independent random modulation generators for the left and right channels (stereo). The numbered buttons represent 16th notes. creating stereo movement. as determined by the Spin amount. triangle. or manually- adjusted cutoff. but can set the two LFO waveforms ”out of phase” with each other. selecting ”4” as a beat value produces a modulation change once per beat. while the lower one modulates both channels with the same signal (mono). sawtooth down. Phase keeps both LFOs at the same frequency. while the Dry/Wet knob allows you to use a combination of sidechain and original signal as the envelope follower’s trigger. Spin detunes the two LFO speeds relative to each other. so. or synced to the song tempo. With Quantize Beat off. the LFO outputs are 180 de- grees apart. for ex- ample. At 0%. Each stereo channel is modulated at a different frequency. frequency modulation follows the control source (the Envelope. With Dry/Wet at 100%. . Available LFO waveform shapes are sine (creates smooth modulations with rounded peaks and valleys). the Phase and Spin controls are not relevant and do not affect the sound.

Each Auto Filter loaded with the legacy filters shows an Upgrade button in the title bar. and do not feature a Drive control. .5. Pressing this button will permanently switch the filter selection to the newer models for that instance of Auto Filter. The waveform can be set to ”Normal” or ”Invert” (use ”Invert” to. Rate can also be synced to the song tempo. The Shape control pushes the waveform to its upper and lower limits. Live Audio Effect Reference 317 Legacy Filters If you open a Set that was created in a version of Live older than version 9. These consist of 12 dB or 24 dB lowpass. sawtooth down or random waveforms. 22. as well as a notch filter. ”hardening” its shape. LFO speed is controlled with the Rate control. Auto Pan’s LFOs modulate the amplitude of the left and right stereo channels with sine. Note that this change may make your Set sound different.) Auto Pan offers LFO-driven manipulation of amplitude and panning for creating automatic pan- ning.3 Auto Pan The Auto Pan Effect. and beat-synchronized chopping effects. any instance of Auto Filter in the Set will open with legacy filters in place of the filters discussed previously. for example. which can be set in terms of hertz. bandpass and highpass filters. create the saw up waveform from the saw down waveform). tremolo and amplitude modulation. (Note: the Auto Pan effect is not available in the Lite Edition. triangle.

” The Offset control shifts the point defined by Interval forward in time. Phase is particularly effective for creating vibrato effects. The device’s influence on incoming signals is set with the Amount control. the Phase control lends the sound stereo move- ment by offsetting their waveforms relative to each other. If Chance is set to 100 percent.” for example. Beat Repeat allows for the creation of controlled or randomized repetitions of an incoming sig- nal. Live Audio Effect Reference 318 Though both LFOs run at the same frequency. there will be no repetitions. The Interval control defines how often Beat Repeat captures new material and begins repeating it. Set this to ”180”. and the LFOs will be perfectly out of phase (180 degrees apart). and Offset to ”8/16”. The Offset control shifts the start point of each LFO along its waveform. the other is at its minimum. You can add randomness to the process using the Chance control. repetitions will always take place at the given Interval/Offset time. halfway. .. with values ranging from ”1/32” to ”4 Bars. or eight-sixteenths of the way.e. which defines the likelihood of repetitions actually taking place when Interval and Offset ”ask” for them. If Interval is set to ”1 Bar. material will be captured for repetition once per bar on the third beat (i.4 Beat Repeat The Beat Repeat Effect. if set to zero. so that when one reaches its peak. through the bar). Interval is synced to and set in terms of the song tempo. 22.

Pitch is adjusted through resampling in Beat Repeat. If Variation is set to ”0”. Insert mutes the original signal when repetitions are playing but passes it otherwise. . If Gate is set to ”4/16”. the rep- etitions will occur over the period of one beat. never passing the original signal. while small values create sonic artifacts. 1/8 and 1/16 trigger varia- tions in regular intervals. Warning: This is the most obscure parameter of Beat Repeat. making each repeated slice play lower than the previous one. Variation has several different modes. Activating the Repeat button bypasses all of the above controls. and Auto forces Beat Repeat to apply a new random variation after each repetition — the most complex form of grid variation in Beat Repeat (especially if triplets are also allowed). and apply Decay to create gradually fading repetitions. grid size is fixed. using the respective controls. Grid size can be changed randomly using the Variation control. The Grid control defines the grid size — the size of each repeated slice. starting at the position defined by Interval and Offset. This means that the rhythmical structure can become quite ambiguous with higher Pitch values. and Gate passes only the repetitions. 1/4. and set the center frequency and width of the passed frequency band. If set to ”1/16”. a slice the size of one sixteenth note will be captured and repeated for the given Gate length (or until Repeat is deactivated). available in the chooser below: Trigger creates variations of the grid when repetitions are triggered. Live Audio Effect Reference 319 Gate defines the total length of all repetitions in sixteenth notes. lengthening segments to pitch them down without again compressing them to adjust for the length change. immediately capturing material and repeating it until deactivated. Large grid values create rhythmic loops. The No Triplets button sets grid division as binary. You can turn the filter on and off. Gate mode is especially useful when the effect is housed in a return track. You can set the output level of the device using the Volume control. the grid fluctuates considerably around the set Grid value. The original signal (which was received at Beat Repeat’s input) is mixed with Beat Repeat’s repetitions according to one of three mix modes: Mix allows the original signal to pass through the device and have repetitions added to it. The Pitch Decay control tapers the pitch curve. Beat Repeat includes a combined lowpass and highpass filter for defining the passed frequency range of the device. Beat Repeat’s repetitions can be pitched down for special sonic effects. But when Variation is set to higher values.

focused sound. The full version of Cabinet is not included with the standard version of Live. more and larger speakers generally means higher volumes.” . Cabinet uses physical modelling technology to provide a range of authentic sounds. Choose the Far position for a balanced sound that also has some characteristics of the virtual ”room. ”4x12” means four 12-inch speakers. For example. with optimized mics and mic positioning. Cabinet is an effect that emulates the sound of five classic guitar cabinets. The chooser’s entries indicate the number of speakers and the speaker size in inches. The Microphone chooser changes the position of the virtual microphone in relation to the speak- er cabinet. In the real world.5 Cabinet The Cabinet Effect. Live Audio Effect Reference 320 22. Near On-Axis micing results in a bright. but is bundled with the Amp effect (page 311) as a special feature available for purchase separately. The Speaker chooser allows you to select from a variety of speaker sizes and combinations. Developed in collabo- ration with Softube. while Near Off-Axis is more resonant and a bit less bright.

and the two are normally used together. Of course. Cabinet is paired with Amp (page 311). The Output switch toggles between mono and stereo (Dual) processing. Dynamic mics are a bit grittier and commonly used when close-micing guitar cabinets because they are capable of handling much higher volumes. and are commonly used for micing from a distance. For this reason. 22. Cabinet uses twice as much CPU. But you can also achieve interesting and exotic sounds by using Amp and Cabinet separately. Note that in Dual mode. so feel free to experiment. . Live Audio Effect Reference 321 Near Off-Axis Near On-Axis Far Cabinet Mic Positions. Condenser mics are more accurate. Cabinet’s virtual condenser mic won’t be damaged by high volume levels.5.1 Cabinet Tips Here are some tips for using Cabinet: Amps and Cabinets Guitar cabinets are normally fed by guitar amps. The switch below the Microphone chooser toggles between a Dynamic and Condenser mic. The Dry/Wet control adjusts the balance between the processed and dry signals.

Each delay has its own delay time control. .6 Chorus The Chorus Effect. Live Audio Effect Reference 322 Multiple mics A common studio technique is to use multiple mics on a single cabinet. and then adjust the bal- ance during mixing. Try this: •configure one instance of Cabinet as you like •put the Cabinet into an Audio Effect Rack •duplicate the Rack chain that contains the original Cabinet as many times as you like •in the additional chains. choose a different Microphone setting and/or mic type •adjust the relative volumes of the Rack’s chains in the Rack’s mixer 22. calibrated in milliseconds. The Chorus effect uses two parallel time-modulated delays to create chorus (thickening) and flanging effects. Delay 1 has a highpass filter that can remove low frequencies from the delayed signal. This is easy to do by using Live’s Audio Effect Racks (page 261). Greater highpass values let only very high frequencies pass through to Delay 1.

while the modulation frequency rate is in Hertz. You can also make changes by entering parameter values in the Amount and Rate fields below the X-Y controller. The Modulation X-Y controller can impart ”motion” to the sounds. The Dry/Wet control adjusts the balance between the processed and dry signals. click and drag along the vertical axis. Set it to 100 percent when using Chorus in a return track. Live Audio Effect Reference 323 Delay 2 can switch among three different modes. click and drag along the horizontal axis. Delay 2 will re- ceive the same modulation as Delay 1. Clicking the *20 switch multiplies the modulation frequency by 20 to achieve more extreme sounds. The Feedback control determines how much of the output signal feeds back into the input. only Delay 1 is audible. Polarity changes have the most effect with high amounts of feedback and short delay times. while the Polarity switch sets (surprise!) the polarity. except when loading Sets that use Chorus and were made in earlier versions of Live. . This is enabled by default. turn on the link button (”=”). This is especially use- ful if you want to change both delays with a single gesture. When off. Enabling the Crisp option via the [right-click](PC) / [CTRL-click](Mac) context menu can improve the sound quality. particularly at higher frequencies. The Amount value is in milliseconds. To change the modulation rate for the delay times. To set both delay lines to Delay 1’s delay time. In Fix Mode. only Delay 1’s delay time will be modulated. To change the amount of modula- tion. When Mod is activated.

A compressor’s two most important parameters are the Threshold and the compression Ratio. limiter or sound loudness-maximizing tool in the master channel. Signals above the threshold are attenuated by an amount specified by the Ratio parameter. the compressor output will increase by only 1 dB. . the more audible the effect. A ratio of 1 means no compression. Enabling the Makeup button automatically com- pensates the output level if the threshold and ratio settings change. This gives the signal a higher average level. The orange Gain Reduction meter shows how much the gain is being reduced at any given mo- ment. A compressor reduces gain for signals above a user-settable threshold. a gain reduction above 6 dB or so might produce the desired loudness. regardless of the threshold. then the output will increase by only 2 dB. For example. If a signal above the threshold in- creases by 6 dB. which sets the ratio between the input and out- put signal. if a signal above the threshold increases by 3 dB. Compression reduces the levels of peaks. The Threshold slider sets where compression begins. resulting in a sound that is subjectively louder and ”punchier” than an uncompressed signal. The more reduction. opening up more headroom and allowing the overall signal level to be turned up. you can use the Output (Out) control so that the peaks once again hit the maximum available headroom. Less is often more here. Live Audio Effect Reference 324 22. This is something that cannot be undone in later production steps. Keep this in mind especially when using a compressor. with a compression ratio of 3. The Output meter shows the output signal’s level.7 Compressor The Compressor Effect. but significantly alters the sound and is easily capable of destroy- ing its dynamic structure. Because compression reduces the volume of loud signals and opens up headroom.

the com- pressor begins compressing gradually as the threshold is approached. this so-called ”hard knee” behavior can sound harsh. which is visible as a pair of dotted lines around the threshold. For example. only the compressed signal is heard. the device is effectively bypassed. This view is useful for setting the Knee parameter. with a 10 dB knee and a -20 dB threshold. . subtle compression will begin at -30 dB and increase so that signals at -10 dB will be fully compressed. Compressor’s display can be switched between several modes via switches in the bottom cor- ners of the display: •The Collapsed view shows only the essential controls. and full compression is applied to any signal at or above the threshold. no compression is applied to signals below the threshold. With higher (or ”soft”) knee values. At 100%. With a setting of 0 dB. The Knee control adjusts how gradually or abruptly compression occurs as the threshold is ap- proached. while at 0%. Live Audio Effect Reference 325 Dry/Wet adjusts the balance between the compressed and uncompressed signals. Compressor’s Collapsed View •The Transfer Curve shows the input level on the horizontal axis and output level vertically. With very high ratios.

the GR and Output switches toggle between showing the amount of gain reduction in orange or the output level in a darker gray. Live Audio Effect Reference 326 Compressor’s Transfer Curve. In this mode. while Release sets how long it takes for the compressor to return to normal operation after the signal falls below the threshold. If these peaks cause overloads. the release time will adjust automatically based on the incoming audio. Attack defines how long it takes to reach maximum compression once a signal exceeds the threshold. Compression Activity Display. These views are useful for visualizing what’s happening to the signal over time. you can try shortening the attack time. With Auto Release enabled. •The Activity view shows the level of the input signal in light gray. The Attack and Release controls are essential parameters for controlling the response time of Compressor by defining how fast it reacts to input-level changes. Showing Input and Output. A slight amount of attack time (10-50 ms) allows peaks to come through unprocessed. which helps preserve dynamics by accentuating the initial portion of the signal. but extremely short times take the ”life” out of .

Threshold and Gain. and may lead to a slight “buzziness” caused by distortion. It can be very exciting! A compressor can only react to an input signal once it occurs. Compressor acts as an upward expander. If you are not used to working with compressors. see the Multiband Dynamics chap- ter (page 361). Live Audio Effect Reference 327 the signal. Since it also needs to apply an at- tack/release envelope. Note that the Lin/Log switch is not visible in Compressor’s collapsed view. the speed of the compression response is determined entirely by the Attack and Release values. Release. This can result in smoother and less noticeable com- pression than Lin mode.” In Expand mode. Compressor can be switched between two envelope follower shapes that offer further options for how the device measures and responds to signal levels. Compressor reacts to short peaks within a signal. while gener- ally considered an undesirable effect. With Peak selected. . one ms and ten ms. RMS is closer to how people actually perceive loudness and is usually considered more ”musical. This mode is more aggressive and precise. the compression is always a bit too late. some engineers use it on full drum kits to give unusual ”sucking” effects. In linear (Lin) mode. A digital compressor can solve this problem by simply delaying the input signal a little bit. In this state. and will increase the gain when signals exceed the threshold. the Ratio can also be set to values below 1. sharply compressed peaks will have a faster release time than less compressed material.) In addition to these modes. and so works well for limiting tasks where you need to ensure that there are absolutely no signals over the set threshold. (For more information about the various types of dynamics processing. Compressor offers three different Lookahead times: zero ms. RMS mode causes Compressor to be less sensitive to very short peaks and compress only when the incoming level has exceeded the threshold for a slightly longer time. Compressor can be switched between three basic modes of operation. play a drum loop and spend some time adjusting Attack. Careful adjustment of attack and release times is essential when it comes to compression of rhythmical sources. In logarithmic (Log) mode. Short release times can cause ”pumping” as the compressor tries to figure out whether to compress or not. The results may sound pretty different depending on this setting.

On the right of the external section are the controls for the sidechain EQ. The sidechain parameters are divided into two sections. instead of the signal that is actually being compressed. Normally. The Gain knob adjusts the level of the external sidechain’s input. But by using sidechaining. by using the EQ in conjunc- tion with an external sidechain. Enabling this section with the Sidechain button allows you to select any of Live’s internal routing points (page 202) from the choosers below. This causes the selected source to act as the com- pressor’s trigger.7. while the Dry/Wet knob allows you to use a combination of sidechain and original signal as the compressor’s trigger. At 0%. On the left are the external controls. the sidechain is effectively bypassed. the signal being compressed and the input source that triggers the compressor are the same signal. Note that increasing the gain does not increase the volume of the source signal in the mix. The sidechain audio is only a trigger for the compressor and is never actually heard. Live Audio Effect Reference 328 22. To access the Sidechain parameters. bypassing the compressor’s output. Enabling this section causes the compressor to be triggered by a specific band of frequencies. the compressor is triggered entirely by the sidechain source. it is possible to compress a signal based on the level of another signal or a specific frequency component. These can either be frequencies in the compressed signal or. frequencies in another track’s audio. Note that automatic Makeup is not available when using external sidechain. unfold the Compressor window by toggling the button in its title bar. The headphones button between the external and EQ sections allows you to listen to only the sidechain input. Since the sidechain audio isn’t fed to the . With Dry/ Wet at 100%. instead of a complete signal.1 Sidechain Parameters The Compressor Device With Sidechain Section.

Using the sidechain listen mode can help you tune the EQ until you find settings you’re happy with. 22. By carefully adjust- ing the Frequency and Q settings. remix offers and dates. Note that mastery of these techniques may result in a noticeable increase in drink tickets. the background music must get out of the way every time the narrator is speaking. you should be able to isolate the kick drum from the rest of the drum mix. particularly with the sidechain options. Sidechaining in Dance Music Sidechaining/ducking is a dance music producer’s secret weapon because it can help to ensure that basslines (or even whole mixes) always make room for the kick drum. you can help to control problematic low frequencies that might interfere with the kick drum’s attack. Mixing a Voiceover Sidechaining is commonly used for so-called ”ducking” effects. Using the sidechain EQ in conjunction with this technique can create ducking effects even if you only have a mixed drum track to work with (as opposed to an isolated kick drum). this temporary listening option can make it much easier to set sidechain parameters and hear what’s actually making the compressor work.2 Compression Tips This section presents some tips for using Compressor effectively. but select the narration track’s output as the external sidechain source. In this case. Then choose the drum track as the external sidechain source. and is only a trigger for the compressor. Since you want the voiceover to always be the loudest source in the mix. Then enable the sidechain EQ and select the lowpass filter. By inserting a com- pressor on the bass (or master) track and using the kick drum’s track as the sidechain input.7. insert a Compressor on the music track. For example. imagine that you have one track containing a voiceover and another track containing background music. insert the Compressor on the track you want to duck. To do this automatically. . Live Audio Effect Reference 329 output.

If multiple notes are held simultaneously. Reiss of the Centre for Digital Music. the Last/Low switch determines whether the last or the .8 Corpus The Corpus Effect. improved algo- rithms.7. but is bundled with the Collision instrument (page 414) as a special feature available for purchase separately. Live Sets that use Compressor and which were made in earlier versions of Live will show an Up- grade button in the title bar of each instance of Compressor when loading the Set in Live 9.3 Upgrading from Legacy Mode Compressor’s internal algorithms were updated in Live 9. The frequency and/or decay rate of the resonance can be MIDI modulated. the tuning of the resonance is determined by the incoming MIDI note. Developed in collaboration with Applied Acoustics Systems. Corpus is an effect that simulates the acoustic characteristics of seven types of resonant objects. 22. The full version of Corpus is not included with the standard version of Live. The MIDI From choosers allow you to select the MIDI track and tapping point from which to receive MIDI note information. Note that this may cause your Set to sound different. Joshua D. in collaboration with Dr. by enabling the Frequency and/or Off Decay switches in the Sidechain section. Corpus uses physical modelling technology to provide a wide range of parameters and modulation options. With Frequency enabled. Queen Mary University of London. Live Audio Effect Reference 330 22. Press the Upgrade button in order to upgrade that Compressor instance to the latest. Toggle the button in Corpus’s title bar to access Sidechain parameters.

With Frequency disabled. note offs are ignored. or synced to the song tempo. This is similar to how real-world mallet instruments such as a marimbas and glockenspiels behave. the Phase and Spin controls are not relevant and do not affect the sound. The Rate control specifies the LFO speed. the resonance is muted immediately at note off. Corpus contains a Low Frequency Oscillator (LFO) to modulate the resonant frequency. Spin (only available when the LFOs are in Hertz mode) detunes the two LFO speeds relative to each other. and the decay time is based only on the value of the Decay parameter. The corresponding MIDI note number and fine tuning offset in cents is displayed below. Phase (available only when the LFOs are synced to song tempo) keeps both LFOs at the same frequency. With Phase set to ”360” or ”0” the two LFOs run in sync. The Transpose and Fine knobs allow for coarse and fine offset of the MIDI-modulated tuning. there are actually two LFOs. which is located under the Resonance Type selector. the other is at its minimum. The Phase and Spin controls define the relationship between these two LFOs. so that when one LFO reaches its peak. This button will light up if the sidechain is active. Available LFO waveform shapes are sine (creates smooth modulations with rounded peaks and valleys). Enabling Off Decay causes MIDI note off messages to mute the resonance. one for each stereo channel. creating stereo movement. Although only one set of LFO controls is visible. regardless of the Decay time. The slider below the switch determines the extent to which MIDI note off messages mute the resonance. square. The Amount control sets how much the LFO affects the frequency. the LFO outputs are 180 degrees apart. Each stereo channel is modulated at a different frequency. You can hide or show the Sidechain parameters by toggling the button in Corpus’s title bar. . PB Range sets the range in semitones of pitch bend modulation. It can be set in terms of Hertz. At 0%. the Tune control adjusts the base frequency of the resonance in Hertz. For the noise waveforms. Set to ”180”. Live Audio Effect Reference 331 lowest note will have priority. sawtooth down and two types of noise (stepped and smooth). At 100%. but can set the two LFO waveforms ”out of phase” with each other. as determined by the Spin amount. sawtooth up. allowing for controlled rhythmic modulation. triangle.

•Marimba. •Plate simulates sound production by a rectangular plate (a flat surface) of different materi- als and sizes. a specialized variant of the Beam model. Live Audio Effect Reference 332 Spread detunes the two resonators in relation to each other. . and thus the decay time. At lower values.) •Tube simulates a cylindrical tube that is fully open at both ends. while ”Full” creates more sophisticated resonances. Positive values raise the pitch of the left resonator while lowering the pitch of the right one. •String simulates the sound produced by strings of different materials and sizes. •Membrane is a model of a rectangular membrane (such as a drum head) with a variable size and construction. The Material knob adjusts the variation of the damping at different frequencies. nylon or rubber). At higher values. This parameter is not used with the Pipe or Tube resonators. At 0%. The resonator quality chooser controls the tradeoff between the sound quality of the resonators and performance by reducing the number of overtones that are calculated. the resonators are tuned the same. ”Basic” uses minimal CPU resources. low frequency components decay slower than high frequency components (which simulates objects made of wood. while negative values do the opposite. The resonance type chooser allows you to select from seven types of physically modeled reso- nant objects: •Beam simulates the resonance properties of beams of different materials and sizes. The Decay knob adjusts the amount of internal damping in the resonator. reproduces the characteristic tuning of marimba bar overtones which are produced as a result of the deep arch-cut of the bars. •Pipe simulates a cylindrical tube that is fully open at one end and has a variable opening at the other (adjusted with the Opening parameter. This parameter is not used with the Pipe or Tube resonators. high frequency components decay slower (which simulates objects made of glass or metal).

The Hit knob adjusts the location on the resonator at which the object is struck or otherwise ac- tivated. Radius adjusts the ra- dius of the pipe or tube. scales between an open and closed pipe. At very large sizes. Inharm. the object is hit at its center. (Inharmonics) adjusts the pitch of the resonator’s harmonics. At higher values. the resonance is monitored at the object’s center. The filter can be toggled on or off with the Filter switch. Higher values move the listening point closer to the edge. the fundamental pitch of the resonator also changes. Live Audio Effect Reference 333 The Radius parameter is only available for the Pipe and Tube resonators. Bleed mixes a portion of the unprocessed signal with the resonated signal. frequen- cies are stretched. The Listening L and R controls adjust the location on the left and right resonator where the vibra- tions are measured. Opening. At negative values. fre- quencies are compressed. which can . Higher values move the activation point closer to the edge. higher frequencies are louder. Ratio is only available for the Membrane and Plate resonators. At 0%. This is useful for restoring high frequencies. and adjusts the ratio of the ob- ject’s size along its x and y axes. To set the posi- tion of the frequency band. The Brightness control adjusts the amplitude of various frequency components. each resonator is sent exclusively to one channel. Width adjusts the stereo mix between the left and right resonators. This parameter is not used with the Pipe or Tube resonators. increasing the amount of lower partials. both resonators are fed equally to each side. resulting in mono output. At 100%. As the radius increases. the decay time and high frequency sustain both increase. The processed signal is fed through a lowpass and highpass filter that can be controlled with an X-Y controller. To define the filter bandwidth. At 0%. At 0%. click and drag on the horizontal axis. At 0%. This parameter is not used with the Pipe or Tube resonators. more of the original signal is applied. which is only available for the Pipe resonator. At positive values. click and drag on the vertical axis. The Decay and Material/Radius parameters can also be controlled with the X-Y controller. while at 100% the pipe is open at both ends. the pipe is fully closed on one side. At higher values. which are always measured in the middle of their permanently open end. This parameter is not used with the Pipe or Tube resonators. These parameters are not used with the Pipe or Tube resonators. increasing the amount of upper partials.

but rather stop new input signals from being processed. Live Audio Effect Reference 334 often be damped when the tuning or quality are set to low values. but will kick in whenever the input signal exceeds a certain threshold. while the Dry/Wet control adjusts the balance between the dry input signal and the signal sent to Corpus’s processing. This parameter is unavailable with the Pipe or Tube resonators. B and C. (Note: the Dynamic Tube effect is not available in the Intro and Lite Editions. . provide a range of distortion characteristics known from real amplifier tubes. Gain boosts or attenuates the level of the processed signal. The qualities of Tube B lie somewhere between these two extremes. Tube A does not produce distortions if Bias is set low. A. 22. Three tube models. creating bright harmonics. Turning Dry/Wet down will not cut resonances that are currently sounding.) The Dynamic Tube effect infuses sounds with the peculiarities of tube saturation. This is indicated by the LED in the upper-right corner of Corpus’s display.9 Dynamic Tube The Dynamic Tube Effect. An integrated envelope follower generates dynamic tonal variations related to the level of the input signal. Tube C is a very poor tube amp that produces distortions all the time. Corpus contains a built-in limiter that automatically activates when the audio level is too high.

Cut or boost the device’s final signal level with the Output dial. they shape the dynamic nature of the distortions. Together.10 EQ Eight The EQ Eight Effect. Negative Envelope values create expan- sion effects by reducing distortion on loud signals. Note that if Envelope is set to zero. 22. With very high amounts of Bias. . Attack and Release are envelope characteristics that define how quickly the envelope reacts to volume changes in the input signal. This improves the sound quality. the signal will really start to break apart. they will have no effect. The Drive control determines how much signal reaches the tube. directing them into the higher registers. but there is a slight increase in CPU usage. The intensity of the tube is controlled by the Bias dial. Live Audio Effect Reference 335 The Tone control sets the spectral distribution of the distortions. which pushes the signal into the celebrated realms of nonlinear distortion. the more the Bias point will be influenced by the level of the input signal. Aliasing can be reduced by enabling Hi-Quality mode. greater Drive yields a dirtier output. while positive values will make loud sounds dirtier. which can be accessed via the [right- click](PC) / [CTRL-click](Mac) context menu. The Bias parameter can be positively or negatively modulated by an envelope follower. particularly with high frequency signals. or through the midrange and deeper. The more deeply the envelope is applied. which is controlled with the Envelope knob.

both curves are displayed simultaneously for reference. From top to bottom in the choosers. assign the same parameters to two or more filters.) The EQ Eight effect is an equalizer featuring up to eight parametric filters per input channel. L/R and M/S. The Edit switch indicates the active channel. To achieve really drastic filtering effects. The input signal can be processed using one of three modes: Stereo. Horizontal movement changes the filter frequency. either with the mouse or with your computer keyboard’s ar- row keys. To adjust the filter Q (also called resonance or bandwidth). Note that the gain cannot be . Turn off bands that are not in use to save CPU power. When using the L/R and M/S modes. To edit the filter curve. these are: •48 or 12 dB/octave Low cut (cuts frequencies below the specified frequency). •Low shelf (boosts or cuts frequencies lower than the specified frequency). the frequency spectrum of the output is displayed behind the filter curves when the Analyze switch is on. Each filter band can be turned on or off independently with an activator switch below the chooser. Stereo mode uses a single curve to filter both channels of a stereo input equally. •Bell curve (boosts or cuts over a range of frequencies). and is used to toggle between the two curves. M/S mode (Mid/Side) provides the same functionality for signals that have been recorded using M/S en- coding. L/R mode provides an independently adjustable filter curve for the left and right channels of a stereo input. Each filter has a chooser that allows you to switch between eight responses. Drag-enclose multiple filter dots to adjust them simultaneously. •Notch (sharply cuts frequencies within a narrow range). In all modes. while vertical movement adjusts the filter band’s gain. hold down the [ALT](PC) / [ALT](Mac) modifier while dragging the mouse. •12 or 48 dB/octave High cut (cuts frequencies above the specified frequency). •High shelf (boosts or cuts frequencies higher than the specified frequency). use- ful for changing a sound’s timbre. although only the active channel is editable. click and drag on the filter dots in the display. Live Audio Effect Reference 336 (Note: the EQ Eight effect is not available in the Intro and Lite Editions.

all eight filters can be edited simultaneously in the Device View. As boosting will increase levels and cutting will decrease levels. With Adaptive Q enabled. In Audition mode. notch and high cut filters. When using this expand- ed view. In these modes. . You can also select a band for editing by clicking near its number and then edit parameter val- ues with the Freq. the Q amount increases as the amount of boost or cut increases. enable Audition mode via the headphone icon. If you would prefer to work en- tirely “by ear. To get an even better view. use the global Gain slider to optimize the output level for maximum level consistent with minimum distortion. clicking and holding on a filter dot allows you to hear only that filter’s effect on the output. vertical dragging adjusts the filter Q. By default. Gain and Q dials (and/or type values into the number fields below each dial). Live Audio Effect Reference 337 adjusted for the low cut.” you can turn off the Analyze button to disable the spectrum view. This results in a more consistent output volume and is based on the behavior of classic analog EQs. The Scale field will adjust the gain of all filters that support gain (all except low cut. notch and high cut). you can toggle the location of the display between the device chain and Live’s main window by clicking the button in EQ Eight’s title bar. EQ Eight’s Controls With the Display Expanded. To temporarily solo a single filter. EQ Eight’s output spectrum is shown in the display.

There is a slight increase in CPU usage with Oversampling enabled. These include: •Oversampling . Note: as of Live 9. Live Sets that use EQ Eight and which were made prior to Live 9 may sound slightly different.enabling this option causes EQ Eight to internally process two times the current sample rate. which allows for smoother filter behavior when adjusting high fre- quencies. Live Audio Effect Reference 338 Context Menu Options Several of EQ Eight’s controls are only available via the [right-click](PC) / [CTRL-click](Mac) context menu. •Shelf Scaling Legacy Mode . the shape of EQ Eight’s shelf filters has been improved. 22. EQ Eight now always operates in this mode. To ensure that older Sets sound exactly the same. the “Hi-Quality” [right-click](PC) / [CTRL-click](Mac) context menu option has been removed. mid and high frequencies independently. the Shelf Scaling Leg- acy Mode option will be enabled by default when loading an old Set that uses EQ Eight. .11 EQ Three The EQ Three Effect.As of Live 9. You can disable this via a [right-click](PC) / [CTRL-click](Mac) context menu entry in EQ Eight’s title bar. If you have ever used a good DJ mixer you will know what this is: An EQ that allows you to ad- just the level of low.

resulting in a slight coloration of the input signal even if all controls are set to 0. The higher setting results in more drastic filtering. but needs more CPU. then the low band goes from 0 Hz to 500 Hz. Even if a band is turned off. You can also turn on or off each band using the On/Off buttons located under the gain controls. A very important control is the 24 dB/48 dB switch. The 48 dB Mode especially does not provide a perfect linear transfer quality. The frequency range of each band is defined via two crossover controls: FreqLo and FreqHi. the bass drum or bassline of a track. These buttons are especially handy if assigned to computer keys. If FreqLo is set to 500 Hz and FreqHi to 2000 Hz. This means that you can completely remove. while leaving the other frequencies untouched. the mid band from 500 Hz to 2000 Hz and the high band from 2000 Hz up to whatever your soundcard or sample rate supports. for example. The inter- nal threshold for the LEDs is set to -24 dB. and is part of EQ Three’s unique sound. Live Audio Effect Reference 339 Each band can be adjusted from -infinite dB to +6 dB using the gain controls. If you need a more linear behavior choose 24 dB Mode or use the EQ Eight. This is typical behavior for this kind of filter. you can tell if there is something going on in it. EQ Three gives you visual confirmation of the presence of a signal in each frequency band using three LEDs. Note: The filters in this device are optimized to sound more like a good. powerful analog filter cascade than a clean digital filter. . It defines how sharp the filters are cutting the signal at the crossover frequency.00 dB.

Note that bandwidth is not adjustable when Sine is selected. . the Y-axis controls the bandwidth. while higher values affect the entire input signal. this works in conjunction with the Width control. click and drag along the X-axis in the X-Y field. If the Mode control is set to Noise.” To change the sine wave frequency or noise band center frequency. If you hold down the [ALT](PC) / [ALT](Mac) modifier key while clicking in the X-Y field. The Y-axis controls the modulation amount. or quality. However. which creates a subtle stereo enhancement. Width has no effect in Sine Mode. This adds noisy artifacts or aliasing/downsampling-like distortions that sound very ”digital. Lower values lead to more selective distortion frequencies. of the distortion. Noise and Sine use a single modulation generator. The Erosion effect degrades the input signal by modulating a short delay with filtered noise or a sine wave.12 Erosion The Erosion Effect. Wide Noise has independent noise generators for the left and right channels. which defines the noise bandwidth. The Frequency control determines the color. Live Audio Effect Reference 340 22.

while the Audio From chooser selects the inputs that will bring the processed signal back into Live. (Note: the External Audio Effect is not available in the Intro and Lite Editions.) The External Audio Effect is a bit different than Live’s other effects devices.” option at the bottom of each chooser. Below each chooser is a Peak level indicator that shows the highest audio level attained.. . which can be reached via the ”Configure. Instead of processing audio itself. Live Audio Effect Reference 341 22. both in your external hardware and when returning the audio to your computer.. The Dry/Wet control adjusts the balance between the processed and dry signals. These lev- els should be set carefully to avoid clipping. Click on the indicators to reset them. The Invert button inverts the phase of the processed signal coming back into Live. Set it to 100 percent if using the External Audio Effect in a return track.13 External Audio Effect The External Audio Effect. The Gain knobs next to the choosers adjust the levels going out of and back into Live. the list of available inputs and outputs depends on the Audio Preferences. it allows you to use external (hardware) effects processors within a track’s device chain. The Audio To chooser selects the outputs on your computer’s audio hardware that will go to your external device. As with the track inputs and outputs.

For instructions on how to accurately set up latency compensation for your hardware. Live Audio Effect Reference 342 Since hardware effects introduce latency that Live cannot automatically detect. you will want to adjust your la- tency settings in samples. please see the ”Driver Error Compensation” lesson. Note: If the Delay Compensation option (page 258) is unchecked in the Options menu. (Note: the Filter Delay effect is not available in the Intro and Lite Editions. be sure to switch back to milliseconds before changing your sample rate. Note that adjusting in samples gives you finer control. The button next to this slider allows you to set your latency compensation amount in either milliseconds or samples. you can manu- ally compensate for any delays by adjusting the Hardware Latency slider. In this case. as de- . which ensures that the amount of time you specify will be retained when changing the sample rate.) The Filter Delay provides three independent delay lines. you may want to ”fine tune” your latency in samples in order to achieve the lowest possible la- tency.14 Filter Delay The Filter Delay Effect. so even in cases when you’re working with analog devices. the Hardware Latency slider is disabled. which ensures that the number of samples you specify will be retained even when changing the sample rate. If your external device connects to Live via a digital connection. 22. If your external device connects to Live via an analog connection. you will want to adjust your latency settings in milliseconds. each preceded by linked lowpass and highpass filters. This allows applying delay to only certain input signal frequencies.

click and drag on the horizontal axis to set the filter band’s frequency. To refer delay time to the song tempo. changing the Delay Time field percentage value short- ens and extends delay times by fractional amounts. To edit filter bandwidth. other- wise each delay outputs on the channel from which it derives its input. which equals one beat (a quarter note) of delay. delay 2 to the left and right channels and delay 3 to the right channel. The numbered switches represent time delay in 16th notes. The X-Y controllers adjust the lowpass and highpass filters simultaneously for each delay. Each delay channel’s filter has an associated On switch. selecting ”4” delays the signal by four 16th notes. The Feedback parameter sets how much of the output signal returns to the delay line input. Set it to minimum if using Delay in a return track. If the Sync switch is off. or click in the field and type in a value. click and drag up or down in the Delay Time field. The feedback from each of the three delays is also routed back through the filters. click and drag on the vertical axis. the delay time reverts to milliseconds. activate the Sync switch. The Filter Delay device as- signs delay 1 to the input signal’s left channel. The Dry control adjusts the unprocessed signal level. With Sync Mode active. For example. to edit the delay time. Very high values can lead to runaway feedback and produce a loud oscillation — watch your ears and speakers if you decide to check out extreme feedback settings! Each delay channel has its own volume control. Each of the three delays can be switched on and off independently. located to the left of each X-Y control- ler. In this case. which allows using the Delay Time beat division chooser. which can be turned up to +12 dB to compen- sate for drastic filtering at the input. Live Audio Effect Reference 343 termined by the filter settings. . thus producing the ”swing” type of timing effect found in drum machines. The Pan controls at the right can override the delay channels’ outputs.

15 Flanger The Flanger Effect. triangle. which can be set in terms of hertz. The LFOs have six possible waveform shapes: sine. The extent of LFO influence on the delays is set with the Amount control. The Phase control lends the sound stereo movement by setting the LFOs to run at the same fre- quency. LFO speed is controlled with the Rate control. You can increase or de- crease the envelope amount (or invert its shape with negative values).) Flanger uses two parallel time-modulated delays to create flanging effects. Delay Time and Feedback can be changed simultaneously using the effect’s X-Y con- troller. so that when one reaches its peak. (Note: the Flanger effect is not available in the Lite Edition. Rate can also be synced to the song tempo and set in meter subdivisions (e. while the Polarity switch (”+” or ”-”) sets the polarity. square. Set this to ”180”. sawtooth up. Periodic control of delay time is possible using the envelope section. The Feedback control sends part of the output signal back through the device input. and then use the Attack and Release controls to define envelope shape. Flanger contains two LFOs to modulate delay time for the left and right stereo channels. sixteenth notes). Live Audio Effect Reference 344 22. .g. and the LFOs will be perfectly out of phase (180 degrees apart). but offsetting their waveforms relative to each other.. sawtooth down and random. the other is at its minimum. Flanger’s delays can be adjusted with the Delay Time control.

while large shifts can create dissonant.) The Frequency Shifter moves the frequencies of incoming audio up or down by a user-specified amount in Hertz. The Dry/Wet control adjusts the balance between the processed and dry signals. 22. . as determined by the Spin amount.16 Frequency Shifter The Frequency Shifter Effect. the output will be a sine wave at 540 Hz. Small amounts of shift can result in subtle tremolo or phasing effects. Set it to 100 percent if using Flanger in a return track. Enabling Hi-Quality results in a brighter sound. For example. Each delay is modulated at a different frequency. (Note: the Frequency Shifter effect is not available in the Intro and Lite Editions. Adjusting the HiPass control will cut low frequencies from the delayed signal. Hi-Quality mode can be toggled on or off via a [right-click](PC) / [CTRL-click](Mac) context menu entry. The Coarse and Fine knobs set the amount of shift that will be applied to the input. metallic sounds. Live Audio Effect Reference 345 Spin detunes the two LFO speeds relative to each other. if the input is a sine wave at 440 Hz and the frequency is set to 100 Hz. but there is a very slight increase in CPU usage.

but offsetting their waveforms relative to each other. in which the ratios of the incoming frequencies (and thus their harmonic relationships) are preserved. Set this to ”180”. In Ring mode. For example. This knob is called Mix when Drive is enabled. while the slider below it controls the level of the distortion. The LFOs have six possible waveform shapes: sine. This is distinct from pitch shifting. The Dry/Wet control adjusts the balance between the processed and dry signals. The Phase control lends the sound stereo movement by setting the LFOs to run at the same fre- quency. When using the random waveform. Note that the Drive effect is post-Mix. Each stereo channel is modulated at a different frequency.. This means that increasing the Spread value will shift the frequency down in the right channel while shifting it up in the left. which can be set in terms of Hertz. For example. Live Audio Effect Reference 346 By changing the Mode from Shift to Ring. Rate can also be synced to the song tempo and set in meter subdivisions (e. Frequency shifting is accomplished by simply adding or subtracting a value in Hertz to the in- coming audio. sawtooth down and random. if the incoming audio signal (A) is a sine wave at 440 Hz and the Frequency is set to 100 Hz (B). imagine you have an incom- ing audio signal consisting of sine waves an octave apart at 440 Hz and 880 Hz. Frequency Shifter contains two LFOs to modulate the frequency for the left and right stereo chan- nels. Note that Wide has no effect if the Spread value is set to 0. LFO speed is controlled with the Rate control. and the LFOs will be perfectly out of phase (180 degrees apart). sixteenth notes). Frequency Shifter switches from classical frequency shifting to ring modulation. the other is at its minimum. Enabling the Wide button creates a stereo effect by inverting the polarity of the Spread value for the right channel. as determined by the Spin amount. the selected frequency amount is added to and sub- tracted from the input. sawtooth up. The Drive button enables a distortion effect. the Phase and Spin controls are not relevant and do not af- fect the sound. To pitch shift .g. triangle. Spin detunes the two LFO speeds relative to each other. which means that you can use Frequency Shifter as a pure distortion effect by enabling Drive and setting Mix to 0%. The extent of LFO influence on the frequency is set with the Amount control. so that when one reaches its peak. Drive is only available in Ring mode. square. the output will contain partials at 340 Hz (A-B) and 540 Hz (A+B).

. try using extremely small amounts of shift (no more than about 2 Hz). resulting in new frequencies at 880 Hz and 1760 Hz. Tremolo In Ring mode. . resulting in ”pinched” or ”tubby” sam- ples. we multiply these frequencies by two.16. You can also impart a sense of stereo motion to the tremolo by turning on Wide and using small Spread values. try using a simple. Here are some tips for using the Frequency Shifter device. Frequency shifting can be a useful alternative. Live Audio Effect Reference 347 this up an octave. Try putting a Spectrum device (page 379) after the Frequency Shifter to watch how the signal changes as you change parameters. continuous sine wave as your input. Phasing To create lush phasing effects. To get a good overview of what’s happening. This should change the apparent size and tun- ing of the drum while retaining the quality of the original sample. Drum tuning Tuning sampled acoustic drums can be tricky.. Then adjust the Fine fre- quency no more than about 100 Hz up or down. the strongest phasing will be heard when Dry/Wet is at 50%. so you won’t hear an effect until you adjust the Dry/Wet balance so that both are audible. Learning more. Try using the device in Shift mode with the Dry/Wet amount at 100%. frequencies below the audible range (about 20 Hz) create a tremolo effect.1 Frequency Shifter Tips Frequency shifting and ring modulation can produce some very interesting sounds. Note that the phasing is caused by the interaction of the processed and dry signals. Using a sampler’s transposition controls often changes the character of the sounds in unrealistic ways. 22.

Gate’s internal behavior has been subtly improved. which can also be dragged.) The Gate effect passes only signals whose level exceeds a user-specified threshold. or shape a sound by turning up the threshold so that it cuts off reverb or delay tails or truncates an instrument’s natural decay. As of Live 9. Higher hysteresis values reduce “chatter” caused by the gate rapidly opening and closing when the input signal is near the threshold level. (Note: the Gate effect is not available in the Lite Edition. Although it works more “cor- rectly” than it did in previous Live versions. Gate’s display area shows the level of the input signal in light gray and the level of the output signal in a darker gray with a white outline.. The Return value is repre- sented in the display as an additional horizontal orange line. The Threshold value is represented in the display as a horizontal orange line.g. . Return (also known as “hysteresis”) sets the difference between the level that opens the gate and the level that closes it. and helps you to set the appropriate parameters. the Gate Legacy Mode option will be enabled by default when loading an old Set that uses Gate. Live Audio Effect Reference 348 22. The Threshold knob sets the gate’s sensitivity. hiss or hum). This allows you to see the amount of gating that is occurring at any moment. You can disable this via a [right-click](PC) / [CTRL-click](Mac) context menu entry in Gate’s title bar.17 Gate The Gate Effect. To ensure that older Sets sound exactly the same. Live Sets that use Gate and which were made prior to Live 9 may sound slightly different. A gate can eliminate low-level noise that occurs between sounds (e.

When the signal goes from above to below the threshold. The results may sound pretty different depending on this setting. Live Audio Effect Reference 349 With the Flip button enabled.00 dB means that even if the gate is closed. Since it also needs to apply an attack/ release envelope. it is possible to gate a signal based on the level of another signal. Settings in between these two extremes attenuate the input to a greater or lesser degree when the gate is closed. there is no effect on the signal. while the Dry/Wet knob allows you to use a combination of sidechain and original signal as the gate’s trigger. This causes the selected track’s signal to act as the gate’s trigger. instead of a complete signal. the signal will only pass if its level is below the threshold. For example. the signal being gated and the input source that triggers the gate are the same signal. To access the Sidechain parameters. Normally. The Floor knob sets the amount of attenuation that will be applied when the gate is closed. the gating is always a bit too late. The Gain knob adjusts the level of the external sidechain’s input. instead of the signal that is actually being gated. a closed gate will mute the input signal. A digital gate can solve this problem by simply delaying the input signal a little bit. With Dry/Wet at 100%. After the hold time expires. On the right of the external section are the controls for the sidechain EQ. the Hold time kicks in. unfold the Gate window by toggling the button in its title bar. one ms and ten ms. The sidechain audio is only a trigger for the gate and is never actually heard. The Attack time determines how long it takes for the gate to switch from closed to open when a signal goes from below to above the threshold. At 0%. If set to -inf dB. the gate works in reverse. Enabling this section with the Sidechain button allows you to select another track from the choos- ers below. the gate closes over a period of time set by the Release parameter. while long times soften the sound’s attack. But by using sidechaining. Gate offers three different Lookahead times: zero ms. the gate is triggered entirely by the sidechain source. . Enabling this section causes the gate to be triggered by a specific band of frequencies. Very short attack times can produce sharp click- ing sounds. Note that increasing the gain does not increase the volume of the source signal in the mix. A setting of 0. the sidechain is effectively bypassed. a held pad sound can be triggered with the rhythm of a drum loop by inserting a Gate on the pad’s track and choosing the drum loop’s track as the sidechain input. A gate can only react to an input signal once it occurs. Sidechain gating can be used to superimpose rhythmic patterns from one source onto another.

the Glue Compressor does not have a user-adjustable knee. this temporary listening option can make it much easier to set sidechain parameters and hear what’s actually making the gate work. Attack defines how long it takes to reach maximum compression once a signal exceeds the threshold. 22.) The Glue Compressor is an analog-modeled compressor created in collaboration with Cytomic. Release sets how long it takes for the . but is mainly designed for use on the Master track or a Group Track to “glue” multiple sources together into a cohesive sounding mix. which sets the ratio between the input and out- put signal. and is based on the classic bus compressor from a famous 80’s mixing console. The Threshold knob sets where compression begins. The headphones button between the external and EQ sections allows you to listen to only the sidechain input. Like Live’s origi- nal Compressor (page 324). bypassing the gate’s output. Signals above the threshold are attenuated by an amount specified by the Ratio parameter. and is only a trigger for the gate. the display area shows the level of the sidechain input signal in green. by using the EQ in conjunction with an external sidechain.18 Glue Compressor The Glue Compressor Effect. Since the sidechain audio isn’t fed to the output. frequencies in another track’s audio. the Glue Compressor can be used for basic dynamics control of individual tracks. Instead. the knee becomes more sharp as the ratio increases. Unlike the Compressor. (Note: the Glue Compressor effect is not available in the Intro and Lite Editions. Live Audio Effect Reference 350 These can either be frequencies in the signal to be gated or. When this button is on. The Attack knob’s values are in milliseconds.

5 dB.a slow one as a base compression value. the device is effectively bypassed. no compression occurs. very loud peaks may still exceed 0 dB. which sets the how much compression can occur. Makeup applies gain to the signal. while values between -40 and -15 dB can be useful as an alternative to the Dry/Wet control. When enabled. The Release knob’s values are in seconds. the release time will adjust auto- matically based on the incoming audio. Another way of controlling the amount of compression is with the Range slider. Live Audio Effect Reference 351 compressor to return to normal operation after the signal falls below the threshold.) The Soft clipper is not a transparent limiter. We recommend leaving it disabled unless this particular type of “colored” distortion is what you’re looking for. (Note that with Oversampling enabled. . When Release is set to A (Auto). allowing you to compensate for the reduction in level caused by compression. Dry/Wet adjusts the balance between the compressed and uncompressed signals. and will distort your signal when active. only the compressed signal is heard. useful for taming very loud transients. At 0 dB. Values between about -60 and -70 dB emulate the original hardware. At 100%. while at 0%. this LED turns yellow to indicate that peaks are being clipped. and a fast one to react to transients in the sig- nal. the Glue Compressor’s maximum output level is -. The Glue Compressor’s Auto Release actually uses two times . The Clip LED turns red if the device’s output level is exceeding 0 dB. If Soft clipping is enabled. but generally is a useful way to tame a wide range of material in a gentle way. A Makeup value that roughly corresponds to the position of the needle in the display should result in a level close to what you had before compressing. Auto Release may be too slow to react to sudden changes in level. The Soft clip switch toggles a fixed waveshaper. The Glue Compressor’s needle display shows the amount of gain reduction in dB.

Since the sidechain audio isn’t fed to the output. Normally. . On the left are the external controls. frequencies in another track’s audio. the sidechain is effectively bypassed. Enabling this section causes the Glue Compressor to be triggered by a specific band of frequencies. the Glue Compressor is triggered entirely by the sidechain source. Note that increasing the gain does not increase the volume of the source signal in the mix. while the Dry/Wet knob allows you to use a combination of sidechain and original signal as the Glue Compressor’s trigger. These can either be frequencies in the compressed signal or. Live Audio Effect Reference 352 22. The sidechain parameters are divided into two sections.18. unfold the Glue Compressor window by toggling the button in its title bar. the signal being compressed and the input source that triggers the compressor are the same signal. and is only a trigger for the Glue Compressor. it is possible to compress a signal based on the level of another signal or a specific frequency component.1 Sidechain Parameters The Glue Compressor With Sidechain Section. instead of a complete signal. The headphones button between the external and EQ sections allows you to listen to only the sidechain input. by using the EQ in conjunction with an external sidechain. This causes the selected source to act as the Glue Compressor’s trigger. With Dry/Wet at 100%. this temporary listening option can make it much easier to set sidechain parameters and hear what’s actually making the Glue Com- pressor work. The Gain knob adjusts the level of the external sidechain’s input. But by using sidechaining. To access the Sidechain parameters. The sidechain audio is only a trigger for the Glue Com- pressor and is never actually heard. At 0%. Enabling this section with the Sidechain button allows you to select any of Live’s internal routing points from the choosers below. instead of the signal that is actually being compressed. bypassing the Glue Compressor’s output. On the right of the external section are the controls for the sidechain EQ.

22. or terrifying small pets (just kidding!). Live Audio Effect Reference 353 Context Menu Options Oversampling can be toggled on or off via the [right-click](PC) / [CTRL-click](Mac) context menu. Note that with Oversampling enabled. To assign a param- eter to the Y-axis. There is a slight in- crease in CPU usage with Oversampling enabled. (Note: the Grain Delay effect is not available in the Lite Edition. selecting ”4” delays the signal by four 16th notes. which may reduce aliasing and transient harshness. Randomizing pitch and delay time can create complex masses of sound and rhythm that seem to bear little relationship to the source. To refer delay time to the song tempo. This can be very useful in creating new sounds and textures. To assign a pa- rameter to the X-axis.) The Grain Delay effect slices the input signal into tiny particles (called ”grains”) that are then individually delayed and can also have different pitches compared to the original signal source. the level may exceed 0 dB even with Soft clip enabled. Enabling this option causes the Glue Compressor to internally process at two times the current sampling rate. which allows using the Delay Time beat division chooser. The numbered switches represent time delay in 16th notes.19 Grain Delay The Grain Delay Effect. use the parameter row on the left side. activate the Sync switch. For example. You can route each parameter to the X-Y controller’s horizontal or vertical axis. which equals one beat (a quarter . choose it from the parameter row below the controller. as well as getting rid of unwelcome house guests.

You can transpose the grain pitch with the Pitch parameter. . The sound of Pitch and Spray depends very much on this parameter. The size and duration of each grain is a function of the Frequency parameter. Low values smear the signal across time. The Delay Time can also be routed to the horizontal axis of the X-Y controller. The Feedback parameter sets how much of the output signal returns to the delay line input. thus allowing degrees of stabil- ity and instability in a sound’s pitch structure. Low values create a sort of mutant chorusing effect. With Sync Mode active. the delay time reverts to milliseconds. thus producing the ”swing” type of timing effect found in drum machines. which adds ”noisiness” to the sound. while high values can make the original source pitch completely unin- telligible. click and drag up or down in the Delay Time field. The Random Pitch control adds random variations to each grain’s pitch. Live Audio Effect Reference 354 note) of delay. This parameter can interact with the main Pitch control. or click in the field and type in a value. changing the Delay Time field percentage value short- ens and extends delay times by fractional amounts. The Spray control adds random delay time changes. High Spray values completely break down the structure of the source signal. to edit the delay time. which can be routed to the vertical axis of the X-Y con- troller. In this case. This is the recommended set- ting for anarchists. Very high values can lead to runaway feedback and produce a loud oscillation — watch your ears and speakers if you decide to check out extreme feedback settings! Grain Delay also has a dry/wet control. which acts much like a crude pitch shifter. If the Sync switch is off. introducing varying degrees of rhythmic chaos.

to prevent clipping. Stereo mode applies limiting to both channels whenever either of them has a peak that requires compression. Limiter functions as two separate limiters. see the manual entry for the Compressor device (page 320).) The Gain knob allows you to boost or attenuate the incoming level before applying limiting. (For more information about compres- sion theory. With Auto enabled. Limiter analyzes the incoming signal and sets an appropriate release time automatically. If your incoming signal level has no peaks that are higher than the ceiling. The Lookahead chooser affects how quickly Limiter will respond to peaks that require compres- sion. The Release knob adjusts how long it takes for Limiter to return to normal operation after the signal falls below the ceiling. Limiter is ideal for use in the Master track. (Note: the Limiter effect is not available in the Lite Edition. Shorter Lookahead times allow for more compression.) The Limiter effect is a mastering-quality dynamic range processor that ensures that the output does not exceed a specified level. The Stereo / L/R switch determines how Limiter treats peaks that occur on only one side of the stereo signal. but with an increase in distortion — particularly in the bass. L/R mode allows Limiter to apply more compression. Live Audio Effect Reference 355 22. but with some distortion of the stereo image.20 Limiter The Limiter Effect. Ceiling sets the absolute maximum level that the Limiter will output. . In L/R mode. A limiter is essentially a compressor with an infinite ratio. Limiter will have no effect. with independent limiting for each channel.

After recording. It allows you to record and loop audio. the entire display area turns red.21 Looper The Looper Effect. Overdub continues to add additional layers of incoming audio that are . place Limiter as the last device in the Master track’s device chain and keep your Master fader below 0 dB. or exported from Looper as a new clip. Looper can analyze incoming audio and set Live’s tempo to match it. audio can be imported to Looper to create a background for newly overdubbed material. The top half of Looper’s interface is a large display area optimized for easy readability during performance. To ensure that your final output will never clip. 22. Furthermore. (Note: the Looper effect is not available in the Lite Edition. Looper’s transport buttons work in a similar way to other transport controls in Live. Live Audio Effect Reference 356 The meter gives a visual indication of how much gain reduction is being applied to the signal. If the Set is not playing. Note that any devices or channel faders that appear after Limiter may add gain.) Looper is an audio effect based on classic real-time looping devices. This overwrites any audio cur- rently stored in Looper. During recording. The Record button records incoming audio until another button is pressed. creating endless overdubs that are synced to your Set. You can also predefine a loop length before recording and Live’s tempo will adjust so that your loop fits into the speci- fied number of bars. the display shows the current position in the loop and the total loop length in bars and beats.

The Stop button stops playback. a single click starts recording. The large button below the transport controls is the Multi-Purpose Transport Button. overdubbing or stopped. Looper’s transport engages immediately. and is subject to launch quan- tization as determined by the Quantization chooser (page 47). Press- ing Clear in any other mode resets the tempo and length. and whether or not material has already been recorded. is pre- served. Your original recording. this button’s behavior changes depending on Looper’s current playback state. allowing you to toggle back and forth between overdub and playback via additional single clicks. Pressing and holding for two seconds while stopped clears Looper’s buffer. The Clear button erases Looper’s buffer. regardless of the Quantization setting. Looper behaves like a clip. the contents of the buffer are cleared but the tempo and length are maintained. During playback. which replaces the material removed by the last undo. As with the normal transport buttons. from either play or overdub mode. If the buffer is empty. If Looper is recording. the button changes to Redo. and anything that was overdubbed in a previous pass. When Live’s playback is stopped. The behavior of the transport controls changes depending on whether or not Live’s playback is running. a single click switches to play mode. a click switches to overdub mode. Clicking and holding the button for two seconds while in play mode activates Undo or Redo. The Play button plays back the current state of Looper’s buffer without recording any new material. . If you press Clear in Overdub mode while the transport is running. Live Audio Effect Reference 357 the length of the originally recorded material. With the transport running. After pressing Undo. Quickly pressing the button twice stops Looper. The Undo button erases everything that you’ve overdubbed since the last time Overdub was enabled.

Live Audio Effect Reference 358 Stopped Clear Empty Record Play Overdub Undo/Redo Click Doubleclick Hold Diagram of Looper’s Multi-Purpose Transport Button Behavior Looper’s Multi-Purpose Transport Button is optimized for use with a MIDI footswitch. Any subsequent changes to Live’s global tempo will adjust the speed of Looper’s playback so that the recorded material plays back at the new global tempo. •Follow song tempo: The speed of Looper’s playback will be adjusted so that the recorded material plays back at Live’s global tempo.” Looper will . •Set & Follow song tempo: Live’s global tempo will be adjusted to match the tempo of mate- rial recorded into Looper. click the button and then press your attached footswitch. depending on the setting of the Tempo Control chooser. can set Live’s global tempo: •Song running: If Looper’s Record Length chooser is set to the default ”x bars. The Record Length chooser is used to set the length of recorded material. enter MIDI Map Mode (page 520). The Tempo Control chooser affects how Looper determines the tempo of recorded material: •None: Looper’s internal tempo is independent of Live’s global tempo. Its behavior changes depending on whether or not Live’s global transport is running and. Then exit MIDI Map Mode. To assign a footswitch.

as determined by the button next to this chooser. the ”:2” button cuts the length of the current buffer in half. This allows you to. Any material that you’ve al- ready recorded will simply be duplicated. for example. •Start & Stop Song locks Live’s global transport to Looper’s transport controls. while pressing Looper’s Stop button will stop Live’s transport. You can then use this material as a bed for further overdubs. If you first specify a fixed number of bars. But this might result in a tempo that’s twice or half as fast as you’d like. The ”Drag me!” area in the display allows you to export Looper’s buffer as a new audio file. These buttons are subject to the Quantization chooser setting. while the other half is discarded. Play or Stop. for example. Entering Play or Overdub mode will start Live’s transport. and then overlay a series of two-bar ideas. You can drag and drop to the browser or directly to a track. which will replace the contents of Looper’s buffer. The ”\*2” button doubles the length of Looper’s recording buffer.” Looper will make a guess about the tempo of the material you’ve recorded as soon as you press Overdub. The material in the currently playing half is kept. •Start Song will start Live’s global transport whenever Looper enters Play or Overdub mode. The Song Control chooser determines how Looper’s transport controls will affect Live’s global transport: •None means that Looper’s transport controls have no effect on Live’s global transport. You can also drag audio files to the ”Drag me!” area. The Speed knob adjusts Looper’s playback speed (and thus pitch). record a series of one-bar ideas. •Song not running: If Looper’s Record Length chooser is set to the default ”x bars. The up and down arrow but- tons to the left are shortcuts to raise or lower the pitch by octaves (thus doubling or halving the playback speed). Similarly. If you specify a fixed number of bars to record by selecting another option in the chooser. The newly created clip’s Warp mode will be set to Re-Pitch by default (page 151). Looper’s Stop button has no effect on the global transport. The length and tempo of Looper’s buffer is shown in the display area. creating a new clip. Live Audio Effect Reference 359 record until you press another transport button. Looper’s tempo will adjust so that your re- cording fits into this time. Looper will record for the specified time and then switch to Play or Overdub. .

When set to 50%.21. Live Audio Effect Reference 360 Enabling the Reverse button plays the previously recorded material backwards. If each of these Loopers is controlled with its own foot pedal. To set this up: 1. •Never means that the input signal will never be heard. each containing its own Looper. •Rec/OVR/Stop allows the input signal to be heard except when Looper is in play mode. 22. each repetition will be at the same volume. You’ll typically want to choose Always when using Looper as an effect in a single track. This allows you to. for example. while the material that was overdubbed while Reverse was enabled will play backwards. create Looper overdubs that continually feed back through another track’s devices. Feedback sets the amount of previously recorded signal that is fed back into Looper when over- dubbing. the original material will play forward again. Any changes to the Feedback amount won’t take effect until the next repetition. and can be used to record mate- rial that can suddenly interrupt your live playing. the previously recorded material will never decrease in volume. you can switch the recording and playback state while playing an instrument.1 Feedback Routing Looper can be used as both a source and a target for internal routing (page 201) to other tracks. When set to 100%. Engaging the Reverse button is subject to the Quantization chooser setting. You’ll typically want to choose Never when using Looper as an effect in a return track. it will be half as loud with each repetition. This is useful for situations in which you are feed- ing audio to multiple tracks. Note that disabling Reverse will then swap this behavior. where it may be fed by send levels from a variety of other tracks. Note that Feedback has no effect in Play mode. This is similar to Beat Repeat’s (page 318) Insert mode. without having to worry about monitor settings. Insert Looper on a track. •Rec/OVR means that the input is only audible when recording or overdubbing. but not when Looper is in Play mode or stopped. Any material that you overdub after enabling Reverse will be played forward. . The Input -> Output chooser provides four options for monitoring Looper’s input: •Always allows the input signal to be heard regardless of Looper’s playing or recording state.

) The Multiband Dynamics device is a flexible tool for modifying the dynamic range of audio material. 8. Live Audio Effect Reference 361 2. 5.22 Multiband Dynamics The Multiband Dynamics Effect. (Note: the Multiband Dynamics effect is not available in the Intro and Lite Editions.” 6. Designed primarily as a mastering processor. Record at least one pass of material into Looper. with adjustable crossover points and envelope controls for each band. Create another audio track. Looper’s output will now be routed through the other track’s device chain and then back into itself. Multiband Dynamics allows for upward and downward compression and expansion of up to three independent frequency bands. In the new track’s bottom Audio From and Audio To choosers.” 7. Each frequency range has . 22. select ”Insert-Looper. In the new track’s top Audio From and Audio To choosers. Put Looper into Overdub mode. select the track containing the Looper. Add additional effects devices to the device chain of the new track. creating increasingly processed overdub layers with each pass. 3. Switch this track’s Monitoring to ”In. 4.

allowing for two types of dynamics processing to be used simultaneously per band. As you can see from this diagram. When we use the term “compression.” we’re typically talking about lowering the level of signals that exceed a threshold. this technique is known as upward expansion and is much less common. . It is also possible to increase a signal’s dynamic range by raising the levels of signals that are above a threshold. This is how Live’s Compressor (page 324) works.1 Dynamics Processing Theory To understand how to use the Multiband Dynamics device. A typical expander lowers the levels of signals that are below a threshold. thus reducing the dynamic range.22. This is how Live’s Gate (page 348) works. and is more ac- curately called downward compression because it pushes loud signals down. 22. thus increasing the dynamic range. and is more accurately called downward expansion because it pushes quiet signals down. This diagram shows that either type of expansion results in a signal with a larger dynamic range. The opposite of compression is expansion. employing either type of compression results in a signal with a smaller dynamic range than the original. But it is also possible to reduce a signal’s dynamic range by raising the levels of signals that are below a threshold. downward compression (common) original smaller original smaller dynamic dynamic dynamic dynamic range range range range upward compression (uncommon) Downward and Upward Compression. Like upward compression. Live Audio Effect Reference 362 both an upper and lower threshold. This much-less-common form of compression is called upward compression. it helps to understand the four differ- ent methods of manipulating dynamics.

In this case. To summarize: •Downward compression (common): make loud signals quieter •Upward compression (uncommon): make quiet signals louder •Downward expansion (common): make quiet signals quieter •Upward expansion (uncommon): make loud signals louder The Multiband Dynamics device allows for all of these types of processing. With both bands off. Live Audio Effect Reference 363 upward expansion (uncommon) original larger original larger dynamic dynamic dynamic dynamic range range range range downward expansion (common) Downward and Upward Expansion. 22. the device functions as a single-band effect. because the device allows for incoming audio to be divided into three frequency bands. If the low frequency is set to 500 Hz and the high fre- .2 Interface and Controls The High and Low buttons toggle the high and low bands on or off. only the Mid controls affect the incoming signal. The frequency sliders below the High and Low buttons adjust the crossovers that define the frequency ranges for each band. a single instance of Multiband Dynamics can provide six types of dynamics processing simultaneously. In fact. and each band has both an upper and lower threshold.22.

Live Audio Effect Reference 364 quency is set to 2000 Hz. As you mouse over the middle of the block. . Hold down [ALT](PC) / [ALT](Mac) to simultaneously adjust the Above and Below vol- umes for a single band. while the Output knobs to the right of the display adjust the levels of the bands after processing. while raising it applies up- ward compression. Holding down [Shift] while dragging a threshold will adjust the same threshold for all bands. the cursor will change to an up-down arrow. With no pro- cessing applied. For each band. The Input knobs boost or attenuate the level of each band before it undergoes dynamics pro- cessing. its compression/expansion and gain controls are bypassed. In technical terms. the output level is represented by large bars. Likewise. The scaling along the bottom of the display shows dB. Holding down [Shift] while dragging up or down will adjust the volume of the same block for all bands. The display area provides a way of both visualizing your dynamics processing and adjusting the relevant compression and expansion behavior. while raising it applies upward expansion. Click and drag up or down to make the signal within the selected volume range louder or quieter. These blocks represent the signal levels under the Below and over the Above thresholds. The ”T. while the input level before processing is represented by small bars. you are adjusting the ratio of the compressor or expander. The thresholds and ratios of all bands can also be adjusted via the column to the right of the display. Dragging left or right on the edges of these blocks adjusts the threshold level. the input meters will be aligned with the top of the output meters. then the low band goes from 0 Hz to 500 Hz. As you adjust the gain or dynamics processing for a band. lowering the volume in the block above the Above threshold applies down- ward compression. Double-clicking within the region resets the volume to its default. As you move your mouse over the display. Each band has activator and solo buttons. In all cases. respectively. lowering the volume in the block below the Below threshold applies downward expansion. Hold down [ALT](PC) / [ALT](Mac) to simultaneously adjust the Above and Below thresholds for a single band. Below (threshold and ratio) and Above (threshold and ratio) for each band. With the activator button disabled for a given band. Soloing a band mutes the others. the mid band from 500 Hz to 2000 Hz and the high band from 2000 Hz up to whatever your soundcard or sample rate supports. the cursor will change to a bracket as it passes over the edges of the blocks on the left or right side.” ”B” and ”A” buttons at the bottom right of the display area toggle between displaying the Time (attack and release). you can see how its output changes in comparison to its input.

each compressor/expander has an effective ratio of 1. With Soft Knee enabled. 22. compression or expansion begins gradually as the threshold is ap- proached. Attack defines how long it takes to reach maximum compression or expansion once a signal exceeds the threshold. The global Output knob adjusts the overall output gain of the device.22.3 Sidechain Parameters The Multiband Dynamics Device With Sidechain Section. while Release sets how long it takes for the de- vice to return to normal operation after the signal falls below the threshold. but make them all faster or slower by the same amount. Attack defines how long it takes to reach maximum compression or expansion once a signal drops below the threshold. . This allows you to maintain the same relative envelope times. The RMS/Peak switch also affects how quickly Multiband Dynamics responds to level changes. The Time control scales the durations of all of the Attack and Release controls. The Amount knob adjusts the intensity of the compression or expansion applied to all bands. For the Below thresholds. RMS mode causes it to be less sensitive to very short peaks and to begin processing only when the incoming level has crossed the threshold for a slightly longer time. At 0%. With Peak selected. meaning that it has no effect on the signal. the device reacts to short peaks within a signal. Live Audio Effect Reference 365 For the Above thresholds. while Release sets how long it takes for the device to return to normal operation after the signal goes above the threshold.

But by using sidechaining. it is possible to apply dynamics processing to a signal based on the level of another signal or a specific frequency component. Note that increasing the gain does not increase the volume of the source signal in the mix. the device is triggered entirely by the sidechain source. this temporary listening option can make it much easier to set sidechain parameters and hear what’s actually making the device work. Since the sidechain audio isn’t fed to the output. Live Audio Effect Reference 366 Normally. getting started can be a bit intimidating. instead of the sig- nal that is actually being processed. the signal being processed and the input source that triggers the device are the same signal. With Dry/Wet at 100%. bypassing the device’s output. then apply downward compression (by dragging down in the upper blocks in the display or by setting the numerical ratios to values greater than 1.22.) De-essing To remove ”harshness” caused by overly loud high frequency content. Adjust the crossover points to suit your audio material. and is only a trigger for the device. try enabling only the upper band and setting its crossover frequency to around 5 kHz. Because of this. 22. At 0%. The Gain knob adjusts the level of the external sidechain’s input. Multiband Dynamics can be used as a traditional ”down- ward” compressor. Then gradually adjust the threshold and ratio to apply subtle downward compression.4 Multiband Dynamics Tips Multiband Dynamics is a feature-rich and powerful device. the sidechain is effectively bypassed. This causes the selected source to act as the device’s trigger. Enabling the Sidechain button allows you to select any of Live’s internal routing points from the choosers below. The headphones button allows you to listen to only the sidechain input. while the Dry/Wet knob al- lows you to use a combination of sidechain and original signal as the trigger. To access the Sidechain pa- rameters. capable of up to six independent types of simultaneous processing. unfold the Multiband Dynamics window by toggling the button in its title bar. It may help to solo the band to more . The sidechain audio is only a trigger for the device and is never actually heard. Basic Multiband Compression By using only the upper thresholds. Here are some real-world applications to give you some ideas.

like adding punch and energy to a mix that has already been heavily compressed. 22. 3. Note that.23 Overdrive The Overdrive Effect. meaning that they also have no remaining headroom. these mixes have also been heavily maximized. Turn down the Input knob to provide some additional headroom. unlike in typical downward compression. Most of the time. . de-essing works best with fairly fast attack and release times. Be careful — excessive upward expansion can make transients very loud. 2. very fast attack times will increase the impact of transients. Note: Adding a maximizer or limiter to boost gain after you’ve returned some peaks to your material may simply destroy them again. Add a small amount of upward expansion to each band. and thus has almost no remaining transients. Luckily. Live Audio Effect Reference 367 easily hear the results of your adjustments. while slower times result in a more muffled sound. To do this: 1. 4. Carefully adjust the attack and release times for each band. Adjust the Above thresholds for the bands so that they’re below the highest peaks. upward expansion can sometimes help add life back to such overly squashed material. Uncompression Mastering engineers are often asked to perform miracles. Generally.

The Dry/Wet control adjusts the balance between the processed and dry signals. The Dynamics slider allows you to adjust how much compression is applied as the distortion is increased. To define the filter bandwidth. Note that 0% does not mean zero distortion! Tone acts as a post-distortion EQ control. Set it to 100 percent if using Overdrive in a return track. click and drag on the vertical axis. These parameters can also be set via the slider boxes below the X-Y display. 22. click and drag on the horizontal axis. it can be driven extremely hard without sacrificing dynamic range. At low settings. Unlike many distortion units. At higher settings. the signal has more high-frequency content. . Live Audio Effect Reference 368 (Note: the Overdrive effect is not available in the Intro and Lite Editions.24 Phaser The Phaser Effect.) Overdrive is a distortion effect that pays homage to some classic pedal devices commonly used by guitarists. To set the position of the frequency band. higher distortion amounts result in an increase in internal compression and make-up gain. At higher values. less compression is applied. The distortion stage is preceded by a bandpass filter that can be controlled with an X-Y control- ler. The Drive control sets the amount of distortion.

Spin detunes the two LFO speeds relative to each other. Each filter frequency is then modulated using a different LFO frequency. sixteenth notes). Rate can also be synced to the song tempo and set in meter subdivisions (e. and then use the Attack and Release controls to define envelope shape. The Feedback control can then be used to invert the waveform and convert these notches into peaks (or poles). The Phase control lends the sound stereo movement by setting the LFOs to run at the same fre- quency. Filter cutoff frequen- cy is changed with the Frequency control. Set this to ”180”. sawtooth up. Live Audio Effect Reference 369 (Note: the Phaser effect is not available in the Lite Edition. square. This effect can be further adjusted with the Color control. triangle. which can be set in terms of hertz. sawtooth down and random. as determined by the Spin amount. The extent of LFO influence on the filter frequency is set with the Amount control. the other is at its minimum. The LFOs have six possible waveform shapes: sine. The device has two modes. Phaser contains two LFOs to modulate filter frequency for the left and right stereo channels.. Set it to 100 percent if using Phaser in a return track. for changing the spacing of notches along the spectrum. Space and Earth.) Phaser uses a series of all-pass filters to create a phase shift in the frequency spectrum of a sound.g. The Dry/Wet control adjusts the balance between the processed and dry signals. but offsetting their waveforms relative to each other. . You can increase or decrease the envelope amount (or invert its shape with negative values). Periodic control of the filter frequency is possible using the envelope section. and the LFOs will be perfectly out of phase (180 degrees apart). and hence the ”color” of the sound. so that when one reaches its peak. which can be adjusted in tandem with Feedback using the effect’s X-Y controller. LFO speed is controlled with the Rate control. The Poles control creates notches in the frequency spectrum.

activate the Sync switch. thus producing different timbres with successive echoes. To define the filter bandwidth. to edit the delay time. If the Sync switch is off. click and drag on the vertical axis.25 Ping Pong Delay The Ping Pong Delay Effect. The delay is preceded by a lowpass and highpass filter that can be controlled with an X-Y con- troller. (Note: the Ping Pong Delay effect is not available in the Lite Edition. The delay time between the input and the right channel is twice as long. To refer delay time to the song tempo. which allows using the Delay Time beat division chooser. click and drag on the horizontal axis. Live Audio Effect Reference 370 22. selecting ”4” delays the signal by four 16th notes. For example. The Feedback parameter controls how much of the right channel output signal returns to the delay line input. click and drag up or down in the Delay Time field. In this case. This delay time represents the time it takes for the input signal to appear at the left channel. or click in the field and type in a value.) The Ping Pong Delay effect uses a single tapped delay line to create a delay that jumps from the left to the right output. The numbered switches represent time delay in 16th notes. will cause the delay to endlessly cycle the audio which is in its buffer at the moment that the button is pressed. labeled ”F”. which equals one beat (a quarter note) of delay. ignoring any new input until Freeze is disabled. . To set the position of the frequency band. The feedback loop also includes a filter that can color the feedback sound. The Freeze button. the delay time reverts to milliseconds.

Jump will be selected automatically.26 Redux The Redux Effect. similar to the behavior of old hardware delay units. •Fade creates a crossfade between the old and new delay times. Note that this will cause an audible click if the delay time is changed while delays are sounding. Fairlight CMI or Commodore-64 computer? Redux returns us to the Dark Ages of digital by reducing a signal’s sample rate and bit resolution. Set it to 100 percent if using Ping Pong Delay in a return track. •Jump immediately jumps to the new delay time. Nostalgic for the famed low-resolution sound quality of the Ensoniq Mirage. Live Audio Effect Reference 371 The Dry/Wet control adjusts the balance between the processed and dry signals. The Downsample section has two parameters: ”Downsample” and a downsample Mode switch. You can choose between three delay transition modes via the [right-click](PC) / [CTRL-click](Mac) context menu of the device’s title bar: •Repitch causes a pitch variation when changing the delay time. 22. When loading Sets that were made in earlier versions. Fade mode is the default option. Jump mode corresponds to the de- fault behavior prior to Live 8. . Changing the delay time while Ping Pong Delay is processing audio can cause abrupt changes in the sound of the delayed signal. This sounds similar to time stretching if the delay time is gradually changed.

and the more ”decon- structed” the sound. Live Audio Effect Reference 372 If the downsample dial is set to ”1”. the result is pretty brutal: Each sample contains either a full positive or full negative signal. (Note: the Resonators effect is not available in the Intro and Lite Editions. with nothing in between. 22. every input sample passes to the output and the signal does not change. bit reduction does the same for amplitude. only every second sample will be processed. and the red overload LED will light up.27 Resonators The Resonators Effect. If set to 1. Bit Reduction is similar. Downsampling is like applying a mosaic effect to an image: There’s a loss of information and sharp edges occur between the blocks. Bit Reduction defines an input signal of 0dB as 16 bit. so the result sounds a bit more ”digital. If the Bit Reduction amplitude dial is set to 8.” down to 200 samples).) . amplitude levels are quantized to 256 steps (8 bit resolution). Signals above 0dB are clipped. the lower the resulting sample rate. The Downsample Mode switch defines if the downsampling either interpolates over a smaller range (”soft. Turning off Bit Reduction results in modest CPU savings.” down to 20.0 samples) or does not interpolate over a larger range (”hard. but while downsampling superimposes a grid in time. If set to ”2”.” The higher the number.

There are four input filter types to select from: lowpass. so low notes will last longer than higher ones. The resonators are tuned in semitones. The input signal passes first through a filter. and the third and fifth to the right channel. Resonators provides two different resonation modes. providing a musical way of adjusting them. All of the resonators have an On/Off switch and a Gain control. A resonator that is turned off does not need CPU. The first resonator is fed with both the left and right input channels. The Decay parameter lets you adjust the amount of time it takes for the resonators to be silent after getting an input signal. . Resonators II through V follow the Note parameter defined in Resonator I.24 semitones using the Pitch controls and detuned in cents using the Detune controls. The Note parameter defines the root pitch of all the resonators ranging from C-1 to C5. Live Audio Effect Reference 373 This device consists of five parallel resonators that superimpose a tonal character on the input source. The brightness of the resulting sound can be adjusted using the Color control. It can also be detuned in cents using the Fine parameter. while the second and fourth resonators are dedicated to the left channel. The input filter frequency can be adjusted with the Frequency parameter. The longer the decay time. The Const switch holds the decay time constant regardless of the actual pitch. the decay time depends on the pitch. but they can each be individually transposed +/. It can produce sounds resembling anything from plucked strings to vocoder-like effects. while Mode B offers an effect that is especially interesting when Resonator I’s Note parameter is set to lower pitches. Turning off the first resonator does not affect the other ones. highpass and notch. similar to the behavior of an undamped piano string. The first reso- nator defines the root pitch and the four others are tuned relative to this pitch in musical intervals. the more tonal the result will be. The output section features the obligatory Dry/Wet control and a Width parameter that affects only the wet signal and blends the left and right outputs of Resonators II-V into a mono signal if set to zero. and then into the resonators. bandpass. As with a real string. Mode A provides a more realistic sounding resonation.

” Their amplitude and distribution give an impression of the room’s character. while a lower value may give a smoother decay.1 Input Processing The input signal passes first through high and low cut filters. as well as their overlap with the diffused sound. in milliseconds. With large values.2 Early Reflections These are the earliest echoes that you hear after they bounce off a room’s walls. 22. whose X-Y controller allows chang- ing the band’s center frequency (X-axis) and bandwidth (Y-axis).28.28. One’s impression of the size of a real room depends partly on this delay. before the onset of the diffused reverberation ”tail. the reflections decay more gradually and the diffused sound occurs sooner. With small values. The Shape control ”sculpts” the prominence of the early reflections. Live Audio Effect Reference 374 22. Either filter may be switched off when not needed to save CPU power. Predelay controls the delay time. Typical values for ”natural” sounds range from 1ms to 25ms. . This delays the reverberation relative to the input signal. before the onset of the first early reflection. 22.28 Reverb The Reverb Effect. A higher value can some- times improve the source’s intelligibility. leading to a larger overlap between these components. the reflections decay more rapidly and the diffused onset occurs later.

The high-fre- quency decay models the absorption of sound energy due to air. walls and other materials in the room (people.28. while ”High” delivers the richest reverberation. each ear receives a reverberant channel that is independent of the other (this is also a property of the diffusion in real rooms). Live Audio Effect Reference 375 Spin applies modulation to the early reflections. depending on the state of the high and low shelving filters. 22. When on. The lowest setting mixes the output signal to mono. a very large size will lend a shifting. A larger depth tends to provide a less-colored (more spectrally neutral) late diffusion response. If the modulation frequency is too high. The low shelf provides a thinner decay. High and low shelving filters provide frequency-dependent reverberation decay.4 Diffusion Network The Diffusion network creates the reverberant tail that follows the early reflections. when off. Spin may be turned off. Each filter may be turned off to save CPU consumption. The Stereo Image control determines the width of the output’s stereo image. metallic feel. . At one extreme. 22. The Freeze control freezes the diffuse response of the input sound. Cut modifies Freeze by preventing the input signal from adding to the frozen reverberation. along with surreal panning effects. doppler frequency shift- ing of the source sound will occur. using the associated switch.28. The decay time control adjusts the time required for this tail to drop to 1/1000th (-60 dB) of its initial ampli- tude. The Size parameter controls the ”room’s” volume. the reverberation will sustain almost endlessly. the input signal will contribute to the diffused amplitude. If Flat is off. The X-Y control accesses the depth and fre- quency of these modulations. carpeting and so forth).3 Global Settings The Quality chooser controls the tradeoff between reverb quality and performance. the frozen reverberation will lose energy in the attenuated frequency bands. ”Eco” uses minimal CPU resources. for modest CPU savings. The other extreme — a very small value — will give it a highly colored. diffused delay effect to the reverb. At the highest setting of 120 degrees. Flat bypasses the high and low shelf filters when freeze is on.

Like the Spin section.29 Saturator The Saturator Effect. you can control the modulation frequency and amplitude. punch or warmth to your sound. The shaper’s input and output values are mapped to the X and Y axes. It can coat input signals with a soft saturation or drive them into many different flavors of distor- tion. have a large impact on the color- ation contributed by the diffusion. when the room size is extremely small. The curve defines the transfer function.5 Output At the reverb output. An X-Y grid helps to visualize Saturator’s shaping curve. 22. The Chorus section adds a little modulation and motion to the diffusion.) Saturator is a waveshaping effect that can add that missing dirt. which is the extent to which output values fluctuate in relation to input values. Because this is usually . you can adjust the effect’s overall Dry/Wet mix. or turn it off.28. 22. Live Audio Effect Reference 376 The Echo Density and Scale parameters provide additional control over the diffusion’s density and coarseness. (Note: the Saturator effect is not available in the Lite Edition. and vary the amplitude of reflections and diffusion with the Reflect Level and Diffuse Level controls. respectively. and.

Live Audio Effect Reference 377 a nonlinear process. Incoming signals are first clipped to the dB level set by the Drive control. the signal is clipped completely and immediately. Sinoid Fold mode can be good for special effects. Signal shaping has six fixed modes: Analog Clip. the incoming signal is reshaped to a greater or lesser degree depending upon its level at each moment in time. Sinoid Fold and Digital Clip. Medium Curve and Hard Curve modes soften signal clipping to varying degrees. unfold the Saturator window by toggling the button in its title bar. •Period determines the density of ripples in the superimposed sine wave. It behaves like an ultra-fast noise gate. featuring six adjustable waveshaping parameters. To access these six parameter fields. The Waveshaper mode’s six additional parameters are: Drive. The second . Setting Drive to zero will negate the effect entirely. In the Analog Clip and Digital Clip modes. The first of these. The DC button activates a DC filter at Saturator’s input stage. •Lin works together with the Curve and Depth parameters to alter the linear portion of the shaping curve. The most dramatic effects can be created by selecting the Waveshaper curve. •Damp flattens any signal near the grid’s origin. Soft Sine. Medium Curve. Depth and Period. Activating the Color button enables two filters. •Drive determines how much the input signal will be influenced by the Waveshaper param- eters. Curve. controlled with the Base control. There is also the flexible Waveshaper mode. •Curve adds mostly third-order harmonics to the input signal. which has its own dedicated set of controls. dictates how much the effect will be reduced or increased for very low frequencies. Soft Sine. The meter on the right side of the display shows how much Saturator is influencing the signal. Hard Curve. Damp. •Depth controls the amplitude of a sine wave that is superimposed onto the distortion curve. This is mainly useful for removing DC offsets from audio material that contains them. Lin.

The Output control attenuates the level at the device output. The numbered switches represent time delay in 16th notes. which equals one beat (a quarter note) of delay. This improves the sound quality.30 Simple Delay The Simple Delay Effect. selecting ”4” delays the signal by four 16th notes. For example. particularly with high frequency signals. Aliasing can be reduced by enabling Hi-Quality mode. the right channel’s delay setting is disabled. With Link engaged. To refer delay time to the song tempo. When the Soft Clip switch is acti- vated. but there is a slight increase in CPU usage. Saturator will also apply an instance of its ”Analog Clip” curve to the output. The Simple Delay provides two independent delay lines. one for each channel (left and right). which can be accessed via the [right- click](PC) / [CTRL-click](Mac) context menu. Set it to 100 percent when using Saturator in a return track. 22. thus applying the left channel’s settings to both sides. is used for controlling higher frequencies. essentially an equalizer. which allows using the Delay Time beat division chooser. The Dry/Wet control adjusts the balance between the processed and dry signals. activate the Sync switch. Width and Depth controls. . It is shaped with the Freq (cutoff frequency). Live Audio Effect Reference 378 filter.

so a signal on the left channel does not feed back into the right channel and vice versa. In this case. or click in the field and type in a value. Live Audio Effect Reference 379 If the Sync switch is off. Fade mode is the default option. Jump mode corresponds to the de- fault behavior prior to Live 8. the delay time reverts to milliseconds. This sounds similar to time stretching if the delay time is gradually changed. Jump will be selected automatically. •Fade creates a crossfade between the old and new delay times. similar to the behavior of old hardware delay units. The Dry/Wet control adjusts the balance between the processed and dry signals. You can choose between three delay transition modes via the [right-click](PC) / [CTRL-click](Mac) context menu of the device’s title bar: •Repitch causes a pitch variation when changing the delay time. Set it to 100 percent when using Simple Delay in a return track. The Feedback parameter defines how much of each channel’s output signal feeds back into the delay lines’ inputs. •Jump immediately jumps to the new delay time. click and drag up or down in the Delay Time field. to edit the delay time. Changing the delay time while Simple Delay is processing audio can cause abrupt changes in the sound of the delayed signal. they are two independent feedback loops. . Note that this will cause an audible click if the delay time is changed while delays are sounding. When loading Sets that were made in earlier versions. 22.31 Spectrum The Spectrum Device. Internally.

Live Audio Effect Reference 380 (Note: the Spectrum device is not available in the Intro and Lite Editions. a box appears that shows the amplitude. With Max enabled.) Spectrum performs realtime frequency analysis of incoming audio signals. Drag vertically to scroll and hori- zontally to zoom. The Refresh slider determines how often Spectrum should perform an analysis. With a setting of one. The peak levels are retained on the graph until the song is restarted. but rather a measurement tool — it does not alter the incoming signal in any way. Note that logarithmic and semitone are actually the same scaling. Higher values result in better accuracy. the display automatically scales itself based on the incoming audio level. You can also use the Range sliders to set the minimum and maximum amplitude values shown. and semitone. with dB along the vertical axis and frequency/pitch along the horizontal. the display updates more smoothly. but also more CPU intensive. The results are repre- sented in a graph. you can zoom and scroll the amplitude by moving your mouse over the amplitude legending on the display’s left side. logarithmic. Note that Spectrum is not an audio effect. As with the Block parameter. Linear scaling is particularly useful for detailed analysis of high frequencies. each block is shown. you can reset the maximum amplitude by clicking in the display. The Scale X buttons allow you to toggle the scaling of the frequency display between linear. this allows for a tradeoff between accuracy and CPU load. The Avg slider allows you to specify how many blocks of samples will be averaged for each up- date of the display. but at the expense of increased CPU load. The Range/Auto button at the bottom left of Spectrum’s interface toggles between manually and automatically adjusting the display’s dynamic range. the Range sliders and zooming are disabled. With Auto selected. but switch the legending at the top of the display between Hertz and note names. Max toggles the display of the accumulated maximum amplitude. This is more consistent with the way we actually hear. As you increase the Avg value. . Note that in Auto mode. The Block chooser selects the number of samples that will be analyzed in each measurement. which can be useful for finding the spectrum of short peaks. As you move your mouse over Spectrum’s display. A fast response time is more accurate. The Graph button switches between displaying the spectrum as a single interpolated line and discrete frequency bins. This results in much more activity in the display. With Range selected. right or both. Channel determines which channel is analyzed — left. frequency and note name at the pointer’s position. providing an average of the spectrum over time.

Note that Tuner is not an audio effect. Live Audio Effect Reference 381 To get an even better view. Tuner’s large display is designed for easy vis- ibility on stage. . Based on classic guitar tuners.32 Tuner The Tuner Device. Tuner analyzes and displays the incoming monophonic pitch as well as its distance from the nearest semitone. 22. Classic View resembles conventional analog tuners while Histogram View shows pitch over time. a circular outline in the center of the curve shows the desired pitch. the dis- play uses color to help indicate tuning accuracy. The arrows on either side of the note name light up to indicate whether the signal needs to be tuned higher or lower in order to reach the desired pitch. and your signal is in tune if the colored ball is exactly within this outline. and is perfect for tuning external instruments or synthesizers. the ball will appear to the right of the target. the incoming pitch is represented as a colored ball along a curve. and the near- est detected note name is shown in the center of the display. you can toggle the location of the display between the device chain and Live’s main window by clicking the button in Spectrum’s title bar or by double-clicking in the display. while flat signals will appear to the left. In both views. In Classic View. In Target Mode. The two buttons in the lower-left switch between Tuner’s two main views. If the incoming signal is sharp. Green means in tune. while red means out of tune. but rather a measurement tool — it does not alter the incoming signal in any way.

and the horizontal gray bars represent the perfectly in-tune “center” of the associated note. Sharp notes will appear above their corresponding gray line. The further your signal is out of tune. The scale on the right of the display shows the pos- sible note names. pitch is shown over time. In Strobe Mode. the curve becomes a rotating band of lights. Live Audio Effect Reference 382 Tuner in Target Mode. The direction of rotation indicates whether the signal is sharp or flat. while flat notes will appear below it. In Histogram View. The Hertz/Cents Switch toggles between showing the absolute frequency of the incoming signal in Hertz or the distance from the target pitch in cents. while flat signals cause the band to rotate to the left. . the incoming pitch is sharp. the faster the band will move. If the band rotates to the right. Tuner in Strobe Mode.

or drag horizontally to zoom in or out. Live Audio Effect Reference 383 Tuner in Histogram View. or harmonically rich signals may yield inaccurate results. but it can be changed to any value between 410-480 Hz. and works best with a clean. the display will automatically adjust so that the incoming pitch is in the center of the display. 22. The Reference slider allows you to change the tuning reference that Tuner uses when analyzing incoming signals. . clear signal. By default this is set to 440 Hz.33 Utility The Utility Effect. Polyphonic. Note: Tuner is designed to analyze monophonic pitches. which is “standard” concert tuning. noisy. Drag up or down in the display to scroll to different pitches. With Auto enabled.

35 dB. for example. This is especially useful if you have a stereo file that contains different information on both channels and you want to use only one. one for each channel. The Mute button simply silences the incoming signal when enabled. . At the bottom of the device you will find two Phase controls. since you can place Utility anywhere in a signal chain. the Width control has no function and is there- fore disabled. The DC switch filters out DC offsets and extremely low frequencies that are far below the audible range. they invert the phase of each channel. especially in combination with other devices. you can use its mute function to cut the input of a delay line or reverb without turning off the output of these devices. Left is selected. As their names imply. Note: The active/mute con- trols of a track are always placed at the very end of the signal chain. At 200 percent the output contains only the difference between the left and right channels. However. The Panorama chooser pans the signal anywhere in the stereo field. beyond 100 percent the output starts to ”fold in” on itself. If either Left or Right have been chosen in the Channel Mode chooser. However. Live Audio Effect Reference 384 Utility can perform some very useful tasks. the right channel is ignored and the left channel appears on both outputs. The Channel Mode chooser allows selective processing of the left and right channels of a sam- ple. The Width control acts as a continuous mono to stereo controller when set from 0 to 100 per- cent. It will only have a sonic effect if a signal contains these frequencies and is processed after Utility with nonlinear effects such as compressors or waveshapers. If. The Gain control adjusts the level of the input signal +/.

The Pinch Effect section adds odd harmonics to the input signal. Live Audio Effect Reference 385 22. or click and drag vertically in the Tracing Model X-Y display.) The Vinyl Distortion effect emulates some of the typical distortions that occur on vinyl records during playback. The Pinch Effect has the same controls as the Tracing Model. The effect also features a crackle generator for adding noisy artifacts. but generates a rather different sound. The stereo/mono switch determines whether the Pinch distortion occurs in stereo or mono. Holding the [ALT](PC) / [ALT](Mac) modifier while drag- ging vertically in the X-Y display changes the frequency band’s Q (bandwidth). There are two distortion modes: Soft and Hard. To adjust the distortion’s frequency or ”color.34 Vinyl Distortion The Vinyl Distortion Effect. The Tracing Model section adds even harmonic distortion to the input signal. These distortions typically occur 180 degrees out of phase. Adjust the amount of distortion with the Drive knob. (Note: the Vinyl Distortion effect is not available in the Intro and Lite Editions. . These distortions are caused by the geometric relationships between the needle and the recorded groove. creating a richer stereo image. while Hard Mode is more like that of a standard vinyl record.” drag horizontally in the X-Y display or double-click on the Freq field and type in a value. The Drive control increases or decreases the overall distortion amount created by both the Trac- ing Model and Pinch. Set it to stereo for realistic simulation of vinyl distortions. The Soft Mode simulates the sound of a dub plate.

The vertical axis adjusts the density of the noise. The Volume control adjusts the amount of gain applied to the noise. With this selected. 22. Live’s Vocoder should be inserted on the track that contains the audio material you plan to use as your modulator. The modula- tor source is generally something with a clear rhythmic character such as speech or drums. Vocoders work by running both the carrier and modulator signals through banks of bandpass filters. Live Audio Effect Reference 386 The Crackle section adds noise to the signal. . The output level of each of the modulator’s filters is then analyzed and used to control the volume of the corresponding filter for the carrier signal.) A vocoder is an effect that combines the frequency information of one audio signal (called the carrier) with the amplitude contour of another audio signal (called the modulator). The most familiar application of a vocoder is to create ”talking synthesizer” or robotic voice effects. The horizontal axis adjusts downsampling. with noise density set by the Density control. The Carrier chooser then provides a variety of options for the carrier signal: •Noise uses Vocoder’s internal noise generator as the carrier source. (Note: the Vocoder effect is not available in the Intro and Lite Editions. Click and drag downward to decrease the density. Click and drag to the left to decrease the sample rate of the carrier’s output.35 Vocoder The Vocoder Effect. an X-Y display is shown which allows you to adjust the character of the noise. while the carrier is typically a harmonically-rich synthesizer sound such as a string or pad.

With polyphonic material or drums. At 0%. a vocoder’s output can sometimes lose a lot of high end. but requires more CPU. Using more bands results in a more accurate analysis of the modulator’s frequency content. which tunes itself to the pitch of the modu- lator. only the main carrier source is used. For most sources. Sens. Enabling the Enhance button results in a brighter sound by normalizing the spectrum and dynamics of the carrier. Clicking within this display allows you to attenuate these levels. you . but allows you to use Vocoder’s sound-shaping controls to adjust the sound. The Bands chooser sets the number of filters that will be used. sets the sensitivity of the unvoiced detection algorithm. Note that the oscil- lator only updates its frequency when it detects a clear pitch. Vocoder’s large central area shows the levels of the individual bandpass filters. The Unvoiced knob adjusts the volume of an additional noise generator. Pitch tracking is particularly effective with monophonic modulator sources such as melodic instruments or voices. which is used to resyn- thesize portions of the modulator signal that are pitchless. This means that changing the oscillator’s parameters or causing it to reset (when grouping (page 218) Vocoder’s track. •Modulator uses the modulator itself as the carrier. Live Audio Effect Reference 387 •External allows you to select any available internal routing points from the choosers below. At low percentages. the unvoiced noise gen- erator is always on. The BW control sets the bandwidth of the filters. a fairly large range works well. It then maintains this pitch until it detects a new one. The Range sliders adjust the frequency range over which the bandpass filters will operate. As you increase the bandwidth. This essentially outputs a resynthesized version of the modulator signal. Choose from sawtooth or one of three pulse waveforms and adjust the coarse tuning of the oscillator via the Pitch slider.) Particularly when using external carrier sources. The Fast/Slow switch adjusts how quickly Vocoder switches between unvoiced and voiced detection. but you may want to adjust the outer limits if the sound becomes too piercing or bassy. such as ”f” and ”s” sounds. At 100%. for example) can cause unexpect- ed changes in the sound. This is the option you’ll want for classic ”robot voice” applications. each filter approaches a single frequency. •Pitch Tracking enables a monophonic oscillator. The High and Low sliders allow you to limit the frequency range that the oscillator will attempt to track. pitch tracking is generally unpredictable (but can be very interesting.

A bandwidth of 100% is the most accurate. At 0%. The frequencies of the carrier’s filterbank can be shifted up or down via the Formant knob. both the carrier and modulator are treated as mono sources. The Mono/Stereo switches determine how many channels are used for the carrier and modula- tor. The Dry/Wet control adjusts the balance between the processed and dry signals. Any bands whose levels are below the threshold will be silent. The Level slider boosts or cuts Vocoder’s output. 22. The Attack and Release controls set how quickly Vocoder responds to amplitude changes in the modulator signal. With voice as the modulator. Insert Vocoder in the track that contains your vocal material. but can cause distor- tion artifacts.1 Vocoder Tips This section explains how to set up the most common Vocoder applications. At 200%. small Formant changes can alter the apparent gender of the source. Stereo uses a mono modulator but processes the carrier in stereo. In Mono mode. Very fast times preserve the transients of the modulator. You can either use a clip that . Live Audio Effect Reference 388 increase the overlap of the filter bands. The Precise/Retro switch toggles between two types of filter behavior. In Retro mode.” To set this up in Live: 1. the modulator’s envelope is discarded. L/R processes both the carrier and modula- tor signals in stereo. all fil- ters have the same gain and bandwidth.35. Depth sets how much of the modulator’s amplitude envelope is applied to the carrier’s signal. but higher or lower settings can create interesting effects. Gate sets a threshold for the filterbank. bands become narrower and louder at higher frequencies. In Precise mode. only high amplitude peaks will be used. Singing Synthesizer The classic vocoder application is the ”singing synthesizer. 100% results in ”classic” vocoding.

) 5. Try sawtooth-based patches to improve the intelligibility of the voice. (For best results. If you’re creating your synthesizer and vocal material in real time. Live Audio Effect Reference 389 contains a prerecorded voice clip or. try adjusting the various filterbank parameters as well. 2. to process a live vocal signal. Set the Carrier chooser to Modulator. Play the synthesizer as you speak into the microphone. solo the voice track so that the ”normal” synthesizer track is muted. 3. For even more sound-sculpting possibilities. Again. make sure the Arm but- ton is enabled on both tracks. Formant Shifter If the Vocoder is set to use the modulator as its own carrier. but with the timbral character and frequencies of the synthesizer. . it can be used as a powerful formant shifter. To do this: 1. 6. Select the synthesizer track in the vocoder’s Audio From choosers. 3. You’ll hear the rhythm of your speech. Enable Enhance. To hear the vo- coded signal alone. Insert a synthesizer such as Analog (page 403) in another track. For even more bright- ness and clarity. choose Post FX in the bottom chooser. Set the Depth to 100%. connect a microphone to a channel on your audio hardware and choose this as the input source (page 195) for the track. try adjusting the Unvoiced control and/or enabling Enhance. Note: you’ll generally get the best results if your synthesizer sound is bright and rich in harmon- ics. Now experiment with different settings of the Formant knob to alter the character of the source. 2. you can either create a MIDI clip to drive this synthesizer or play it live. Set the vocoder’s Carrier chooser to External. 4.

Live Audio Effect Reference 390 .

1 Arpeggiator The Arpeggiator Effect. 23. Live MIDI Effect Reference 391 Chapter 23 Live MIDI Effect Reference Live comes with a selection of custom-designed. Live’s Arpeggiator effect takes the individual MIDI notes from a held chord (or single note).“ which refers to playing notes on a harp. The name originates with the musical concept of the “arpeggio. Arpeggiators are a classic element in Eighties synth music. The sequence and speed of the pattern can be controlled by the device.“ in which the notes comprising a chord are played as a series rather than in unison. built-in MIDI effects. “Arpeggio“ is derived from the Italian word “arpeggiare. The Working with Instru- ments and Effects chapter (page 239) explains the basics of using effects in Live. . which also provides a full complement of both classic and original arpeggiator features. and plays them as a rhythmical pattern.

1 Style and Rate Sections Arpeggiator’s Style chooser determines the sequence of notes in the rhythmical pattern. “Up“ and “Down“. Live MIDI Effect Reference 392 23. . “Con & Diverge“. “UpDown“ and “DownUp“. “Down & Up“ and “Up & Down“. “Converge“ and “Diverge“.1.

Arpeggiator will play the pattern of notes at the speed set by the Rate control. •Random Other creates random patterns from incoming MIDI notes. are legato). The rhythmic pattern generated by Arpeggiator does not necessarily have to be straight. “Thumb Up“ and “Thumb UpDown“. A Gate control to the right of Rate determines the length of notes played by Arpeggiator as a percentage of the current Rate setting. a selection of groove patterns can be applied with the respective control just beneath the Mode . Arpeggiator will be synced to the song tempo. This is therefore only recognizable when more than one chord or note has been played. In addition to the Arpeggiator styles above. at which point a new pattern is created. With Sync chosen. •Random Once creates one random pattern from incoming MIDI notes and repeats that pattern until the incoming MIDI changes. as well as three settings for creating random arpeggios: •Choosing Random will produce a continuously randomized sequence of the incoming MIDI notes.e. but will not repeat a given note until all other incoming notes have been used. Any setting larger than 100% will therefore play notes that overlap (i. Live MIDI Effect Reference 393 “Pinky Up“ and “Pinky UpDown“.. Play Order places notes in the pattern according to the order in which they are played. which can be calibrated in either milliseconds or beat-time using the neighboring Sync/Free button. there is a Chord Trigger mode which repeats the incoming notes as a block chord.

and the first note last. An LED in the upper right corner of the section indi- cates when the pattern has been retriggered. Grooves in Arpeggiator behave similarly to grooves in clips. notes can be added to the pattern simply by playing them. Using the Steps parameter. The Offset parameter shifts the sequence of notes in the pattern by the number of places selected with the control. If you imagine the pattern as a circle of notes that is played in a clockwise direction from a set start point. The pattern will be repeated until any other key is pressed. changing where in the pattern play begins. When Distance is set to a positive value. Hint: This feature provides an excellent way of emulating the strum of a guitar or playing a chord as an arpeggio once or twice. Another interesting effect can be achieved by combining this feature with the Retrigger parameter. set to occur when new notes are pressed (Note) or set to occur at a specified song position or beat-time (Beat). Notes can also be removed from the pattern in this scenario by playing them a second time. Retriggering can be deactivated (Off). Arpeggiator will continue to play the pattern even after the keyboard keys have been released. The distance between transposition steps is set in scale inter- vals (for Major and Minor transposition) or semitones (for Shift transposition) with the Distance control. This can be used to create rhythmically gener- ated arpeggios separated by pauses. Live MIDI Effect Reference 394 chooser. With the Repeats parameter. allowing the gradual buildup and rearrangement of the pattern over time. When Hold is active and any of the original keys also remain physically held. This is best illustrated with an example: A setting of “1“ makes the second note in the pattern play first. the Offset parameter effectively rotates this circle counter-clockwise one note at a time. 23. a setting of 8 Steps will transpose the sequence . Beat retriggering can be specified in terms of notes or bars and is aligned with song position. the pattern can be set to repeat a specified number of times until it is retriggered. With the Hold parameter active. momentarily deactivate Hold.1. and the intensity of the groove is determined by the Amount slider in the Groove Pool (page 178). which we will explain in a moment. A setting of “inf“ will repeat the pattern indefinitely. The Retrigger parameter resets the pattern so that it starts again from the beginning. Tip: If you want the pattern to stop playing.2 Transposition and Velocity Sections The pattern generated by Arpeggiator can be transposed. the device’s transposition controls al- low forcing this transposition into a specific major or minor key or (using the Transpose chooser’s Shift option) doing it in semitones. you can choose the number of times the sequence is trans- posed.

playing it in higher notes each time. for example. (When Distance is set to a negative value. given that the instrument allows for changes in volume or timbre as function of velocity.2 Chord The Chord Effect. as the name implies. The Shift 1-6 knobs allow selecting the pitch of the notes that contribute to the chord from a range of +/. from each incoming note and up to six others of user-defined pitch. The Velocity control beneath each Shift knob makes further harmonic sculpting possible.36 semitones relative to the original. With Retrigger activated. This effect assembles a chord. Use the Velocity controls to do anything from adding slight over- tones to washing out most of the other chord elements. with a range of 1 to 200 percent (100 percent defined as playing at a velocity equal to that of the incoming MIDI note). eventually reaching 0 velocity. Tip: The velocity section’s Retrigger option can be used in conjunction with Beat retriggering to add rhythm to the dynamic slope. It is a relative control.) The dynamics of Arpeggiator are controlled using the velocity section. Live MIDI Effect Reference 395 a total of eight times. yields a major chord in which the incoming note is the root. . With Velocity set to “On“ and Target set to 0. Setting Shift 1 to +4 semi- tones and Shift 2 to +7 semitones. the sequence will transpose lower each time. for example. the sequence will gradually fade out. 23. The Decay control sets the amount of time Arpeggiator takes to reach the Target veloc- ity. retriggering of the sequence will also retrigger the velocity slope.

Note Length’s other settings will then deter- mine the duration of the newly triggered note. Gate defines the percentage of the Length value that notes should be held for. only the timing controls are avail- able.g.. there is no such thing as two notes with the same pitch playing at the same time within the entire Live universe. and that selecting the same shift value twice (e. It can also be used to trigger notes from MIDI Note Off messages. 23. When the device is set to trigger from a Note Off event (the moment at which a played note is released). +8 semitones on both Shift 2 and Shift 3) will result in the latter control appearing disabled. Live MIDI Effect Reference 396 The order in which pitches are added to the chord is inconsequential: The effect of a +12 semi- tone shift added with the Shift 1 control. At 200 percent.3 Note Length The Note Length Effect. instead of the usual Note On messages. indicating that it is a duplicate and therefore not in use. Actually. When the device is set to trigger from a Note On message. Note Length alters the length of incoming MIDI notes. the timing of an incoming note will be delayed by its length (because it will be starting at the point at which it would have been stopping). for example. Three other parameters are available when the device is triggering from Note Off messages: . the Gate parameter will double a note’s length. The length of held notes can be adjusted in milliseconds or synced in relation to the song tempo. is equal in effect to a +12 semitone shift added with the Shift 6 control. Note that no two notes of the same pitch can contribute to the chord.

The Range and Lowest controls act together to define a pitch range through which notes are allowed to pass. With positive values. notes below C3 will be made progressively longer. . you can just set this to zero. and notes above C3 will be made shorter. The value at the time of Note Off will become the velocity of the output MIDI note. Key Scale — The pitch of incoming notes can be used to alter the length of the output notes. prior to the trans- position stage of the effect.128 semitones. Decay Time — This is the time needed for an incoming note’s velocity to decay to zero.4 Pitch The Pitch Effect. The decay begins immediately from the moment the device receives a MIDI Note On message. 23. Pitch is a transposition tool that changes incoming note pitch by +/. Live MIDI Effect Reference 397 On/Off Balance — This determines the velocity of the output note. and the effect’s LED light will flash when this happens. It is a balance between the incoming note’s Note On and Note Off velocities. Notes outside of the defined pitch range will be blocked. If your MIDI keyboard does not support MIDI Note Off velocity. Negative values will invert this relationship. Notes outside of the pitch range are limited based on their untransposed pitch.

The Chance control defines the likelihood that an incoming note’s pitch will be changed by a random value. Live MIDI Effect Reference 398 23. You can think of it as being something like a dry/wet control for randomness. half of the resulting notes will play at C3 and half will play at C4.“ The Sign controls decide whether the random alteration adds to the original note’s pitch. if you play the note C3 with Chance set to 50 percent. when set to “Alt.“ will cycle between the allowed output notes in a fixed order (sometimes known as “cycle round-rob- in“). Random adds an element of the unknown to the otherwise commonplace pitch parameter. or does a little of both. The random value that determines the pitch change is created by two variables: The Choices control defines the number of different random notes possible. At 0 percent. the Scale control value is multiplied by the Choices control value. Choices set to 12 and Scale set to 1. the next output note will always be the incoming note. half of the resulting notes will play at C3 and half will play at one of any semitone that is between C#3 and C4. The LEDs above the Sign controls give you a visual idea of how output pitch compares with that of the original. from a range of 1 to 24. . The Mode button determines whether the alteration will be random or. subtracts from it. But with Chance set to 50 percent. For example.5 Random The Random Effect. These examples assume that the Sign buttons are set to “Add“ and the Mode button is set to “Rnd.at 100 percent. and the result dictates the pitches that random notes are allowed to have relative to that of the incoming note. The Chance control behaves a bit differently in Alt mode . the next output note will always be the next note in the series. Choices set to 1 and Scale set to 12.

and left-hand drum samples. or alternat- ing right. corresponding to the 12 notes in a full octave. and the Y-axis their outgoing equivalents. playing C3 once will trigger C3. Choices set to 2 and Scale set to 2. Darker squares represent the black keys on a keyboard. (Deleting a note on the scale map means that it will no longer play. Each incoming note is given an outgoing equivalent on the X-Y scale map of the effect: All incoming Cs. Choices set to 12 and Scale set to 1.) . Live MIDI Effect Reference 399 For example. for example. at which point it will start over at C3. This setting is perfect for simulating upbow and downbow alternation with stringed instruments. and each successive C3 will trigger the next semitone higher until the device reaches C4. with Chance set to 100 percent. Using Random’s Alt mode with the Scale device allows you to create a simple step- sequencer. The base of the diagonal scale (the lower left square) shown on the map can be changed using the Base control. The X-axis of the map shows incoming note values. incoming C3s will alternate between C3 and D3. which define where an incoming note will be sent on the scale. Use mouse- clicks to move or delete the orange squares. But with Chance set to 100 percent. Hint: Try using the Scale effect after Random to constrain the output values to a specific har- monic range. 23. The X-Y scale map is 12 squares in length and width. might be converted to outgoing Ds.6 Scale The Scale Effect. Scale alters incoming note pitch based on a scale mapping.

Velocity can alter incoming MIDI note velocity values (1-127) in either a controlled or random manner. the display will show a straight diagonal line that indicates the equivalent of an effect bypass: Softly played . depending on the setting of the Operation chooser. Live MIDI Effect Reference 400 The Transpose slider can raise or lower the pitch of incoming MIDI notes by +/. You could. The Out Low and Out Hi knobs control the outgoing velocity (from 1 to 127). The Range and Lowest controls work together to define the note range within which scale map- ping will take effect. 23. If Lowest and Out Low are both set to zero. Vel.) messages. if Scale normally maps an incoming C3 to A3. or both. the Scale effect will be inapplicable. which is repre- sented by the Y-axis of the X-Y display. shift a melody written in C major to G major by setting Transpose to +7 st. and the LED light will flash to indicate that some notes are not being processed by the effect. and Range and Out Hi are set to 127. for example. It can function on MIDI Note On (Velocity) or Note Off (Rel. enabling Fold will map C3 to A2 instead. Incoming velocities that are shown in the display are within the range chosen by the Range and Lowest controls.7 Velocity The Velocity Effect. The resulting curve shows how velocity is being altered by the effect.36 semitones. For example. Outside of the range defined by these controls. and are represented on the X-axis. but are playing at their unaltered pitch. Fold makes it more convenient to create scales by automatically “folding“ back notes if their offset to the original note is greater than six semitones.

•Gate Mode removes incoming notes altogether if their velocities are outside of the range. . regardless of in- coming note velocity. on the other hand. the slope of the line will be reversed. The Drive and Compand controls can be combined to create more complex curves. force outgoing velocity toward the mid- range. the Out Hi velocity defines all outgoing note velocities. When set to values greater than zero. If instead. it forces incoming notes to the outer boundaries of the curve. •In Fixed Mode. The Random function adds or subtracts a random value to the all velocities. and softly played notes will actually produce the loudest output. and is represented by a gray area on the display curve. Use these two controls together to sculpt or even redefine the dynamic structure of a piece. Out Hi is set to zero and Out Low to 127. and vice versa. What happens to incoming notes that are outside of the range set with the Range and Lowest controls? This depends on which Mode is selected. You will see the little LED below the X-Y display flash when a note is blocked by gating. Live MIDI Effect Reference 401 notes are being output quietly. Compand is a simultaneous expanding and compressing tool. Compand values of less than zero. Drive pushes all values in the curve to the outer extremes. making them play either loudly or softly. •Clip Mode does just what it says: It clips incoming note velocities so that they stay within the range.

Live MIDI Effect Reference 402 .

realism. warmth and playing dynamics. The Working with Instru- ments and Effects chapter (page 239) explains the basics of using instruments in Live. . With this instrument. but is a special fea- ture available for purchase separately. Analog uses no sampling or wavetables. Analog is a virtual analog synthesizer. This sound synthesis method ensures unmatched sound quality. the sound is simply cal- culated in real time by the CPU according to the values of each parameter. The full version of Analog is not included with the standard version of Live. we have not attempted to emulate a specific vintage analog synthesizer but rather to combine different features of legendary vintage synthesizers into a modern instrument. created in collaboration with Applied Acoustics Systems. Live Instrument Reference 403 Chapter 24 Live Instrument Reference Live comes with a selection of custom-designed. mathematical equations describing how analog circuits function are solved in real time. In the case of Analog. This technology uses the laws of physics to reproduce how an object or system produces sound.1 Analog The Analog Instrument. Analog generates sound by simulating the different components of the synthesizer through phys- ical modeling. built-in instruments. 24.

The shell contains the most important controls for a given section while the display updates to show parameter visualizations and additional controls for the selected section. Additionally. each filter and amplifier has its own envelope generator. . The primary sound sources of the synthesizer are two oscillators and a noise generator. Live Instrument Reference 404 24. These sources can be independently routed to two different multi-mode filters.1 Architecture and Interface Analog’s signal flow is shown in the figure below: L Oscillator 1 Filter 1 Amp 1 R LFO 1 L Output LFO 1 Filter Env 1 Amp Env 1 R Pre Filter Mix L Oscillator 2 Filter 2 Amp 2 R LFO 2 LFO 2 Filter Env 2 Amp Env 2 Noise Diagram of Analog’s Signal Flow. In addition to the syn- thesis modules. vibrato and polyphony. there is a Global section that contains general performance parameters such as instrument volume.1. Furthermore. filters and amplifiers. Analog also features two low-frequency oscillators (LFOs) which can modulate the oscillators. the signal flow can be run through the filters in series or in parallel. which are each con- nected to an amplifier. The Analog interface consists of two parts: the display surrounded on all sides by the shell.

which allows you to change the pulse width of the waveform. and the oscillator’s output level is adjusted by the slider to the right of this activator. Again. equal amounts of signal will be sent to both filters.1. via the slider next to Width. The Shape chooser selects the oscillator’s waveform. Semi and Detune knobs in the shell function as coarse and fine tuners.2 Oscillators Display and Shell Parameters for the two Oscillators. Each oscillator can be turned on or off independently via the switch labelled Osc 1 or Osc 2 in the shell. When set all the way to the top or bottom. Because they use modelling instead of wavetables. sawtooth. the Pulse Width parameter is enabled in the display. Oscillator pitch can be modulated according to the settings of the Pitch Mod and Pitch Env pa- rameters in the display. this parameter is only enabled if the LFO is on. The pulse width can also be modulated by an LFO. while Semi transposes up or down in semitone increments. Octave transposes the oscillator by octaves. Higher or lower values change the amount . The Detune knob adjusts in increments of one cent (up to a maximum of three semitones (300 cents) up or down). The Octave. Analog’s two oscillators use physical modelling to capture the character of vintage hardware oscillators. The LFO slider sets the amount that the LFO modulates pitch. resulting in only odd harmonics. The choices are sine. Low Width values result in a very narrow waveform. When rectangular is selected. When the slider is at the center position. The F1/F2 slider controls the balance of the oscillator’s output to each of the two filters. they avoid aliasing. signal will only be sent to Filter 1 or Filter 2 respectively. the waveform is a perfect square. which tends to sound tinny or “pinched.“ At 100%. rectangu- lar and white noise. Live Instrument Reference 405 24. Note that this parameter is only enabled when the correspond- ing LFO is enabled. The Key slider controls how much the oscillator tuning is adjusted by changes in MIDI note pitch. The default value of 100% means that the oscillator will conform to a conventional equal tempered scale.

When the Mode chooser is set to Sync. tuned an octave below the main oscillator. try leaving one of the oscillators at 100% and set- ting the other’s Key scaling to something just slightly different. try mapping a modulation wheel or other MIDI controller to the Sync ratio. which changes the harmonic content of the audible oscillator. At 0%.1. Note that the sub-oscillator is disabled when the main oscillator’s Shape is set to white noise. the oscillator’s waveform is restarted by an internal os- cillator whose frequency is set by the Ratio slider. the Level slider sets the output level of an additional oscillator. .3 Noise Generator Analog’s Noise Generator. the internal oscillator’s rate increases. Initial sets the starting pitch of the oscillator while Time adjusts how long it will take for the pitch to glide to its final value. The Pitch Env settings apply a ramp that modulates the oscillator’s pitch over time. Live Instrument Reference 406 of space between the notes on the keyboard. 24. the oscillator is not modulated by note pitch at all. Since C3 will always trigger the same frequency regardless of the Key value. You can adjust both parameters via the sliders or by adjusting the breakpoints in the envelope display. The sub-oscillator produces a square wave when the main oscillator’s Shape control is set to rectangle or sawtooth and a sine wave when the main oscillator is set to sine. When the Mode chooser is set to Sub. The Sub/Sync parameters in the display allow you to apply either a sub-oscillator or a hard syn- chronization mode. so sync has no effect. the oscillators will get farther out of tune with each other the farther away from C3 you play. For maximum analog nastiness. the frequency of the internal oscillator and the audible oscillator match. Then play scales near middle C. To get a sense of how this works. As you increase the Ratio. At 0%.

so adjusting them does not change what is shown in the display. multiple satu- ration options and a variety of modulation possibilities. The generator can be turned on or off via the Noise switch in the shell. When set all the way to the top or bottom. while the amount of resonance is adjusted with the Reso control. Higher values result in more high-frequency content. equal amounts of signal will be sent to both filters. 24. Analog’s two multi-mode filters come equipped with a flexible routing architecture. Its output level is adjusted by the slider to the right of this activator. The F1/F2 slider controls the balance of the noise generator’s output to each of the two filters.1. . notch. signal will only be sent to Filter 1 or Filter 2 respec- tively. As with the oscillators. When the slider is at the center position. The chooser next to the filter activator selects the filter type from a selection of 2nd and 4th order low-pass. The resonance frequency of the filter is adjusted with the Freq knob in the shell. The Color knob sets the frequency of the internal low-pass filter. the Reso control cycles between vowel sounds. band- pass. all parameters can be set independently for each filter. When a formant filter is chosen in the chooser. Live Instrument Reference 407 The Noise generator produces white noise and includes its own -6db/octave low-pass filter. high-pass and formant filters.4 Filters Display and Shell Parameters for the two Filters. Note that Noise has only shell parameters. The Fil 1 and Fil 2 switches in the shell toggle the respective filter on and off.

After the filters. the To F2 slider allows you to adjust the amount of Filter 1’s output that will be sent to Filter 2. The three Sym options apply symmetrical distortion. All parameters can be set independently for each amplifier. Filter 2 will also be affected by them when Slave is enabled. the displays for the filters contain various modulation parameters and the Drive chooser. Experiment with the various options to get a sense of how they af- fect incoming signals. In Filter 1. The Drive chooser in the display selects the type of saturation applied to the filter output. Drive can be switched off entirely by selecting Off in the chooser. For both mode types. The Amp 1 and Amp 2 switches in the shell toggle the respective amplifier on and off. which means that the saturation behavior is the same for positive and negative values. The Slave switch below Filter 2’s mode chooser causes this filter’s cutoff frequency to follow the cutoff of Filter 1.1. while negative values will lower them. The Asym modes result in asymmetrical saturation. Filter 2’s cutoff knob controls the amount of offset between the two cutoff amounts. Cutoff frequency and resonance can be inde- pendently modulated by LFO. If this is enabled. Positive modulation values will increase the cutoff or resonance amounts. The Pan knob sets the position of the amplifier’s out- put in the stereo field. In addition to the envelope controls (page 409). . the signal is routed to an amplifier which further shapes the sound with an ampli- tude envelope and panning. 24. note pitch and filter envelope via the sliders in the Freq Mod and Res Mod sections respectively. Live Instrument Reference 408 Below each mode chooser is an additional control which differs between the two filters. while the output level is controlled by the Level knob. If any of Analog’s modulation sources are controlling Filter 1’s cutoff. higher numbers result in more distortion.5 Amplifiers Display and Shell Parameters for the two Amplifiers.

In addition to the pitch envelopes in the oscillator sections. The Pan and Level amounts can be independently modulated by LFO. middle C will always sound the same regardless of the modulation amount. there is no decay phase. release) design and features velocity modulation and looping capabilities. Positive values will cause the level to increase for higher notes. Analog is equipped with independent envelopes for each filter and amplifier. As you increase the Att<Vel value. All four of these envelopes have identical controls. . Note that. note pitch and amp envelope via the sliders in the Pan Mod and Level Mod sections respectively. The Sustain slider sets the level at which the envelope will remain from the end of the decay phase to the release of the key. the attack time will become increasingly short- er at higher velocities.6 Envelopes Analog’s Envelope Parameters. when using note pitch as the modulation source for Level. This time can also be modulated by velocity via the Att<Vel slider. Live Instrument Reference 409 In addition to the envelope controls. there is no sustain phase. Each envelope is a standard ADSR (attack. 24. decay. With it turned all the way to the right. The attack time is set with the Attack slider. The time it takes for the envelope to reach the sustain level after the attack phase is set by the Decay slider.1. When this knob is turned all the way to the left. which are housed entirely within the display. The overall envelope level can be additionally modulated by velocity via the Env<Vel slider. the displays for the amplifiers contain various modulation parameters. sus- tain.

but also includes the release phase in the loop for as long as the key is held. Finally. the envelope plays once through all of its segments without looping. ADR-R mode is similar. Live Instrument Reference 410 The S. at which point the release phase occurs. With AD-R selected. this mode can simulate in- struments with audible dampers.Time slider can cause the Sustain level to decrease even if a key remains depressed. Enabling the Free switch causes the envelope to bypass its sustain phase and move directly from the decay phase to the release phase. but rather than maintaining the sustain level. the release time is set with the Release knob. This change is also represented in the envelope visualization. The Loop chooser offers several options for repeating certain segments of the envelope while a key is depressed. Lower values cause the Sustain level to decrease more quickly. With Legato enabled. This behavior is sometimes called “trigger“ mode because it produces notes of equal duration. When Off is selected. enabling Free will cause notes to behave as if they’re permanently depressed. the attack and decay phases will repeat until the note is re- leased. The Slope switches toggle the shape of the envelope segments between linear and exponential. a new note that is played while another note is already depressed will use the first note’s envelope. With short attack and release times. Normally. each new note triggers its own envelope from the beginning of the attack phase. at its current position. Free mode is ideal for percussive sounds. the envelope begins with the attack and decay phases as usual. . but plays the attack and release phases once more when the key is released. This is the time it takes for the envelope to reach zero after the key is released. regardless of how long the key is depressed. Note that in both AD-R and ADR-R modes. ADS-R mode plays the envelope without looping.

The first noise type steps between random values while the second uses smooth ramps. With Tri or Rect selected. the LFO restarts at the same position in its phase each time a note is trig- gered.7 LFOs Display and Shell Parameters for the two LFOs. rectangle and two types of noise. The Delay slider sets how long it will take for the LFO to start after the note begins. Note that Width is disabled when the LFO’s waveform is set to sine or the noise modes. the waveform is a perfect square wave. low Width values shift the waveform towards an upwards sawtooth. At 50%. The LFO 1 and LFO 2 switches in the shell toggle the respective LFO on and off. The choices are sine. filters and amplifiers. . The switch next to this knob toggles the Rate between frequency in Hertz and tempo-synced beat divisions. As with the other sections. Live Instrument Reference 411 24. while lower and higher values result in negative or positive pulses. while the Rate knob sets the LFO’s speed. At 50%. each LFO has independent parameters.1. the Width slider allows you to adjust the pulse width of the waveform. Analog’s two LFOs can be used as modulation sources for the oscillators. The Wave chooser in the display selects the waveform for the LFO. the waveform is a perfect triangle. With Retrig enabled. while Attack sets how long it takes the LFO to reach its full amplitude. The Offset slider adjusts the phase of the LFO’s waveform. while higher values result in a downward saw. With Tri selected. respectively. The behavior is similar with the Rect setting. tri- angle.

The Vib switch turns the vibrato effect on or off. Amount. while Attack sets how long it takes for the vibrato to reach full intensity. Turning on the vibrato effect enables the four additional Vibrato parameters in the display. The Delay slider sets how long it will take for the vibrato to start after the note begins. The Rate slider sets the speed of the vibrato. The Error slider adds a certain amount of random deviation to the Rate. Delay and At- tack parameters for the vibrato applied to each polyphonic voice. . This is the instrument’s master level. The Global shell and display parameters adjust how Analog responds to MIDI data. Turning on the unison effect enables the two additional Unison parameters in the display. Analog’s vibrato effect is essentially an additional LFO.8 Global Parameters Display and Shell Parameters for the Global Options. while the Delay slider increases the lag time before each stacked voice is activated. This control is relative to the value set by the Amount percentage slider in the shell. which stacks multiple voices for each note played.1. The Uni switch in the shell turns on the unison effect. The Amt<MW slider adjusts how much the modulation wheel will affect the vibrato intensity. The Volume control in the shell adjusts the overall output of the instrument. Live Instrument Reference 412 24. but is hard- wired to the pitch of both oscillators. while the percentage slider next to it adjusts the amplitude of the vibrato. as well as controls for performance parameters such as vibrato and glide. The Detune slider next to this switch adjusts the amount of tuning variation applied to each stacked voice. The Voices chooser selects between two or four stacked voices. and can boost or attenuate the output of the amplifier sections.

This is used to make the pitch slide between notes rather than changing immediately. Finally. The Octave. The Voices chooser sets the available polyphony. while Semi transposes up or down in semitone increments. Semi and Tuning controls function as coarse and fine tuners. cutting off the oldest notes as necessary. Live Instrument Reference 413 The Gli switch turns the glide effect on or off. the sliding will only occur if the second note is played before the first note is released. The Time slider sets the overall speed of the slide. The Error slider increases the amount of random tuning error applied to each note. with both oscillators feeding Filter 1. which is a common tuning modification made to electric and acoustic pianos. With Legato enabled. The result is a more brilliant sound. while Priority determines which notes will be cut off when the maximum polyphony is exceeded. Large intervals will glide slower than small intervals. but the oscillators each split their output evenly between the two filters. upper notes become flatter while lower notes become sharper. The upper left option configures a parallel routing structure. The Keyboard section in the display contains all of Analog’s polyphony and tuning parameters. and notes will be cut off starting from the lowest pitch. Choosing Prop (proportional) causes the glide time to be proportional to the interval between the notes. A Priority setting of Last gives priority to the most recently played notes. Negative values simulate “nega- tive“ stretch tuning. . with each oscillator feeding its own filter and amplifier exclusively. Selecting Const causes the glide time to be constant regardless of interval. When Priority is set to High. Increasing the Stretch amount raises the pitch of upper notes while lower- ing the pitch of lower ones. the bottom right option configures a serial routing structure. The Tun- ing slider adjusts in increments of one cent (up to a maximum of 50 cents up or down). The bottom left op- tion feeds both oscillators into Filter 1 and Amp 1. At 0%. The upper right button is simi- lar. Low is the opposite. PB Range sets the range in semitones of pitch bend modulation. Octave transposes the entire instrument by octaves. The four Quick Routing buttons in the left side of the display provide an easy way to quickly set up common parameter routings. Analog will play in equal temperament. Stretch simulates a technique known as stretch tuning. new notes that are higher than currently sustained notes will have priority. disabling Filter 2 and Amp 2 entirely. which is then fed exclusively to Filter 2 and Amp 2. which means that two notes are an octave apart when the upper note’s fundamental pitch is exactly twice the lower note’s. Turning on the glide effect enables an additional Glide Mode chooser in the display.

Collision is a synthesizer that simulates the characteristics of mallet percussion instruments.2.2 Collision The Collision Instrument. Live Instrument Reference 414 Note that the Quick Routing options do not affect any changes you may have made to the oscil- lator level. Cre- ated in collaboration with Applied Acoustics Systems. tuning or waveform parameters — they only adjust the routing of the oscillators to the filters and subsequent amplifiers. which feed a pair of independent (or linked) stereo resonators. it is the resonator parameters that have the greatest impact on the sound’s charac- ter. . but is bundled with the Corpus effect (page 330) as a special feature available for purchase separately. 24.1 Architecture and Interface Collision’s sound is produced by a pair of oscillators called Mallet and Noise. which are further divided into sections. Collision’s interface is divided into tabs. Collision uses physical modeling tech- nology to model the various sound generating and resonant components of real (or imagined) objects. The Resonator tabs contain the parameters for the independent resonator sections. while the Link tab allows you to adjust both resonators simultaneously. The full version of Collision is not included with the standard version of Live. While the oscillators produce the initial component of the sound. The Excitator tab contains the controls for the Mallet and Noise oscillators. 24.

The Mallet Section Collision’s Mallet Section. the MIDI tab allows for MIDI pitch bend. The Mallet section simulates the impact of a mallet against a surface. modulation wheel and aftertouch messages to be routed to multiple destinations. Note that if both the Mallet and Noise sections are turned off. Volume controls the overall output level of the mallet section. which can each modu- late multiple parameters. This is useful for simulating the “chiff“ sound of a felt-wrapped mallet head. Collision’s tabs contain LEDs that light up to indi- cate that their contained sections are active. 24. These model the be- havior of a mallet striking a surface. To the right of the resonators is a section of global parameters. and provide Collision’s fundamental sound. which is a much smaller component of Collision’s overall sound than the resonators. The parameters adjust the physical properties of the mallet itself. Collision will not make sound.2 Excitator Tab The Excitator tab contains parameters for the Mallet and Noise sections.2. respectively. Disabling unused sections can save CPU. The Volume and Noise parameters can be modu- lated by pitch and velocity by adjusting the K (Key) and V (Velocity) sliders. . polyphony and resonator routing options. including overall output volume. Live Instrument Reference 415 The LFO tab contains two independent low-frequency oscillators (LFOs). In addition to serving as organizational aids. These section’s parameters only control the initial impulse. while the Noise knob sets the amount of impact noise that is included in each mallet strike. Similarly.

less distinct impact. it adjusts bandwidth. the mallet is soft. The Color knob sets the frequency of the noise component. This parameter has no effect if Noise is set to 0. Filter cutoff and resonance can be adjusted by the sliders above the filter display. But Noise also produces a white noise component. respectively. At low levels. The filter frequency can also be modulated by note pitch. the Noise section produces Collision’s initial impulse sound. high-pass. while in LP+HP mode. or in addition to. To the right are the filter controls. decay. . V and E sliders below the display. and can be modulated by pitch and velocity by adjusting the K (Key) and V (Velocity) sliders below the knob. the impact time decreases and high frequencies increase. The envelope generator is a standard ADSR (attack. At higher values. As you increase the stiffness. Live Instrument Reference 416 The Stiffness knob adjusts the hardness of the mallet. the Mallet section. which results in fewer high frequencies and a longer. The Noise section can be used instead of. The type chooser allows you to choose between low-pass. and two types of band-pass filters. Like the Mallet. This parameter can also be modulated by pitch and velocity via the Key and Vel sliders. Volume controls the overall output level of the Noise section. the second slider adjusts resonance. velocity or the envelope generator. sustain. The Noise Section Collision’s Noise Section. release). or by dragging within the display itself. via the K. there are less low frequencies in the noise. The Mallet section can be toggled on or off via the switch next to its name. In BP mode. which is then fed into a multimode filter and a dedicated envelope generator.

The S (Sustain) slider sets the level at which the envelope will remain from the end of the decay phase to the release of the key. This is the time it takes for the envelope to reach zero after the key is released. Pressing this button copies this subsection’s parameter settings from the currently selected resonator to the other resonator. With it set to 100. Finally.2. The Noise section can be toggled on or off via the switch next to its name. Each resonator section is further divided into three subsections. In the center are the controls that determine the physical properties of the resonant object. Each resonator’s center subsection contains a “Copy to“ button. The majority of Collision’s character is determined by the parameters in the two Resonator tabs.3 Resonator Tabs Collision’s Resonators. On the left are controls related to tuning. The behavior here is similar to what happens when you edit the properties for a multi-selection of clips (page 117): parameters that have differing values will display the value range (either on the control for knobs or in the status bar for sliders and choosers) and can be . no sound will be produced. there is no sustain phase. Keep in mind that if both resonators are turned off. there is no decay phase. the release time is set with the R (Release) slider. Live Instrument Reference 417 The attack time — how quickly Noise reaches full volume — is set with the A (Attack) slider. Each stereo resonator can be toggled on or off via the switch in its tab. 24. When this slider is set to 0. while the time it takes for the envelope to reach the sustain level after the attack phase is set by the D (Decay) slider. To the right are mixer controls. The “link“ tab between the Resonator tabs allows you to adjust parameters for both resonators simultaneously.

the resonator will drop in pitch as you play higher on the keyboard. Dragging the parameter to its absolute maximum or minimum value will make the settings thereafter identical. Tuning Section Resonator Tuning Parameters. The default value of 100% means that the resonator will conform to a conventional equal tempered scale. adjustable as a single value. each half step on the keyboard will result in a whole step change in tuning. Tune moves up or down in semitone increments. The starting pitch can be modulated by velocity via the Vel slider. The Key slider below the Tune knob controls how much the resonator’s tuning is adjusted by changes in MIDI note pitch. Live Instrument Reference 418 adjusted with the linked control. The Tune and Fine knobs function as coarse and fine tuning controls. while Fine adjusts in increments of one cent (up to a maximum of one quar- ter tone (50 cents) up or down). Pitch sets the starting pitch while Time adjusts how long it will take the pitch to glide to its final value. The Pitch Envelope parameters apply a ramp that modulates the resonator’s pitch over time. At negative values. . At 200%.

while “Full“ creates more sophisticated resonances. •Marimba. This parameter is not used with the Pipe or Tube resonators. •String simulates the sound produced by strings of different materials and sizes. “Basic“ uses minimal CPU resources.) •Tube simulates a cylindrical tube that is closed at both ends. •Plate simulates sound production by a rectangular plate (a flat surface) of different materi- als and sizes. The quality chooser controls the tradeoff between the sound quality of the resonators and per- formance by reducing the number of overtones that are calculated. which determines its decay time. The Decay slider adjusts the internal damping of the resonator. a specialized variant of the Beam model. Off Decay determines the extent to which MIDI note off messages mute the resonance. At 0%. and the decay time is based only on the value of the Decay parameter. •Pipe simulates a cylindrical tube that is fully open at one end and has a variable opening at the other (adjusted with the Opening parameter. The type chooser allows you to select from seven types of physically modeled resonant objects: •Beam simulates the resonance properties of beams of different materials and sizes. Live Instrument Reference 419 Physical Properties Section Physical Properties of the Resonator. . reproduces the characteristic tuning of marimba bar overtones which are produced as a result of the deep arch-cut of the bars. •Membrane is a model of a rectangular membrane (such as a drum head) with a variable size and construction. note offs are ignored.

Higher values move the activation point closer to the edge. which are always measured in the middle of their permanently open end. At 0%. . At very large sizes. At 100%. low frequency components decay slower than high frequency components (which simulates objects made of wood. The Material slider adjusts the variation of the damping at different frequencies. At 0%. The Radius parameter is only available for the Pipe and Tube resonators. the object is hit at its center. the resonance is monitored at the object’s center. the resonance is muted immediately at note off. increasing the amount of lower partials. This parameter is not used with the Pipe or Tube resonators. The Listening L and R controls adjust the location on the left and right resonator where the vibra- tions are measured. the decay time and high frequency sustain both increase. while at 100% the pipe is open at both ends. At 0%. nylon or rubber). This parameter can also be modulated by velocity via the slider below the knob. increasing the amount of upper partials. Inharmonics can also be modulated by velocity via the slider below the knob. which is only available for the Pipe resonator. Opening. Live Instrument Reference 420 This is similar to how real-world mallet instruments such as a marimbas and glockenspiels be- have. the pipe is fully closed on one side. (Random) slider below the knob. Higher values move the listening point closer to the edge. Ratio is only available for the Membrane and Plate resonators. higher frequencies are louder. The Inharmonics knob adjusts the pitch of the resonator’s harmonics. and adjusts the ratio of the ob- ject’s size along its x and y axes. The Hit knob adjusts the location on the resonator at which the object is struck or otherwise ac- tivated. The Decay and Material/Radius parameters can also be controlled with the X-Y controller. The Brightness control adjusts the amplitude of various frequency components. The Hit position can also be randomized by increasing the value of the Rd. As the radius increases. scales between an open and closed pipe. the fundamental pitch of the resonator also changes. regardless of the Decay time. At higher values. This slider adjusts the radius of the pipe or tube. fre- quencies are compressed. This parameter is not used with the Pipe or Tube resonators. This parameter is not used with the Pipe or Tube resonators. These parameters are not used with the Pipe or Tube resonators. This parameter is not used with the Pipe or Tube resonators. At higher values. At positive values. At lower values. At negative values. and modulated by note pitch and velocity via the sliders below the X-Y panel. high frequency components decay slower (which simulates objects made of glass or metal). frequen- cies are stretched.

square. more of the original signal is applied.2. Additionally. The first noise type steps between random values while the second uses smooth ramps. The choices are sine.4 LFO Tab Collision’s LFOs. The LFO 1 and LFO 2 switches toggle the respective LFO on and off. they can modulate each other. which are selectable in the Destination choosers. At higher values. This is useful for restoring high frequencies. while the waveform choos- er determines the wave shape. Pan can also be modulated by note pitch via the K (Key) slider below the knob. triangle. Each resonator has its own Volume and Pan controls. . The Bleed control mixes a portion of the original oscillator signal with the resonated signal. Live Instrument Reference 421 Mixer Section Resonator Mixer. which can often be damped when the tuning or quality are set to low values. sawtooth down and two types of noise. 24. sawtooth up. Collision’s two independent LFOs can be used as modulation sources for a variety of excitator and resonator parameters.

The intensity of the modulations is adjusted with the Amount sliders. and Aftertouch can be mapped to two destinations each. 24. With Retrig. The MIDI controllers Pitch Bend. but can still be routed to an additional target. Each LFO can modulate two targets. Depth sets the overall intensity of the LFO. . while Rate adjusts its speed. The Offset slider adjusts the phase. enabled. triggering a note restarts the LFO with the waveform phase set by the Off- set parameter. with inde- pendent modulation intensities set via the Amount sliders. Note that pitch bend is hardwired to pitch modulation. Depth can be modulated by velocity while Rate can be modulated by note pitch.2. The sliders below these parameters allow for additional modulations. The MIDI tab allows for a wide variety of internal MIDI mappings. which are set via the Destination choosers. Note that these modulation amounts are relative to the LFO’s Depth value.5 MIDI Tab Collision’s MIDI Tab. Live Instrument Reference 422 The switch next to the waveform chooser toggles the LFO’s rate between frequency in Hertz and tempo-synced beat divisions. Modulation Wheel.

Mallet and Noise output to Resonator 1. In parallel mode. The Volume knob acts as Collision’s master output control. This is indicated by the LED above Collision’s global Volume control. Collision contains a built-in limiter that automatically activates when the audio level is too high. which then output to their own mixers. When in series.) Note that Reso- nator 1 must be turned on when using serial mode: Mallet Resonator 1 Noise Resonator 2 Resonators in 1 > 2 (Serial) Configuration. The Structure buttons determine whether Collision’s resonators are arranged in series (1 > 2) or in parallel (1 + 2). . Live Instrument Reference 423 The Global Section Collision’s Global Section. the output of Mallet and Noise is mixed and then sent directly to both resona- tors. This resonator’s output is then mixed down to mono and routed to Resonator 2. as well as to its own mixer (in stereo. The global section contains the parameters that relate to the overall behavior and performance of Collision.

Since each voice that’s used requires ad- ditional CPU. enabled.2. Thus the conventional model consists of the Mallet excitator and the two resonators in a serial (1 > 2) configuration. it helps to think about the chain of events that pro- duces a sound on a mallet instrument (a marimba. . •the tuned bar’s resonance is amplified by means of a resonating tube (Resonator 2). you may need to experiment with this chooser to find a good balance between playability and performance. Live Instrument Reference 424 Mallet Resonator 1 Resonator 2 Noise Resonators in 1 + 2 (Parallel) Configuration. This can be useful for keeping CPU down when working with long decay times.6 Sound Design Tips Although Collision has been designed to model the behavior of objects that exist in the physical world. 24. and then visualize those events as sections within Collision: •a beater (Mallet) strikes a tuned bar (Resonator 1). To program realistic instrument simulations. With Retrig. particularly on older machines. While Collision can produce extremely realistic simulations of conven- tional mallet instruments such as marimbas. vibraphones and glockenspiels. it is also very easy to “misuse“ the instrument’s parameters to produce sounds which could never be made by an acoustic instrument. it is important to remember that these models allow for much more flexibility than their physical counterparts. notes which are already sounding will be immediately stopped when re- triggered. for example). The Voices chooser sets the available polyphony. rather than generating an additional voice.

anything goes: •try using the Noise excitator. mathematical equations describing how its different components function. to create washy. Collision’s models are idealized versions of real-world ob- jects. Electric solves. Physical modeling uses the laws of physics to reproduce the behavior of an object. its parameters can be tweaked to values not possible with the real instruments to get some truly amazing new sounds that still retain a warm acoustic quality.3 Electric The Electric Instrument. •experiment with the resonators in parallel (1 + 2) configuration. Certain combinations of parameters can cause dramatic changes in volume. In other words. . the sound is simply cal- culated in real time by the CPU according to the values of each parameter. Electric is more than a simple recreation of vintage instruments. Make sure to keep output levels low when experimenting with new sounds. 24. Each component of these instruments has been modeled using cutting edge physical modeling technology to provide realistic and lively sounds. quasi- granular textures. it is very easy to program resonances that are much more sensitive to input than any physical resonator could be. and devel- oped in collaboration with Applied Acoustics Systems. Live Instrument Reference 425 Of course. to program unrealistic sounds. These parameters can also be used to simulate special acoustic effects such as bowed vibraphones or crystal glasses. Electric is a software electric piano based on the classic instruments of the seventies. •use the LFOs and MIDI controllers to modulate Collision’s parameters. particularly with long envelope times. Consequently. A word of caution: in many ways. in real time. No sampling or wavetables are used in Electric.

2 Mallet Section The Mallet section contains the parameters related to the physical properties of the mallet itself. some of which are further divided into related subsections. but is a special fea- ture available for purchase separately. The Force knob adjusts the intensity of the mallet’s impact on the fork. An additional Key scaling control adjusts how much the noise volume is determined by note pitch. Low values simulate a soft impact while high values mean a hard impact.1 Architecture and Interface The mechanism of the electric piano is actually quite simple. very much like an electric guitar. Level adjusts the overall volume of the noise component. The tine bar is where the mallet hits the fork while the tone bar is a tuned metal resonator. such as pitch bend and polyphony. The Electric interface is divided into five main sections. The Stiffness control adjusts the hardness of the mallet’s striking area. The Global section contains parameters that affect overall behavior and performance. But releasing the key applies a damper to the fork. Fork. The stiffness and force can also be modified by velocity and note pitch. sized appropriately to produce the correct pitch. A note played on the keyboard ac- tivates a mallet that hits a fork. which mutes it more quickly. via the Vel and Key slid- ers found below the knobs. 24. which results in a brighter sound. it will continue to resonate on its own for a long time. 24.3. Damper and Pickup) correspond to the sound producing components mentioned above. Live Instrument Reference 426 The full version of Electric is not included with the standard version of Live. Once the fork is activated. while the Pitch control sets the center frequency. The sound of that fork is then amplified by a magnetic coil pickup and sent to the output. The fork is made of two parts. . Higher values simulate a harder surface. Lower values mean a softer surface and a more mellow sound. The Noise subsection simulates the impact noise caused by the mallet striking the fork. The De- cay knob adjusts how long it takes for this noise to fade to silence. called the tine bar and tone bar. as well as how it’s affected by your playing.3. The first four main sections (Mallet.

the noise is present only during the release phase. that note’s damper is moved away from its fork. .3. In the center. the damper is applied to the fork again to stop it from vibrating. When the key is released. The ampli- tude of the tine is adjusted with the Level knob. Low values increase the amount of low harmonics. damper noise is only present dur- ing the attack phase of the note. The mechanism that regulates this sustain is called the damper. The Tine subsection controls the portion of the fork that is directly struck by the mallet. The Color knob controls the relative amplitude of high and low partials in the tine’s spectrum. an equal amount of noise will be added during both the attack and release.3 Fork Section The Fork section is further divided into Tine and Tone subsections. while higher values result in higher harmonics. The Tone knob adjusts the stiffness of the dampers. both when they are applied and when they are released. The Tone subsection controls the secondary resonance of the fork. The overall amount of damper noise is adjusted with the Level control. The De- cay knob adjusts how long it takes the tine’s sound to fade out while a note is held. producing a brighter sound. When turned to the left. When turned to the right. This characteristic noise is mod- elled in Electric’s Damper section. which produces a mellower sound. But the dampers themselves make a small amount of sound. Turning this control to the left simulates soft dampers. The Att/Rel knob adjusts whether or not damper noise is present when the dampers are applied to the fork or when they are released. 24. The Release knob applies to both the Tine and Tone areas and controls the decay time of the fork’s sound after a key is released. Decay and Level parameters here work in the same way as their Tine counterparts. When a key is pressed. Live Instrument Reference 427 24. Turning it to the right increases the hardness of the dampers.4 Damper Section The metal forks in an electric piano are designed to sustain for a long time when a key is held. This area is the heart of Elec- tric’s sound generating mechanism.3. This level can be further modulated by note pitch via the Key scaling control.

At 0%. Distance controls how far the pickup is from the tine. The Output knob controls the amount of signal output by the pickup section. Electric simu- lates electro-dynamic pickups. The Symmetry and Distance knobs adjust the physical location of the pickup in relation to the tine.3. . respectively. Turning the knob to the left or right moves the pickup below or above the tine.5 Pickup Section The Pickup section simulates the behavior of the magnetic coil pickup that amplifies the sound of the resonating fork. The Volume knob sets Electric’s overall output level.3. The R-W buttons switch between two different types of pickups. Live Instrument Reference 428 24. 24.6 Global Section The Global section contains the parameters that relate to the overall behavior and performance of Electric. which results in a brighter sound. The Voices chooser sets the available polyphony. Different combinations of these two knobs can yield very different results. Symmetry simulates the vertical position of the pickup. The Input knob is used to adjust the amount of the fork’s signal that is fed to the pickup. while the Detune slider adjusts in increments of one cent (up to a maximum of 50 cents up or down). Since each voice that’s used requires ad- ditional CPU. particularly on older machines. Semi transposes the entire in- strument up or down in semitone increments. In the R position. Note that the sound becomes more overdriven as the pickup approaches the tine. For example. while W is based on an electro-static model. Stretch simulates a technique known as stretch tuning. the pickup is directly in front of the tine. which is a common modification made to both electric and acoustic pianos and is an intrinsic part of their characteristic sound. a low amount of input with a high amount of output will produce a cleaner sound than a high input with a low output. while turning it to the left moves the pickup closer. The Semi and Detune controls function as coarse and fine tuners. In the center position. you may need to experiment with this chooser to find a good balance between playability and performance. Turning the knob to the right increases the distance. which in turn affects the amount of distortion applied to the overall signal. The output level can be further modulated by note pitch via the Key scaling control.

It sends MIDI out and returns audio. If you’ve chosen a ReWire slave such as Reason as your routing target. The External Instrument device is not an instrument itself. Live Instrument Reference 429 Electric will play in equal temperament. Stretch tuning attempts to correct this by sharpening the pitch of upper notes while flattening the pitch of lower ones. equal tempera- ment tends to sound “wrong“ on pianos. The result is a more brilliant sound.) The External Instrument. The two MIDI To choosers select the output to which the device will send MIDI data. If you select a MIDI port (for use with an external synthesizer).4 External Instrument (Note: the External Instrument device is not available in the Intro and Lite Editions. which means that two notes are an octave apart when the upper note’s fundamental pitch is exactly twice the lower note’s. ReWire devices and multitimbral plug- ins into your projects. the choices will be the specific devices available in the slave project: . a ReWire slave destination (page 198) or a multitimbral plug-in. the second chooser’s options will be MIDI channel numbers. The top chooser selects either a physical MIDI port (page 196). upper notes become flatter while lower notes become sharper. Negative values simulate “negative“ stretch tuning. but rather a routing utility that allows you to easily integrate external (hardware) synthesizers. 24. But because the actual reso- nance behavior of a vibrating tine or string differs from the theoretical model. P Bend sets the range in semitones of pitch bend modulation.

use this chooser to select the ports on your audio interface that are connected to the output of your synth. The Gain knob adjusts the audio level coming back from the sound source. you may want to “fine tune“ your latency in samples in order to achieve the lowest pos- . The available choices you’ll have will depend on the settings in the Audio Preferences. you will want to adjust your latency settings in samples. you can select this track in the top chooser. Since external devices can introduce latency that Live cannot automatically detect. The Audio From chooser provides options for returning the audio from the hardware synth. Note that adjusting in samples gives you finer control. the Audio From chooser will list the auxiliary outputs in the plug-in. Select the audio channel that corresponds to the instrument to which you are sending MIDI. which ensures that the number of samples you specify will be retained even when changing the sample rate. the Audio From chooser will list all of the audio channels available in the slave. If your external device connects to Live via an analog connection. The button next to this slider allows you to set your latency compensation amount in either milliseconds or samples. Live Instrument Reference 430 ReWire Options Shown in the Routing Choosers. the second chooser allows you to select a specific MIDI channel in the plug-in. This level should be set carefully to avoid clipping. If you’re routing to a hardware synth. or ReWire device. plug- in. In this case. you can manually compensate for any delays by adjusting the Hardware Latency slider. Note that the main outputs will be heard on the track that contains the instrument. If another track in your set contains a multitimbral plug-in. If you’re routing to a multitimbral plug-in on another track in your Live Set. so even in cases when you’re working with analog devices. If you’re routing to a ReWire slave. If your external device connects to Live via a digital connection. which ensures that the amount of time you specify will be retained when changing the sample rate. you will want to adjust your latency settings in milliseconds.

In this case. as most ReWire- enabled programs also compensate automatically. Any latency introduced by devices within Live will be compensated for automatically. the Hardware Latency slider is disabled. be sure to switch back to milliseconds before changing your sample rate.5 Impulse The Impulse Instrument. each sample slot features a Hot-Swap button for hot-swap- . so the slider will be disabled when using the External Instrument Device to route internally. Impulse is a drum sampler with complex modulation capabilities. Live Instrument Reference 431 sible latency. filtered and processed by envelope. satura- tion. Latency adjustments when routing to ReWire devices will probably not be necessary. For more detailed information about routing scenarios with the External Instrument device. But if you feel that something is “off“ in the timing of your set. pan and volume components. please see the Routing and I/O chapter (page 193). try adjusting this slider.1 Sample Slots Drag and drop samples into any of Impulse’s sample slots from the browser or the Session and Arrangement Views. 24. nearly all of which are subject to random and velocity-based modulation. The eight drum samples loaded into Impulse’s sample slots can be time-stretched. 24.5. Alternatively. Note: If the Delay Compensation option (page 258) is unchecked in the Options menu.

be used for other purposes): Replicating the way that closed hi-hats will silence open hi-hats. providing that it is plugged in and acknowledged by Live.2 Start. Negative values will shorten the sam- ple. 24. Imported samples are automatically mapped onto your MIDI keyboard. Mapping can be transposed from the default by applying a Pitch device (page 397). Live Instrument Reference 432 ping samples (page 60). and positive values will stretch it. and the other samples will follow suit in the octave from C3 to C4. located in the lower left corner. soloed. Transpose and Stretch The Start control defines where Impulse begins playing a sample. . you may want to use the Simpler (page 482). Linking the two slots allows slot 7’s activation to stop slot 8’s playback. Adjustments to sample settings are only cap- tured once you hit a new note — they do not affect currently playing notes. This was designed with a specific situation in mind (but can. The Stretch control has values from -100 to 100 percent. Each slot can be played. which links slot 8 with slot 7. such as cymbals. as set in the appropriate fields. The Transp (Transpose) control adjusts the transposition of the sample by +/. The Stretch value can also be modulated by MIDI note velocity.5. which are applied once a new note starts. Slot 8’s parameters also include a Link button. Note that this behav- ior also defines how Impulse reacts to parameter changes from clip envelopes or automation. Loaded samples can be deleted with your computer keyboard’s [Backspace] or [Delete] key. while Mode B is better for high sounds. such as toms or bass. Impulse’s eight slots will appear labeled in the MIDI Editor’s key tracks (page 155) when the Fold button is active. If you want to achieve continuous changes as a note plays. and can be set up to 100 ms later than the actual sample beginning. and can be modulated by incoming note velocity or a ran- dom value. muted or hot-swapped using controls that appear when the mouse hovers over it. Each of the eight samples has a proprietary set of parameters. or it can be rearranged by applying a Scale device (page 399). C3 on the keyboard will trigger the leftmost sample. even if the given key track is void of MIDI notes.48 semitones. and vice versa. of course. located in the area below the sample slots and visible when the sample is clicked. Two different stretching algorithms are available: Mode A is ideal for low sounds.

rounder. Both controls can be modulated: Pan by velocity and a random value. The Time control governs the time-stretching and decay of all samples.5. The Drive control boosts the signal and adds distortion. .3 Filter The Filter section offers a broad range of filter types. 24. Volume adjusts the overall level of the instrument. This mode is useful in situations where you need variable decay lengths. Gate Mode forces the envelope to wait for a note off message before beginning the de- cay. Live Instrument Reference 433 24. which can be set to a maximum of 10. allowing you to morph between short and stretched drum sounds.5. Extreme Drive settings on low-pitched sounds will produce the typical. 24. as is the case with hi-hat cymbal sounds.5. and Transp adjusts the transposition of all samples. The Frequency control defines where in the harmonic spectrum the filter is applied. respec- tively. Coincidentally.5 Pan and Volume Each sample has Volume and Pan controls that adjust amplitude and stereo positioning. each of which can impart different sonic characteristics onto the sample by removing certain frequencies.0 seconds. Impulse has two decay modes: Trigger Mode allows the sample to decay with the note. and can be switched on and off as desired. Filter Frequency can be modulated by either a random value or by MIDI note velocity.6 Global Controls The parameters located to the right of the sample slots are global controls that apply to all samples within Impulse’s domain. 24.5. the Resonance control boosts frequencies near that point.4 Saturator and Envelope The Saturator gives the sample a fatter. and Volume by velocity only. The envelope can be adjusted using the Decay control. and should usually be compensated for by lowering the sample’s volume control. this makes most signals much louder. more analog sound. overdriven analog synth drum sounds.

7 Individual Outputs When a new instance of Impulse is dragged into a track.1 General Overview The interface of Operator consists of two parts: the display surrounded on either side by the shell. the filter section. Operator includes a filter section. The full version of Operator is not included with the standard version of Live. its signal will be mixed with those of the other instruments and effects feeding the audio chain of the track. 24. The shell offers the most important parameters in a single view and is divided into eight sections. and send this signal to a separate track. but is a special feature available for purchase separately. you will find four oscillator sections. and on the right side from top to bottom. creating very complex timbres from a limited number of objects. as well as individual envelopes for the oscillators. you can conveniently access the . Operator is an advanced and flexible synthesizer that combines the concept of “frequency modulation“ (FM) with classic subtractive and additive synthesis. On the left side. It uses four multi-waveform oscillators that can modulate each other’s frequencies. If you change one of the shell parameters. an LFO and global controls. the LFO. LFO and pitch. When creating your own sounds. for example.6. Please see the Routing chapter (page 208) to learn how to accomplish this for Impulse’s overall signal or for Impulse’s individual sample slots.5. the pitch section and the global parameters. the display in the center will automatically show the details of the relevant section. Live Instrument Reference 434 24. filter.6 Operator The Operator Instrument. It can oftentimes make more sense to isolate the instrument or one of its individual drum samples. 24.

and then adjust each individual oscil- lator’s envelope. FM synthesis makes use of pure sine waves. An algorithm is chosen by clicking on one of the structure icons in the global display. Typically. automated. waveform and other parameters in its display. Operator can be folded with the triangular button at its upper left. This is convenient if you do not need to access the display details. Operator Folded. The algorithm selector can be mapped to a MIDI controller. which will appear if the bottom right (global) section of the shell is selected. Live Instrument Reference 435 level and frequency of all oscillators at once via the shell. just like any other parameter. Operator’s Global Display. Operator offers eleven predefined algorithms that determine how the oscilla- tors are connected. or modulated in real time. in order to simplify sound design and to create a wider range of possible . creating more complex waveforms via modulation. Each of Operator’s oscillators can either output its signal directly or use its signal to modulate another oscillator. Signals will flow from top to bottom between the oscillators shown in an algorithm icon. However.

Lower numbers sound mellower and are less likely to create aliasing when used on high pitches. You can also draw your own waveforms via a partial editor. The first of these waveforms is a pure. triangle and sawtooth waveforms are resyn- thesized approximations of the ideal shape.“ .2 Oscillator Section Oscillator A’s Display and Shell Parameters. Built-in Waveforms The oscillators come with a built-in collection of basic waveform types — sine. mathematical sine wave. For truly ran- dom noise. a pitch envelope and a filter section. Operator will keep you busy if you want to dive deep into sound design! If you want to break the universe apart completely and reassemble it. square. and adding it later if necessary. we designed Operator to produce a variety of other waveforms. “Square 6“) define how many harmonics are used for the resynthesis. 24. Live Instrument Reference 436 sounds. and “Saw D“ and “Square D“ digital waveforms. which is usually the first choice for many FM timbres. you should also try modulating Operator’s controls with clip envelopes (page 291) or track automation (page 281). Note that lots of “classic“ FM synthesiz- ers create fantastic sounds without using filters at all.6. The instrument is made com- plete with an LFO. choose “Noise White. triangle and noise — which are selected from the Wave chooser in the individual oscillator dis- plays.. including two types of noise. The numbers included in the displayed name (e. The square. There are also two built-in noise waveforms.“ is a looping sample of noise.g. We also added “Sine 4 Bit“ and “Sine 8 Bit“ to provide the retro sound adored by C64 fans. sawtooth. so we suggest exploring the possibilities of FM without the filter at first. which are espe- cially good for digital bass sounds. “Noise Looped. The first.

When enabled. As you adjust the amplitudes. Hint: Both the built-in and user waveforms can be copied and pasted from one oscillator to an- other using the [right-click](PC) / [CTRL-click](Mac) context menu. You can export your waveform in .ams format to the Samples/Waveforms folder in your User Library via an option in the [right-click](PC) / [CTRL-click](Mac) context menu. This can be done for each individual oscilla- tor by activating the Fixed option. while higher values result in more high-end roll-off and a more prominent fundamental. the Status Bar will show the number of the harmonic you’re adjusting as well as its amplitude. Ams files can also be loaded into Simpler or Sampler. Low Repeat values result in a brighter sound. Higher harmonics can be generated by repeating the drawn partials with a gradual fadeout. Live Instrument Reference 437 User Waveforms The “User“ entry in the Wave chooser allows you to create your own waveforms by drawing the amplitudes of the oscillator’s harmonics. allowing you to adjust the amplitude of only one harmonic at a time. but the tuning will stay the same. You can also select one of the built-in waveforms and then edit it in the same way. 32nd or 64th harmonic are truncated. This allows the creation of sounds in which only the timbre will vary when different notes are played. the oscillator’s overall output level is maintained as you draw additional harmonics. When your mouse is over the Oscillator display area. the cursor will change to a pencil. You can switch between editing the first 16. An oscillator’s frequency usually follows that of played notes. based on the settings in the Repeat chooser. partials above the 16th. The small display next to the Wave chooser gives a realtime over- view of your waveform. The [right-click](PC) / [CTRL-click](Mac) context menu on the harmonics display offers options for editing only the even or odd harmonics. Note that the volume can become extremely loud if Normalize is off. additional harmonics add additional level. More Oscillator Parameters The frequency of an oscillator can be adjusted in the shell with its Coarse and Fine controls. Draw- ing in the display area then raises or lowers the amplitudes of the harmonics. When disabled. Ams files can be imported back into Operator by dragging them from the browser onto one of the oscillator’s display areas. This is set to “All“ by default. but for some sounds it might be useful to set one or more oscillators to fixed frequencies. Holding [Shift] and dragging will constrain horizontal mouse movement. The context menu also offers an option to toggle Normalize on or off. Fixed Mode would be . 32 or 64 harmonics via the switches to the right of the display. With Repeat off.

the frequency will be shifted in an unquantized manner. With the R (Retrigger) button enabled.. such as “Saw 32. This also means that more complex oscillator waveforms. two main properties define the result: the amplitude of the modulating oscillator and the frequency ratio between both oscillators. Its effect is sometimes similar to a lowpass . yet a bit too much can make the timbre unplayable.. Operator minimizes aliasing by working in a high-quality Antialias mode. Operator includes a special Osc<Vel control for each oscillator that allows altering frequency as a function of velocity. The amplitude of an oscillator depends on the Level setting of the oscillator in the shell and on its envelope. Fixed Mode also allows producing very low frequencies down to 0. When an oscillator is modulating another oscillator. via the Feedback parameter in its display. This is on by default for new patches. This feature can be very useful when working with sequenced sounds in which the velocity of each note can be adjusted carefully. Part of this functionality is the adjacent Q (Quantize) button. as the perception of pitch is lost when high notes suddenly fold back into arbitrary pitches. FM synthesis is especially likely to produce this kind of effect. The Tone parameter in the global section also allows for controlling aliasing. in creating live drum sounds. the frequency will only move in whole numbers. Aliasing Aliasing distortion is a common side effect of all digital synthesis and is the result of the finite sample rate and precision of digital systems. With R disabled.“ tend to be more sensitive to aliasing than pure sine waves.). Live Instrument Reference 438 useful. If quantize is not activated. the waveform restarts at the same position in its phase each time a note is triggered. but can be turned off in the global section. for example. It mostly occurs at high frequencies. the oscillator is free-running. The phase of each oscillator can be adjusted using the Phase control in its display. just as if the Coarse control were being manually adjusted. The envelopes can also be modified by note velocity and note pitch with the Vel and Key parameters available in the Envelope section of each oscillator’s display. If this control is activated. Note that when Fixed Mode is active. the frequency of the oscilla- tor is controlled in the shell with the Frequency (Freq) and Multiplier (Multi) controls. As explained earlier oscillators can modulate each other when set up to do so with the global display’s algorithms. leading to detuned or inharmonic sounds (which very well could be exactly what you want. Aliasing is a two-fold beast: A bit of it can be exactly what is needed to create a cool sound. since one can easily create sounds with lots of high harmonics. which is shown and edited when the Envelope display is visible.1 Hz. Any oscillator that is not modulated by another oscillator can modulate itself.

Live Instrument Reference 439 filter. sample and hold (S&H). The LFO can also be turned off entirely if it is unused. B slider. B chooser allows the LFO to modulate an additional parameter.6. . With the R (Retrigger) button enabled. Sample and hold uses random numbers chosen at the rate of the LFO. The Dest. You will most likely notice that some notes sound completely different from other notes. The noise waveform is simply bandpass-filtered noise.3 LFO Section Operator’s LFO Parameters. Tip: FM synthesis can be used to create fantastic percussion sounds. Now. turn Tone down and the effect will be reduced. It is possible to switch LFO modulation on or off for each individual oscillator (and the filter) using the Dest. but this depends on the nature of the sound itself and cannot generally be predicted. It runs at audio rates. but the sound will be less bright. be fixed or be set to something in between. turn Tone up fully and play a few very high notes. With R disabled. The intensity of the LFO’s modulation of these targets can be adjusted by the Dest. and it modulates the frequency of the other oscillators. the LFO restarts at the same position in its phase each time a note is triggered. The frequency of the LFO can follow note pitch. as well as the low/ high/sync setting of the adjacent LFO Range chooser. 24. If you want to familiarize yourself with the sound of aliasing. The LFO in Operator can practically be thought of as a fifth oscillator. and using the LFO with the noise waveform is the key to great hi-hats and snares. A slider. creating the random steps useful for typical retro-futuristic sci-fi sounds. and noise. The frequency of the LFO is determined by the LFO Rate control in the shell. the LFO is free-running. The intensity of this modulation is determined by the Dest. This is defined by the Rate<Key parameter in the LFO’s display. The LFO offers a choice of classic LFO waveforms. A buttons in the LFO’s display.

Nega- tive slope values cause the envelope to remain flat for longer. a typical pad sound starts with the initial level “-inf dB“ (which is silence). then move faster at the end. Loop Mode can be activated in the lower left corner of the display. A and B amounts and can be modulated by note velocity via the display’s Amt<Vel control. This parameter scales both the Dest. allowing them to be adjusted with the keyboard’s cursor keys. Operator’s display provides a good overview of the actual shape of any particular envelope and lets you directly adjust the curve by clicking on a breakpoint and dragging. All envelopes feature some special looping modes. the filter and pitch envelopes also have adjustable slopes. the filter and pitch envelopes have adjustable slopes. (Note that envelopes in Loop Mode can loop very quickly and can therefore be used to achieve effects that one would not normally expect from an envelope generator. endless. an envelope will restart after the beat time selected from the Repeat chooser. a filter envelope. Hint: Envelope shapes can be copied and pasted from one oscillator to another in Operator us- ing the [right-click](PC) / [CTRL-click](Mac) context menu. If an envelope in Operator is in Loop Mode and reaches sustain level while the note is still being held.) While Loop Mode is good for textures and experimental sounds. 24. a pitch envelope and an envelope for the LFO. moves with an attack rate to its peak level. the key to do- ing this is looping envelopes. With FM synthesis. permuting sounds. if desired. back to “-inf dB“ at the release rate. A rate is the time it takes to go from one level to the next. it is possible to create spectacular. moves from there to the sustain level with a decay rate. The LFO’s intensity is also affected by its envelope. In Beat Mode. which provide a simple way of creating rhythmical sounds. Live Instrument Reference 440 The overall intensity of the LFO is set by the LFO Amount control in the shell.6. and then finally. As mentioned above.4 Envelopes Operator has seven envelopes: one for each oscillator. Positive slope values cause the envelope to move quickly at the beginning. For instance. Operator also includes Beat and Sync Modes. the repeat time is defined in fractions of song time. but notes are not quantized. If set to Beat Mode. Each oscillator’s volume envelope is defined by six parameters: three rates and three levels. then slower. A slope of zero is linear. If you . it will be retriggered. The rate for this movement is defined by the Loop Time parameter. Additionally. Clicking on the diamonds between the breakpoints allows you to adjust the slope of the envelope segments. The breakpoints retain their selection after clicking. after note-off occurs. the envelope will move at the same rate throughout the segment.

The rate of this envelope segment is determined by the release time. Note that Sync Mode only works if the song is playing. The pitch envelope can be turned on or off for each individual oscillator and for the LFO using the Destination A-D and LFO buttons in its display. as dictated by the Time<Key parameter in the global section’s display. very complex things. The intensity of this envelope’s modulation of these targets can be adjusted by the Dest. Envelope rates can be further modified by note pitch. a looped envelope will restart from its actual level and move with the set attack rate to peak level. B chooser. Live Instrument Reference 441 play a note a bit out of sync. it will repeat perfectly but stay out of sync. Note that beat-time values in Beat and Sync Modes are not influ- enced by the global Time parameter. A slider and the envelope can be turned off altogether via the switch in the pitch section of the shell. The pitch and filter envelopes each have an additional parameter called End. There is also a mode called Trigger that is ideal for working with percussive sounds. note off is ignored. Tip: If the pitch envelope is only applied to the LFO and is looping. In Sync Mode however. it can serve as another LFO.. In this mode. and oth- erwise it will behave like Beat Mode. B slider and the main Pitch Env value. The rate of an individual envelope can also be modified by velocity using the Time<Vel parameter. Note: To avoid the audible clicks caused by restarting from its initial level.. the first repetition is quantized to the nearest 16th note and. This means that the length of time a key is held has no effect on the length of the sound. Like the LFO. These modulations in conjunction with the loop feature can be used to create very. as a result. the pitch envelope can modulate an additional parameter as chosen by the Dest. The intensity of this modulation is determined by the Amt. it can serve as a third LFO modulating the intensity of the first! . And. The rates of all the envelopes in Operator can be scaled in unison by the Time control in the global section of the shell. modulating the rate of the first. which determines the level the envelope will move to after the key is released. since the envelope of the LFO itself can loop. all following repetitions are synced to the song tempo.

The Clean circuit option is a high-quality. . And. Live Instrument Reference 442 24. highpass. and is available for all filter types. It is mod- eled on the filters used in a famous semi-modular Japanese monosynth and is available for the lowpass and highpass filters. The SMP circuit is a custom design not based on any particular hardware. bandpass. It shares characteris- tics of both the MS2 and PRD circuits and is available for the lowpass and highpass filters. Operator’s filters can be very useful for modifying the sonically rich timbres created by the oscil- lators. since the oscillators also provide you with the classic waveforms of analog synthe- sizers. Operator offers a variety of filter types including lowpass. It is modeled on the filters used in a legacy dual-oscillator monosynth from the United States and is available for the lowpass and highpass filters. The OSR circuit option is a state-variable type with resonance limited by a unique hard-clipping diode. This is available for all of the filter types.6. notch. and a special Morph filter. The MS2 circuit option uses a Sallen-Key design and soft clipping to limit resonance. The PRD circuit uses a ladder design and has no explicit resonance limiting. This is modeled on the filters used in a somewhat rare British monosynth. Each filter can be switched between 12 and 24 dB slopes as well as a se- lection of analog-modeled circuit behaviors developed in conjunction with Cytomic that emulate hardware filters found on some classic analog synthesizers. CPU-efficient design that is the same as the filters used in EQ Eight (page 335).5 Filter Section Operator’s Filter Section. you can very easily build a subtractive synthesizer with them.

•LFO. The Envelope and Filter buttons in the filter section’s display area toggle between showing the fil- ter envelope and its frequency response. The Morph filter has an additional Morph control which sweeps the filter type continuously from lowpass to bandpass to highpass to notch and back to lowpass. or bandpass filter with any circuit type besides Clean. via the Envelope control in the filter’s display. bandpass. via the Freq<Vel control in the filter’s display •note pitch. done either by enabling the Dest. highpass. Frequency determines where in the harmonic spectrum the filter is applied. Filter frequency can also be modulated by the following: •note velocity.“ This automatically configures the filter for optimal key tracking by setting Freq<Key to 100% and setting the cutoff to 466 Hz. The filter’s signal can be routed through a waveshaper. With this set to 0%. Live Instrument Reference 443 The most important filter parameters are the typical synth controls Frequency and Resonance. Filter cutoff frequency and resonance can be adjusted in the shell or by dragging the filter response curve in the display area. via the Freq<Key control in the filter’s display •filter envelope. The Shaper Drive (Shp. the shaper and shaper drive pa- rameters are bypassed. or notch setting via dedicated options in the [right-click](PC) / [CTRL-click](Mac) context menu of the Morph slider. B to Filter Freq. A “FIL“ switch in the LFO’s display. . highpass. while the overall balance between the dry and processed signals can be adjusted with the Dry/Wet control. Tip: you can quickly snap the Morph control to a lowpass. Drive) slider boosts or attenuates the signal level being sent to the waveshaper. or by setting Dest. Resonance boosts frequencies near that point. whose curve type can be selected via the Shaper chooser. Tip: The [right-click](PC) / [CTRL-click](Mac) context menu on the Frequency knob contains an entry called “Play by Key. When using the lowpass. there is an additional Drive control that can be used to add gain or distortion to the signal before it enters the filter.

. Pressing this button will permanently switch the filter selection to the newer models for that instance of Operator. Pitch Bend and Mod Wheel can be mapped to two des- tinations each. Ideally. bandpass and highpass filters. If Voices is set to 1. (A flute is a good example. as well as a notch filter. These consist of 12 dB or 24 dB lowpass. and only pitch will change. one would want to leave this setting high enough so that no voices would be turned off while playing. although both modulation sources can still be routed to an additional target. using the adjacent Pan<Key and Pan<Rnd controls. The MIDI controllers Velocity. you can set Voices to 1. respectively. any instance of Operator in the Set will open with legacy filters in place of the filters discussed previously. A global Volume control for the instrument can be found in the global section of the shell. however a setting between 6 and 12 is usually more realistic when considering CPU power. which means that they should only use a single voice. Each Operator loaded with the legacy filters shows an Upgrade button in the title bar. For more information about the available modulation op- tions. and a Pan control is located in the global section’s display. 24. another effect occurs: Overlapping voices will be played legato.5. The center of the global display allows for a wide variety of internal MIDI mappings. with independent modulation intensities set via the Amount sliders. Aftertouch. Pan can be modulated by note pitch or a random factor. Tip: Some sounds should play monophonically by nature.6. Additionally. the global display area provides a comprehensive set of modulation routing controls. which means that the envelopes will not be retriggered from voice to voice. see the complete parameter list (page 446). Note that Time<Key and pitch bend range have fixed assignments. Live Instrument Reference 444 Legacy Filters If you open a Set that was created in a version of Live older than version 9. and do not feature a Drive control. Key. Note that this change may make your Set sound different.6 Global Controls The global section contains parameters that affect Operator’s overall behavior.) In these cases. The maximum number of Operator voices (notes) playing simultaneously can be adjusted with the Voices parameter in the global display.

For the sake of saving CPU resources. you will also usually want to reduce the number of voices to something between 6 and 12. create a sequence where Spread is 0 most of the time and turned on only for some notes. Operator includes a polyphonic glide function.8 Strategies for Saving CPU Power If you want to save CPU power. Tip: Whether or not spread is applied to a particular note depends upon the setting of the Spread parameter during the note-on event. Glide can be turned on or off and adjusted with the Glide Time control in the pitch display.7 Glide and Spread Operator’s Pitch Section.) The pitch section also contains a global Transpose knob. for instance. turning off the filter or the LFO if they do not contribute to the sound will save CPU power. 24. Live Instrument Reference 445 24. Specifically. The Interpolation and Antialias modes in the global display can also be turned off to conserve CPU resources. Operator also offers a special Spread parameter that creates a rich stereo chorus by using two voices per note and panning one to the left and one to the right. turn off features that you do not need or reduce the number of voices.6. you could. These notes will then play in stereo.6. The two voices are detuned. new notes will start with the pitch of the last note played and then slide gradually to their own played pitch. while the others will play mono. When this function is activated. and carefully use the Spread feature. To achieve special effects. . and the amount of detuning can be adjusted with the Spread control in the pitch section of the shell. (Note: Spread is a CPU-intensive parameter.

Higher settings are typically brighter but also more likely to produce aliasing.10 The Complete Parameter List The function of each Operator parameter is explained in the forthcoming sections. the DX7. Operator is the result of an intense preoccupation with FM synthesis and a love and dedication to the old hardware FM synthesizers. Tone — Operator is capable of producing timbres with very high frequencies.. In 1973. such as the Yamaha SY77. The Tone setting controls the high frequency content of sounds.9 Finally. the Yamaha TX81Z and the NED Synclavier II. John Chowning realized some very amazing and beautiful musical pieces based on a synthesis concept that you can now explore yourself simply by playing with Operator in Live. Global Shell and Display Time — This is a global control for all envelope rates. Volume — This sets the overall volume of the instrument. he and Stanford University began a relationship with Yamaha that lead to one of the most successful commercial musical instruments ever. Algorithm — An oscillator can modulate other oscillators. Parameters in this list are grouped into sections based on where they appear in Operator. The algorithm defines the connections between the oscillators and therefore has a signifi- cant impact on the sound that is created. 24. FM synthesis was first explored musically by the composer and computer music pioneer John Chowning in the mid-1960s. . be modulated by other oscillators. Live Instrument Reference 446 Note that turning off the oscillators will not save CPU power.. or both.6. We wish you loads of fun with it! 24. which can some- times lead to aliasing artifacts.6. Remember that you can also access explanations of controls in Live (including those belonging to Opera- tor) directly from the software by placing the mouse over the control and reading the text that appears in the Info View.

low notes will pan relatively more to the left channel. the envelopes run faster when higher notes are played. rather than generat- ing an additional voice. Off — Disabled this controller’s modulation routing. This is especially useful when modulated with clip envelopes. Pan<Random (Rnd) — This defines the extent to which notes are randomly distributed between the left and right channels. If more notes than available voices are requested. and also as modulation targets for the LFO and pitch envelope. Pitch Bend Range (PB Range) — This defines the effect of MIDI pitch bend messages. especially the noise waveform. OSC Crossfade A/C — Crossfades the volumes of the A and C oscillators based on the value of the modulation source. Modulation Targets These modulation targets are available as MIDI routing destinations in the global display. Interpolation — This toggles the interpolation algorithm of the oscillators and the LFO. . Disabling this modes reduces the CPU load. Retrigger (R) — When enabled. Pan<Key (Key) — If Pan<Key is set to higher values. OSC Volume A-D — Modulates the volume of the selected oscillator. and higher notes to the right. Turning this off will also save some CPU power. Typically this is used for piano-like sounds. notes that are enabled will be retriggered. Time<Key — The rates of all envelopes can be controlled by note pitch. Antialias — This toggles Operator’s high-quality antialias mode. If the global Time<Key parameter is set to higher values. If turned off. some timbres will sound more rough. Pan — Use this to adjust the panorama of each note. which helps to minimize high- frequency distortion. Live Instrument Reference 447 Voices — This sets the maximum number of notes that can sound simultaneously. the oldest notes will be cut off.

.) Filter Envelope Amount — Modulates the filter’s envelope intensity. Filter Frequency — Modulates the cutoff frequency of the filter. Panorama — Modulates the position of Operator’s output in the stereo field. thus changing the timbre. Filter Q (Legacy) — Modulates the resonance of the filter when using the legacy filter types. Live Instrument Reference 448 OSC Crossfade B/D — Crossfades the volumes of the B and D oscillators based on the value of the modulation source. OSC Feedback — Modulates the amount of feedback for all oscillators. Note that feedback is only applied to oscillators that are not modulated by other oscillators. Volume — Modulates Operator’s global output volume. Shaper Drive — Modulates the amount of gain applied to the filter’s waveshaper. LFO Rate — Modulates the rate of the LFO. FM Drive — Modulates the volume of all oscillators which are modulating other oscillators. OSC Fixed Frequency — Modulates the pitch of all oscillators that are in Fixed Frequency mode. Filter Res — Modulates the resonance of the filter when using the updated filter types. LFO Amount — Modulates the intensity of the LFO.) Filter Drive — Modulates the amount of the Drive (not available when the Morph filter is se- lected. Tone — Modulates the global Tone parameter. Time — Modulates the global control for all envelope rates. Pitch Envelope Amount — Modulates the intensity of the pitch envelope. Filter Morph — Modulates the position in the filter’s morph cycle (only has an effect for the Morph filter type.

Pitch Envelope to LFO (Destination LFO) — The pitch envelope affects the frequency of the LFO if this is turned on. Spread is a very CPU-intensive effect. A value of 100% means that the pitch change is exactly defined by the pitch envelope’s levels. Spread — If Spread is turned up. A value of -100% inverts the sign of the pitch envelope levels. the synthesizer uses two detuned voices per note. to create chorusing sounds. Glide Time (Time) — This is the time it takes for a note to slide from the pitch of the last played note to its final pitch when Glide is activated. This setting has no effect if Glide is not activated. Changing this parameter will affect notes that are already playing. LFO and vol- ume envelopes. pitch. Pitch Envelope Destination B — This sets the second modulation destination for the pitch enve- lope. Turning it off if it is unused saves some CPU power. Pitch Envelope to Osc (Destination A-D) — The pitch envelope affects the frequency of the re- spective oscillator if this is turned on. Live Instrument Reference 449 Pitch Shell and Display Pitch Envelope On — This turns the pitch envelope on and off. It is therefore listed in the section on envelopes (page 453). Pitch Envelope Amount A — This sets the intensity of the pitch envelope’s modulation of the oscil- lators and LFO. Glide (G) — With Glide on. Pitch Envelope Rates<Velocity (Time<Vel) — This parameter exists for filter. Note that all envelopes are not retriggered in this case if notes are being played legato. Transpose — This is the global transposition setting for the instrument. one each on the left and right stereo channels. . Pitch Envelope Amount B — This sets the intensity of the pitch envelope’s modulation of the sec- ondary target. notes will slide from the pitch of the last played note to their played pitch. Pitch Envelope Amount (Pitch Env) — This sets the overall intensity of the pitch envelope.

pitch. Filter Drive (Flt. Filter Resonance (Res) — This defines the resonance around the filter frequency of the lowpass and highpass filters. notch. Live Instrument Reference 450 Filter Shell and Display Filter On — This turns the filter on and off. highpass. Shaper Drive (Shp. Circuit Type — This chooser selects from a variety of circuit types that emulate the character of classic analog synthesizers. Turning it off when it is unused saves CPU power. and Morph filters. Envelope / Filter Switches — These switches toggle the display between the filter’s envelope and its frequency response. A value of 100% means that the frequency doubles per octave. . Drive) — Applies additional input gain to the signal before it enters the filter. Filter Frequency<Envelope (Envelope) — Filter frequency is modulated by the filter envelope according to this setting. Filter Frequency<Velocity (Freq<Vel) — Filter frequency is modulated by note velocity according to this setting. Filter Envelope Rates<Velocity (Time<Vel) — This parameter exists for filter. bandpass. Filter Frequency<Key (Freq<Key) — Filter frequency is modulated by note pitch according to this setting. Filter Frequency (Freq) — This defines the center or cutoff frequency of the filter. LFO and vol- ume envelopes. Filter Type — This chooser selects from lowpass. Shaper — This chooser selects the curve for the filter’s waveshaper. Note that the resulting frequency may also be modulated by note velocity and by the filter envelope. and the width of the bandpass and notch filters. The center point for this function is C3. Morph — Controls the position of the Morph filter in its morph cycle. A value of 100% means that the envelope can create a maximum fre- quency shift of approximately 9 octaves. Drive) — This boosts or attenuates the signal level being sent to the wave- shaper. It is therefore listed in the section on envelopes.

and Noise supplies bandpass-filtered noise. Sync causes the LFO’s rate to be synced to your Set’s tempo. LFO Range — The LFO covers an extreme frequency range. Note that the actual effect also depends on the LFO envelope. the LFO restarts at the same position in its phase each time a note is triggered. or Hi for 8 Hz to 12 kHz. Choose Low for a range from 50 seconds to 30 Hz. It is therefore listed in the section on envelopes. LFO Amount (Amount) — This sets the overall intensity of the LFO. Live Instrument Reference 451 Dry/Wet — This adjusts the balance between the dry signal and the signal processed by the waveshaper. LFO to Filter Cutoff Frequency (Destination FIL) — The LFO modulates the cutoff frequency of the filter if this is turned on. LFO Rate (Rate) — This sets the rate of the LFO. LFO Waveform — Select from among several typical LFO waveforms. With R disabled. LFO to Osc (Destination A-D) — The LFO modulates the frequency of the respective oscillator if this is turned on. LFO Shell and Display LFO On — This turns the LFO (low-frequency oscillator) on and off. the LFO can also function as a fifth oscillator. Retrigger (R) — When enabled. Due to the possible high frequencies. the LFO is free-running. LFO Envelope Rates<Velocity (Time<Vel) — This parameter exists for filter. All waveforms are band- limited to avoid unwanted clicks. . pitch. Sample and Hold (S&H) creates random steps. LFO and vol- ume envelopes. LFO Amount A — This sets the intensity of the LFO’s modulation of the oscillators and filter. LFO Amount B — This sets the intensity of the LFO’s modulation of the secondary target. The actual frequency also depends on the setting of the LFO Range and the LFO Rate<Key controls. LFO Destination B — This sets the second modulation destination for the LFO. Turning it off when it is un- used saves some CPU power.

Osc Coarse Frequency (Coarse) — The relationship between oscillator frequency and note pitch is defined by the Coarse and Fine parameters. its level has significant influence on the resulting timbre. Osc Fine Frequency (Fine) — The relationship between oscillator frequency and note pitch is defined by the Coarse and Fine parameters. If this is set to 100%. Osc Fixed Frequency On (Fixed) — In Fixed Mode. creating a harmonic relationship. creating an inharmonic relationship. If this oscillator is modulat- ing another. . Envelope / Oscillator Switches — These switches toggle the display between the oscillator’s envelope and its harmonics editor. Coarse sets the ratio in whole numbers. Fine sets the ratio in fractions of whole numbers. Osc Waveform (Wave) — Choose from a collection of carefully selected waveforms. Osc Fixed Frequency (Freq) — This is the frequency of the oscillator in Hertz. You can then edit them via the harmonics editor. oscillators do not respond to note pitch but instead play a fixed frequency. LFO Amount<Velocity (Amt<Vel) — This setting adjusts modulation of the LFO intensity by note velocity. regardless of note pitch. Osc Fixed Multiplier (Multi) — This is used to adjust the range of the fixed frequency. the LFO will double its frequency per octave. 16/32/64 — These switches set the number of partials that are available for user editing. functioning like a normal oscillator. This frequency is constant. Multiply this value with the value of the oscillator’s Freq knob to get actual frequency in Hz. Oscillators A-D Shell and Display Osc On — This turns the oscillator on and off. Osc Output Level (Level) — This sets the output level of the oscillator. Higher levels usually create bright and/or noisy sounds. Live Instrument Reference 452 LFO Rate<Key (Rate<Key) — The LFO’s frequency can be a function of note pitch.

starting from the initial level. . If activated. Osc Output Level<Velocity (Vel) — This defines how much the oscillator’s level depends upon note velocity. Higher feedback creates a more complex resulting waveform. the sonic result is the same as manually changing the Coarse parameter for each note. Volume Envelope Rates<Velocity (Time<Vel) — This parameter exists for filter. Repeat — Higher harmonics can be generated by repeating the drawn partials with a gradual fadeout. the shape of this segment of the enve- lope is linear. the oscillator restarts at the same position in its phase each time a note is triggered. For the oscillator envelopes. Envelope Display Envelope Attack Time (Attack) — This sets the time it takes for a note to reach the peak level. pitch. the oscillator is free-running. Retrigger (R) — When enabled. For the filter and pitch envelopes. The modulation is dependent not only on the setting of the feedback control but also on the oscillator level and the envelope. while higher values result in more high-end roll-off and a more prominent fundamental. partials above the 16th. Osc Output Level<Key (Key) — This defines how much the oscillator’s level depends upon note pitch. Applying this to modulating oscillators creates velocity-dependent timbres. Low Repeat values result in a brighter sound. the shape of the segment can be adjusted. Osc Freq<Vel Quantized (Q) — This allows quantizing the effect of the Frequency<Velocity pa- rameter. With R disabled. Osc Frequency<Velocity (Osc<Vel) — The frequency of an oscillator can be modulated by note velocity. The range represents one whole cycle. based on the settings in the Repeat chooser. 32nd or 64th harmonic are truncated. Live Instrument Reference 453 Osc Feedback (Feedback) — An oscillator can modulate itself if it is not modulated by another oscillator. Osc Phase (Phase) — This sets the initial phase of the oscillator. The center point for this function is C3. Positive values raise the oscillator’s pitch with greater velocities. LFO and volume envelopes. It is therefore listed in the section on envelopes. and negative values lower it. With Repeat off.

regardless of which segment is currently active. Live Instrument Reference 454 Envelope Decay Time (Decay) — This sets the time it takes for a note to reach the sustain level from the peak level. the envelope will start again from its initial value. Envelope Loop Time (Time) — If a note is still on after the end of the decay/sustain segment. Envelope Beat/Sync Rate (Repeat) — The envelope will be retriggered after this amount of beat- time. the shape of this segment of the envelope is exponential. Envelope End Level (End) — (LFO. this level is always -inf dB and the shape of the segment is exponential. Note that this modulation does not influence the beat-time in Beat or Sync Modes. Envelope Loop Mode (Loop) — If this is set to Loop. For the filter and pitch envelopes. Envelope Release Time (Release) — This is the time it takes for a note to reach the end level after a note-off message is received. Envelope Rates<Velocity (Time<Vel) — Envelope segments will be modulated by note velocity as defined by this setting. as long as it is still on. The time it takes to move from the sustain level to the initial value is defined by this parameter. it will start again after a given beat-time. This envelope segment will begin at the value of the envelope at the moment the note-off message occurs. For the oscillator envelopes. When retriggered. Envelope Peak Level (Peak) — This is the peak level at the end of the note attack. the end level is deter- mined by the End Level parameter and the shape of the segment can be adjusted. In Sync Mode. In Trigger mode. Envelope Initial Level (Initial) — This sets the initial value of the envelope. For the filter and pitch envelopes. The filter and pitch envelopes also provide parameters that adjust the slope of their envelope segments. this behavior will be quantized to song time. Positive slope values cause the envelope to move quickly at the beginning. but the envelope segments themselves. then slow- . For the oscillator envelopes. the envelope will move at the given attack rate from the current level to the peak level. the shape of the segment can be adjusted. This is especially interesting if the envelopes are looping. the envelope will start again after the end of the decay segment. Sync or Beat Mode. Filter and pitch envelopes only) This is the level reached at the end of the Release stage. the envelope ignores note off. If set to Beat or Sync. The en- velope will stay at this level until note release unless it is in Loop. Envelope Sustain Level (Sustain) — This is the sustain level at the end of the note decay.

Slope) — Adjusts the shape of the Attack envelope segment. Attack Slope (A. Harmonics editor commands — The context menu for the harmonics editor can restrict partial drawing to even or odd harmonics and toggle normalization of an oscillator’s output level. Live Instrument Reference 455 er.Slope) — Adjusts the shape of the Decay envelope segment. the envelope will move at the same rate throughout the segment. Context Menu Parameters Certain operations and parameters in Operator are only available via the [right-click](PC) / [CTRL-click](Mac) context menu. then move faster at the end.ams file. E3 is the center. toggles the MIDI note that is the center point when using MIDI Key as a modulation source. Release Slope (R. in the [right-click](PC) / [CTRL-click](Mac) context menu of Operator’s title bar. C3 is the center. Live 8 Legacy Mode — This command. in the [right-click](PC) / [CTRL-click](Mac) context menu for the filter’s Freq control. . When disabled. There is also a command to export the waveform as an . Negative slope values cause the envelope to remain flat for longer. minimum. or middle val- ues.Slope) — Adjusts the shape of the Release envelope segment. Decay Slope (D. A slope of zero is linear. Note that this option is only available when loading Operator presets that were made in versions of Live prior to Live 9. When enabled. Envelope commands — The [right-click](PC) / [CTRL-click](Mac) context menu for all envelope displays provide options to quickly set all envelope levels to maximum. optimizes the filter for key tracking by setting the cutoff to 466 Hz and set- ting the Freq<Key to 100%. These include: Copy commands for Oscillators — The [right-click](PC) / [CTRL-click](Mac) context menu of the oscillator’s shell and envelope display provide options for copying parameters between oscilla- tors. Play By Key — This command.

makes it the natural extension of Live‘s sound-shaping techniques. but is a special fea- ture available for purchase separately. 24. Once you have loaded a Sampler preset into a track.7. its extensive internal modulation system.1 Getting Started with Sampler Getting started with Sampler is as easy as choosing a preset from the browser.2 Multisampling Before going on. remember to arm the track for recording (which also enables you to hear any MIDI notes you might want to play). too. The full version of Sampler is not included with the standard version of Live. Live Instrument Reference 456 24. Presets imported from third-party sample libraries are listed here.7 Sampler The Sampler Instrument. This technique is used to accurate- ly capture the complexity of instruments that produce dynamic timbral changes. in the Imports folder. To do this. Rather than rely . Sampler is a sleek yet formidable multisampling instrument that takes full advantage of Live‘s ag- ile audio engine. It has been designed from the start to handle multi-gigabyte instrument libraries with ease. But with Sampler. Sampler users who want to share their presets with all Live users can convert their work to Simpler (page 482) presets.7. let’s introduce the concept of multisampling. playback is only the beginning. which addresses nearly every aspect of its sound. and then start playing! 24. Like all of Live‘s devices. and it imports most common library formats. [right-click](PC) / [CTRL-click](Mac) on Sampler‘s title bar and choose the Sampler -> Simpler command. Sampler’s presets are located in folders listed beneath its name.

. Lastly. moderately. you do not have use multisamples at all — drop a single sample into Sampler and take advantage of its internal modulation system how- ever you like. let’s look at Sampler’s title bar context menu. Live Instrument Reference 457 on the simple transposition of a single recorded sample. transposing one sample across many octaves would not reproduce the nuances of the instrument. is a commonly multisampled instrument. or create your own multisamples from scratch. and so on). import multisamples from third-party vendors (page 481). the other options deserve some explanation. multisampling captures an instrument at multiple points within its critical sonic range. loud. and Delete should already be familiar. etc. Since multisampling relies on different sound sources. Sampler is designed to let you approach multisampling on whatever level you like: you can load and play multisample presets. for example.3 Title Bar Options Before delving into Sampler’s deep modulation features. medium. Rename. Because the piano’s pitch and dynamic ranges are very wide and timbrally complex. very loud. maximizing the sampler’s expressive possibilities. This typically means capturing the instrument at dif- ferent pitches as well as different levels of emphasis (played softly. Copy. The acoustic piano. Although Cut. three or more samples per piano key could be made (soft. The resulting multisample is a collection of all the individually recorded sample files. Sampler’s Title Bar Context Menu.).7. loudly. 24. Edit Info Text.

Unchecking Show Preset Name will replace the current title with “Sampler. We will get to know Sampler by examining each of these tabs. reveal its properties below. Show Preset Name — By default. Use Constant Power Fade for Loops — By default. accessed from Sampler‘s title bar. Save as Default Preset — Saves the current state of Sampler as the default preset. 24. Modulation and MIDI). Live Instrument Reference 458 Group — Selecting this will load Sampler into a new Instrument Rack. Sampler uses constant-power fades at loop boundaries.7. By default. Clicking a tab will. .” Lock to Control Surface — Locks Sampler to a natively supported control surface defined in the Link/MIDI Preferences. each tab has one or more LEDs that indicate if there is modulation information in the correspond- ing area. A hand icon in the title bar of locked devices serves as a reminder of their statuses. Fold — Folds Sampler so that only the device title bar is visible. In addition to serving as an organizational aid. Sampler’s Tabs in the Title Bar. Filter/Glob- al. Sampler -> Simpler — Converts Sampler presets to Simpler presets. Unfold quickly by double-click- ing the device title bar. Sample. Uncheck this to enable linear crossfades at looping points. Pitch/Osc.4 Sampler’s Tabs Sampler’s features are organized categorically into tabs (Zone. guaranteeing hands-on access no matter where the current focus is in your Live Set. Sampler will automatically be locked to the control surface when the track is armed for recording. Sampler takes the top-most sample in the sample layer list as its title. with the excep- tion of the Zone tab.

and selecting Small. all sample layers that are able . they are filtered by each sample layer’s key. this layout greatly accelerates the creation and editing of multisamples. the Velocity Zone Editor (page 464) and the Sample Select Editor (page 464). For complex multisamples. When used in conjunction with Sampler’s other tabs. Auto Select (Auto) — As MIDI notes arrive at Sampler. These editors can be horizontally zoomed by [right-clicking](PC) / [CTRL- clicking](Mac) within them to bring up a context menu. directly above the Device View. All of the individual samples belonging to a multisample are shown in this list. Medium or Large.7. With Auto Select enabled. Live Instrument Reference 459 24. respectively. velocity and sample select zones. where they are referred to as layers. The rest of the view is occupied by one of three editors that correspond to the sample layers: the Key Zone Editor (page 463). On the left side of the Zone Editor is the sample layer list. The Key Zone Editor. where multisamples are organized. The Zone Editor opens in its own dedicated view. which offers a hands-on interface for mapping any number of samples across three types of ranges — the Key Zone. Clicking on the Zone tab toggles the display of Sampler‘s Zone Editor. this list can be quite long.5 The Zone Tab The Zone Tab. the Velocity Zone and Sample Select Editors.

with each sample given its own layer. for example). Velocity Zone and Sample Select Editors. Key Zone. Mous- . Live Instrument Reference 460 to play an incoming note will become selected in the sample layer list for the duration of that note. All samples contained in the currently loaded multisample are listed here. layers can be descriptively named (according to their root key. Zone Fade Mode (Lin/Pow) — These buttons toggle the fade mode of all zones between linear and constant-power (exponential) slopes. this list might be hundreds of layers long! For- tunately. The Sample Layer List The Sample Layer List. For very large multisamples. Auto Select and Zone Fade Modes (Lin/Pow) Zone Editor View (Key/Vel/Sel) — These buttons toggle the display of the Key Zone. Velocity Zone and Sample Select Editors.

For layers that share a root key. Delete — Deletes the currently selected sample(s). Rename — Renames the selected sample. Duplicate — Duplicates the currently selected sample(s). . the ranges will be distributed evenly. Distribute Ranges Equally — Distributes samples evenly across the editor’s full MIDI note range (C-2 to G8). Distribute Ranges Around Root Key — For layers that have different root keys. distributing them across the keyboard and various other sample management and “housekeeping“ options. Live Instrument Reference 461 ing over a layer in the list or a zone in the zone editors will display relevant information about the corresponding sample in the Status Bar (bottom of screen). Selecting any layer will load its sample into the Sample tab for examination. this option will distribute their ranges as evenly as possible around their root keys. but without overlapping. The Sample Layer List’s Context Menu Pressing [right-click](PC) / [CTRL-click](Mac) within the sample layer list opens a context menu that offers options for sorting and displaying the layers.

Normalize Volume — Adjusts Sampler’s Volume control so that the highest peak of each selected sample uses the maximum available headroom. The results will change depending on which Zone Editor (Key. rather. Select All With Same Range — Selects all layers whose zone range matches the currently se- lected layer. Manage Sample — Opens the File Manager and selects the chosen sample. Normalize Pan — Adjusts Sampler’s Pan control so that each selected sample has equal volume across the stereo spectrum. Show in Browser — Navigates to the selected sample in the browser and selects it. Sort Alphabetically (Ascending and Descending) — Arranges samples alphabetically according to their names. Note that this does not necessarily return panned stereo samples to the center position. Live Instrument Reference 462 Small/Medium/Large — Adjusts the zoom level of the Zone Editor. Live intelligently calculates a pan position for an even stereo spread. Sort by Velocity (Ascending and Descending) — Sorts velocity zones in an ascending or de- scending pattern. Velocity or Sample Select) is active. Sort by Selector (Ascending and Descending) — Sorts sample select zones in an ascending or descending pattern. Sort by Key (Ascending and Descending) — Sorts key zones in an ascending or descending pat- tern. .

Zones can be moved and resized like clips in the Arrangement View. distributed into many key zones. . Samples are captured at a particular key of an instrument’s voice range (known as their root key). The Lin and Pow boxes above the sample layer list indicate whether the zones will fade in a linear or exponential manner. but may continue to sound accurate when transposed a few semitones up or down. This range usually corresponds to the sample’s key zone. Zones can also be faded over a number of semitones at either end by dragging their top right or left corners. Live Instrument Reference 463 Key Zones The Key Zone Editor. by dragging their right or left edges to resize them. then dragging them into position. By default. as needed. ranges beyond this zone are repre- sented by additional samples. A typical multisampled instrument contains many individual samples. Samples are only triggered when incoming MIDI notes lie within their key zone. Key zones define the range of MIDI notes over which each sample will play. Every sample has its own key zone. This makes it easy to smoothly crossfade between adjacent samples as the length of the keyboard is traversed. the key zones of newly imported samples cover the full MIDI note range. which can span anywhere from a single key up to the full 127.

when toggled. . Sample Select zones are very similar to the Chain Select Zones (page 270) found in Racks. Velocity zones determine the range of MIDI Note On velocities (1-127) that each sample will respond to. The timbre of most musical instruments changes greatly with playing intensity. and this number range appears across the top of the editor. the best multisamples capture not only individual notes. Live Instrument Reference 464 Velocity Zones The Velocity Zone Editor. There- fore. Velocity is measured on a scale of 1-127. The Velocity Zone Editor. Each sample also has a Sample Select zone. The functionality of the Velocity Zone Editor is otherwise identical to that of the Key Zone Editor. but also each of those notes at different velocities. appears alongside the sample layer list. which is a data filter that is not tied to any particu- lar kind of MIDI input. Sample Select Zones The Sample Select Editor. in that only samples with sample select values that overlap the current value of the sample selector will be triggered.

similar to the Velocity Zone Editor. modulatable control that reverses playback of the entire multisample. Most of this tab is dedicated to displaying the waveform of the currently selected sample. Once a sample has been triggered. It is important to keep in mind that most of the values in this tab reflect the state of the currently selected sample only. Instead. when toggled. The editor has a scale of 0-127. The Sample Selector. Live Instrument Reference 465 The Sample Select Editor.7. changing the position of the sample selector will not switch to a different sample during playback. The Sample chooser always displays the current sample layer’s name. Please note that the position of the sample selector only determines which samples are available for triggering. The playback behavior of individual samples is set within the Sample tab. Hovering your mouse over the waveform will display relevant information about the sample in the Status Bar (bottom of screen). Reverse — This is a global. sample . and is another way to switch between layers when editing. Above the value scale is the draggable indicator known as the sample selector. 24. a new sample file is not generated. Unlike the Reverse function in the Clip View. appears alongside the sample layer list.6 The Sample Tab The Sample Tab.

this snap is based on the left channel of stereo samples. Sustain. Snap — Snaps all start and end points to the waveform zero-crossings (points where the ampli- tude is zero) to avoid clicks. among others: Envelope Attack Time (Attack) — This sets the time it takes for an envelope to reach the peak level. You can quickly see this by using Snap on square wave samples. As with Simpler. Tip: you can snap individual loop regions by [right-click](PC) / [CTRL-click](Mac) on a loop brace and selecting “Snap marker. Slope) parameter. The Sample Chooser. so a small Crossfade value may be necessary in some cases to completely eliminate clicks. These envelopes use standard ADSR (Attack. proceeds backwards through the Sustain Loop (if active). and can be used to quickly select dif- ferent layers of the loaded multisample.50 cents. Decay. Sample Playback All of the following parameters work in conjunction with the global volume envelope (in the Filter/Global tab) to create the basic voicing of Sampler. Live Instrument Reference 466 playback begins from the Sample End point. The shape of the attack can be adjusted via the Attack Slope (A. Root Key (RootKey) — Defines the root key of the current sample. and arrives at the Sample Start point. Volume — A wide-range volume control. starting from the initial level. . Release) parameters. Detune — Sample tuning can be adjusted here by +/.” Sample — Displays the name of the current sample layer. variable from full attenuation to a gain of +24 dB. Pan — Samples can be individually panned anywhere in the stereo panorama.

Sampler’s envelopes also provide parameters that adjust the slope of their envelope segments. As mentioned above. as long as it is still on. Note that this modulation does not influence the beat-time in Beat or Sync Modes. the envelope ignores note off. the envelope will move at the given attack rate from the current level to the peak level. the envelope will start again after the end of the decay segment. The shape of this stage of the envelope is determined by the Release Slope (R. Envelope Peak Level (Peak) — This is the peak level at the end of the envelope attack. The envelope will stay at this level until note release unless it is in Loop. In Sync Mode. Positive slope values cause the envelope to move quickly at the beginning. Envelope Beat/Sync Rate (Repeat) — The envelope will be retriggered after this amount of beat- time. This is especially interesting if the envelopes are looping. Envelope Loop Mode (Loop) — If this is set to Loop. In Trigger mode. Slope) parameter. it will start again after a given beat-time. Envelope End Level (End) — (LFO. If set to Beat or Sync. Envelope Sustain Level (Sustain) — This is the sustain level at the end of the envelope decay. Filter and pitch envelopes only) This is the level reached at the end of the Release stage. but the envelope segments themselves. Sync or Beat Mode. then slower. Envelope Release Time (Release) — This is the time it takes for an envelope to reach the end level after a note-off message is received. The time it takes to move from the sustain level to the initial value is defined by this parameter. Envelope Loop Time (Time) — If a note is still on after the end of the decay/sustain segment. and the beginning of the Decay stage. Envelope Initial Level (Initial) — This sets the initial value of the envelope. the envelope will start again from its initial value. this behavior will be quantized to song time. then move . Negative slope values cause the envelope to remain flat for longer. Slope) value. Live Instrument Reference 467 Envelope Decay Time (Decay) — This sets the time it takes for an envelope to reach the sustain level from the peak level. The shape of the decay can be adjusted via the Decay Slope (D. When retriggered. Envelope Rates<Velocity (Time<Vel) — Envelope segments will be modulated by note velocity as defined by this setting.

Loop Start — The Sustain Loop’s start point. All time-based values in this tab are displayed in either samples or minutes:seconds:milliseconds. the audible result may begin some time later than the value shown here. Activating the Sustain Loop also allows the Release Loop to be enabled. Loop End — The Sustain Loop’s end point. which we more commonly refer to as “samples. Live Instrument Reference 468 faster at the end. Sustain Mode — The optional Sustain Loop defines a region of the sample where playback will be repeated while the note is in the sustain stage of its envelope. which can be toggled using the [right-click](PC) / [CTRL-click](Mac) context menu on any of their parameter boxes. looping will continue inside the Sustain Loop until the volume envelope has completed its release stage. Note that the Sample Start parameter box doesn’t lose its original value — it simply becomes disabled so that it can be re- called with a single click. in this context. this pattern continues until the volume envelope has completed its release stage. A slope of zero is linear. If the volume envelope’s Attack pa- rameter is set to a high value (slow attack). then reverses until it reaches Loop Start. Sustain Loop Enabled — Playback proceeds linearly until Loop End is reached. measured in samples. . the envelope will move at the same rate throughout the segment. If Release Mode is OFF. If Release Mode is OFF. refer to the smallest measurable unit in digital audio. Samples.“ Sample Start — The time value where playback will begin. and not to the audio files themselves. Link — Enabling the Link switch sets Sample Start equal to Loop Start. even if the volume envelope has not ended. Sample End — The time value where playback will end (unless a loop is enabled). measured in samples. This creates several playback options: No Sustain Loop — Playback proceeds linearly until either the Sample End is reached or the volume envelope completes its release stage. Back-and-Forth Sustain Loop Enabled — Playback proceeds to Loop End. when it jumps immediately to Loop Start and continues looping. then proceeds again towards Loop End. Release Mode — Whenever the Sustain Loop is active. Release Mode can also be enabled.

The Release Loop Slider. playback will proceed linearly until reaching Sample End. where it jumps immediately to Release Loop and continues looping until the volume envelope has completed its release stage. Back-and-Forth Release Loop Enabled — When the volume envelope reaches its release stage. Live Instrument Reference 469 — The volume envelope’s release stage is active. but will occur within the Sustain Loop. playback will proceed linearly until reaching Sample End. Sustain Loop Release Loop Sustain and Release Loops. Release Enabled — When the volume envelope reaches its release stage. Release Loop — sets the start position of the Release Loop. with playback never proceeding beyond Loop End. playback will proceed linearly towards Sample End. This pattern continues until the volume envelope has completed its release stage. The end of the Release Loop is the Sample End. Release Loop Enabled — When the volume envelope reaches its release stage. . then proceeds again towards Sample End. then reverses until it reaches Release Loop.

Sustain Crossfade Release Crossfade Sustain. Live Instrument Reference 470 Sustain.and Release-Loop Crossfades. relative to the loop’s duration.and Release-Loop Detune (Detune) — Since loops are nothing more than oscillations. Sustain.and Release-Loop Crossfade (Crossfade) — Loop crossfades help remove clicks from loop transitions. Be aware that raising the quality level above “Normal“ to “Good” or “Best” will place significant demands on your CPU. you can enable linear crossfades. the pitch of these regions can be matched to the rest of the sample. . But by turn- ing off “Use Constant Power Fade for Loops“ in the [right-click](PC) / [CTRL-click](Mac) context menu. By default. the pitch of samples may shift within a loop. With Detune. Sampler uses constant-power fades at loop boundaries. Sustain. Tip: this is especially noticeable with very short loops.and Release-Loop Detune Sliders. Interpolation (Interpol) — This is a global setting that determines the accuracy of transposed samples.

but loading large multisamples into RAM will quickly leave your computer short of RAM for other tasks. In any case. Live Instrument Reference 471 RAM Mode (RAM) — This is also a global control that loads the entire multisample into RAM. Left and Right. and does not affect the audio in any way. M. it is always recommended to have as much RAM in your computer as possible. a few options remain on the far-right side of the Sample tab. Mono. Hovering the mouse over the waveform and [right-click](PC) / [CTRL-click](Mac) provides a number of editing and viewing options. as this can provide significant performance gains. depending on which Sustain and Loop Modes are selected. Finally. B. you can zoom in or out of playing or looping regions. This mode can give better performance when modulating start and end points. and allow you to choose which channels of the sample should be displayed. L and R Buttons — These buttons stand for Both. Show in Browser. Waveform Context Menu. Normalize Volumes and Normalize Pan are available. This is for visual clarity only. . As with the context menu in the Sample Layer List. Vertical Zoom (slider) — Magnifies the waveform height in the sample display. Addition- ally. Manage Samples.

. the modulation oscillator will modulate the frequency of samples. plus its own loopable amplitude envelope for dynamic waveshaping. which can perform frequency or amplitude modulation (FM or AM) on the multisample. The oscillator is fully featured. and Channel Buttons. AM — In this mode.7 The Pitch/Osc Tab The Pitch/Osc Tab. with 21 waveforms (available in the Type chooser). audible modulator frequencies result in composite waveforms. The Modulation Oscillator (Osc) Sampler features one dedicated modulation oscillator per voice.7. Note that this oscillator performs modulation only — its output is never heard directly. resulting in more complex and different-sounding waveforms. FM — In this mode. Live Instrument Reference 472 The Sample Tab’s Vertical Zoom slider. What you hear is the effect of its output upon the multisample. Subsonic modulator frequencies result in slow or rapid variation in the volume level. 24. the modulation oscillator will modulate the amplitude of samples.

as described in the Sample Playback section (page 466). The actual range depends upon the dynamics of the envelope itself. This is only avail- able when Fixed is set to Off. Freq — With Fixed set to On. For detailed information on how these work. This is only available when Fixed is set to Off. Fine — Fine tuning of the modulation oscillator’s frequency (0-1000). Volume — This determines the intensity of the modulation oscillator’s sample modulation. Additionally. Vol<Vel — The modulation oscillator’s Volume parameter can be modified by the velocity of incoming MIDI notes. and will not change in response to incoming MIDI notes. see the Sample Play- back section (page 466). This defines the limits of the pitch envelope’s influence. Attack and Time<Velocities parameters. End. in semitones. Peak. the Freq parameter is multiplied by this amount to determine the modulation oscillator’s fixed frequency. The values of the envelope param- eters can be adjusted via the sliders. as well as of the Modulation Oscillator. Fixed — When enabled. or by dragging the breakpoints in the envelope’s display. if it is enabled. Initial. Sustain. Coarse — Coarse tuning of the modulation oscillator’s frequency (0. . Peak.125-48). This is a multi-stage envelope with ADSR. the modulation oscillator’s frequency will remain fixed at the rate de- termined by the Freq and Multi parameters. Live Instrument Reference 473 The modulation oscillator is controlled via Initial. Loop. Multi — With Fixed set to On. this rate is multiplied by the Multi parameter to determine the mod- ulation oscillator’s fixed frequency. and End levels. On the lower-left of the Pitch Envelope section is the Amount slider. This determines the depth of the modulation. The Pitch Envelope The pitch envelope modulates the pitch of the sample over time. the right side of the modulation oscillator section fea- tures the following controls: Type — Choose the modulation oscillator’s waveform here.

. Spread — When Spread is used. indicated in cents.8 The Filter/Global Tab The Filter/Global Tab. This parameter determines the length of the transition. Glide — The global Glide mode. This also doubles the processing requirements. but can globally effect Sampler’s output: The Lower Right-hand Corner of the Pitch/Osc Tab. two detuned voices are generated per note. Live Instrument Reference 474 The right-hand side of this section contains five sliders and one chooser that are unrelated to the Pitch Envelope. used in conjunction with the Time parameter to smoothly transi- tion between pitches. so that dif- ferent samples may be selected for playback. 24.7. Detune — Global detune amount. even though they will adhere to the played pitch. Key Zone Shift (Zn Shft) — This transposes MIDI notes in the Key Zone Editor only. while ’Portamento’ works poly- phonically. ’Glide’ is a standard monophonic glide. Transpose (Transp) — Global transpose amount. Good for getting interesting artifacts from multisamples. indicated in semitones. Time — Enabling a Glide mode produces a smooth transition between the pitch of played notes.

highpass. When using the lowpass. Each filter can be switched between 12 and 24 dB slopes as well as a selection of analog-modeled circuit behaviors developed in conjunction with Cytomic that emulate hard- ware filters found on some classic analog synthesizers. Resonance boosts frequencies near that point. CPU-efficient design that is the same as the filters used in EQ Eight (page 335). It shares characteris- tics of both the MS2 and PRD circuits and is available for the lowpass and highpass filters. or bandpass filter with any circuit type besides Clean. or notch setting via dedicated options in the [right-click](PC) / [CTRL-click](Mac) context menu of the Morph slider. there is an additional Drive control that can be used to add gain or distortion to the signal before it enters the filter. bandpass. bandpass. The filter sec- tion offers a variety of filter types including lowpass. The most important filter parameters are the typical synth controls Frequency and Resonance. The MS2 circuit option uses a Sallen-Key design and soft clipping to limit resonance. This is available for all of the filter types. . The Morph filter has an additional Morph control which sweeps the filter type continuously from lowpass to bandpass to highpass to notch and back to lowpass. The PRD circuit uses a ladder design and has no explicit resonance limiting. This is modeled on the filters used in a somewhat rare British monosynth. The SMP circuit is a custom design not based on any particular hardware. highpass. Live Instrument Reference 475 The Filter Sampler features a polyphonic filter with an optional integrated waveshaper. Frequency determines where in the harmonic spectrum the filter is applied. The Clean circuit option is a high-quality. and is available for all filter types. highpass. It is modeled on the filters used in a legacy dual-oscillator monosynth from the United States and is available for the lowpass and highpass filters. and a special Morph filter. The OSR circuit option is a state-variable type with resonance limited by a unique hard-clipping diode. It is mod- eled on the filters used in a famous semi-modular Japanese monosynth and is available for the lowpass and highpass filters. notch. Tip: you can quickly snap the Morph control to a lowpass.

The Volume Envelope The Global Volume Envelope. Below the Filter is a waveshaper. Pressing this button will permanently switch the filter selection to the newer models for that instance of Sampler. The Amount slider determines how much influence the filter envelope has on the filter’s cutoff frequency. the signal flow direction can be adjusted with the button above the waveshaper area: with the triangle pointing up. the filter’s cutoff frequency can be modulated over time by a dedicated filter en- velope.5. Four differ- ent curves can be chosen for the waveshaper in the Type selector: Soft. any instance of Sampler in the Set will open with legacy filters in place of the filters discussed previously. Sine and 4bit. Note that this change may make your Set sound different. it passes from the filter to the shaper. with the triangle pointing down. In addition. These consist of 12 dB or 24 dB lowpass. bandpass and highpass filters. Legacy Filters If you open a Set that was created in a version of Live older than version 9. the signal passes from the shaper to the filter. Each Sampler loaded with the legacy filters shows an Upgrade button in the title bar. as well as a notch filter. This area is toggled on/off with the F. and do not feature a Drive control. with Initial. Shaper’s overall intensity can be controlled with the Amount slider. and needs to be set to a non-zero value for the envelope to have any effect. which is toggled by clicking the Shaper button. This envelope works similarly to the envelopes in the Pitch/Osc tab. Hard. Sustain and End levels. Live Instrument Reference 476 To the right. Peak. Env button. Loop mode and slope points. . ADSR.

the envelope will restart from its initial value. Live Instrument Reference 477 The volume envelope is global. When a Loop mode is selected. The Pan slider is a global pan control (acting on all samples). rather than generating an additional voice. Turning Retrigger on can save CPU power. Time<Key (Global Envelope Time<Key) will proportionally shrink or expand the length of all envelopes in Sampler relative to the pitch of incoming MIDI notes. Please see the Sample Playback section (page 466) for details on these parameters. For Beat and Sync modes. especially if a note with a long release time is being triggered very often and very quickly. notes which are already playing will be retriggered. the Time/Repeat slider becomes important. while Pan<Rnd adds a degree of randomness to the global pan position. sustain. if a note is still held after the amount set in the Repeat slider. Time (Global Time Envelope) will proportionally shrink or expand the length of all envelopes in Sampler. and defines the articulation of Sampler’s sounds with standard ADSR (attack. Controls For Global Pan and Global Time. Voice retriggering can optionally be enabled by activating the Retrigger button (R) to the right of the Voices chooser. the envelope will restart from its initial value. When activated. decay. if a note is still held when the Decay stage ends. the Voices selector provides up to 32 simultaneous voices for each instance of Sampler. The time it takes to move from the Sustain level to the initial value is defined by the Time parameter. Finally. release) parameters. For Loop and Trigger modes. This envelope can also be looped via the Loop chooser. .

Each LFO can be free running. Rate — With Hz selected. the speed of the LFO is determined by the Freq slider to the right. with Initial. As the name implies. adjustable in the Beats slider to the right. Type — Sampler’s LFOs have 6 different waveshapes available: Sine. including themselves. Engage any of these oscillators by clicking the LFO 1. 2 and 3 The remaining space of the Modulation tab contains three Low Frequency Oscillators (LFOs). Sampler’s LFOs operate by applying a low-frequency (below 30 Hz) to a parameter in order to modulate it. . LFO 2 or LFO 3 switches. LFOs 1. The Modulation tab offers an additional loopable envelope. Saw- tooth Down. plus three LFOs. the LFO will be synced to beat-time. and LFOs 2 and 3 can produce stereo modulation effects.7. Live Instrument Reference 478 24. Loop mode and slope points. Sustain and End levels. and Sample and Hold. This envelope can be routed to 29 destinations in both the A and B choosers. all capable of modulating multiple parameters.9 The Modulation Tab The Modulation Tab. The Auxiliary Envelope On the left. Peak. Square. or synced to the Live Set’s tempo. How much the Auxiliary envelope will modulate destinations A and B is set in the two sliders to the right. ADSR. Triangle. Sawtooth Up. With the note head selected. the Auxiliary (Aux) envelope functions much like the envelopes in the Pitch/Osc tab.

01 to 30 Hz. This can create hybrid LFO shapes if the LFO is retrig- gered before completing a cycle. non-zero values cause an LFO’s rate to increase relative to the pitch of incoming MIDI notes. to gradually introduce vibrato as a note is held. . Live Instrument Reference 479 Freq — The LFO’s rate in Hertz (cycles per second). Pan (Pan) — LFO 1 can modulate the global pan position. This slider determines the depth of the modulation on a 0-24 scale. LFO Attack (Attack) — This is the time needed for the LFO to reach maximum intensity. This slider determines the depth of the modulation on a 0-100 scale. This slider determines the depth of the modulation on a 0-100 scale. Pitch — LFO 1 can modulate the pitch of samples. LFO Rate < Key (Key) — Also known as keyboard tracking. or initial phase. or initial phase of an LFO. LFO 1 has four sliders for quickly modulating global parameters: Volume (Vol) — LFO 1 can modulate the global volume level. so that it begins at a different point in its cycle. adjustable from 0. Beats — This sets the LFO’s rate in beat-time (64th notes to 8 bars). on each new MIDI note. Use this. This can create hybrid LFO shapes if the LFO is retriggered before completing a cycle. LFO Retrigger (Retrig) — Enabling Retrigger for an LFO will cause it to reset to its starting point. This slider determines the depth of the modu- lation on a 0-100 scale. Filter — LFO 1 can modulate the filters cutoff frequency (Freq in the Filter/Global tab). for example. LFO Offset (Offset) — This changes the starting point.

the right and left LFO channels run at equal speed. and the Phase pa- rameter is used to offset the right channel from the left. In phase mode. . In spin mode. where you can route LFOs to many destinations. the Spin parameter can make the right LFO channel run up to 50% faster than the left. LFO Stereo Mode (Stereo) — LFOs 2 and 3 can produce two types of stereo modulation: Phase or Spin. Live Instrument Reference 480 LFO 1. LFOs 2 and 3 contain A and B choosers. LFOs 2 and 3. Like the Auxiliary envelope.

Aftertouch. clicking in the Sampler image on the right will trigger a scrolling.10 The MIDI Tab The MIDI Tab. movie-like credits for Sampler. Modulation Wheel. while low velocities will create shorter ones. To import a third-party multisample. navigate to the file in Live‘s browser and drag it into a Live Set. which you can find in the browser under User Li- brary/Sampler/Imports. Velocity. Note that some multisample files will be converted to Instrument Rack (page 261) presets that contain several Sampler instances used to emulate the original more accurately. high velocities will result in long loop lengths. The MIDI con- trollers Key.11 Importing Third-Party Multisamples Sampler can use multisamples created by a number of other software and hardware samplers. This will import it into your User Library. The MIDI tab’s parameters turn Sampler into a dynamic performance instrument.7. Finally. with varying degrees of influence determined in the Amount A and Amount B sliders. Release Velocity. For example. At the bottom is a Pitch Bend Range slider (0 to 24 steps). . Foot Controller and Pitch Bend can be mapped to two destinations each. Importing will create new Sampler presets. These are the people you can thank! 24.7. if we set Velocity’s Destination A to Loop Length. The 14-bit range of pitch wheel values can be scaled to produce up to 24 semitones of pitch bend in Sampler. Live Instrument Reference 481 24. and its Amount A to 100.

Live‘s File Manager offers the option to collect and save these external samples (page 82). regardless of which note you play. Simpler’s interface is divided into two sections: the Sample and Controls tabs. . To import Apple EXS24/GarageBand and Kontakt multisamples. you can toggle the location of the Sample controls between the device chain and Live’s main window by clicking the button in Simpler’s title bar. Simpler includes some unique functionality inherited from Live’s clips. 24. But unlike a conventional sampler. filter. Simpler can play back samples using Live’s warping. This means that removing the original WAV or AIF files will render the new Sampler presets useless.8 Simpler The Simpler Instrument. To get an even better view. When using this expanded view. or your desktop preserves your manual warp settings. LFO. the browser. A Simpler voice plays a user-defined region of a sample. Live will import the actual audio data and create new samples. which is in turn processed by envelope. For more information about warping. This means the new Sampler presets will work re- gardless of whether the original multisample file is still available. and Warping chapter (page 137). and bringing a warped clip into Simpler from an audio track. the parameters in the Controls tab fill Simpler in the Device View. Live will create new Sampler presets that reference the original WAV or AIF files. Live Instrument Reference 482 For all multisample formats except Apple EXS24/GarageBand and Kontakt. Simpler is an instrument that integrates the basic elements of a sampler with a set of classic syn- thesizer parameters. see the Audio Clips. Warping in Simpler works in much the same way as it does in audio clips. Specifically. Tempo. volume and pitch components. Warped samples will play back at the tempo of your Set.

1 Playback Modes The most important parameter that determines how Simpler will treat samples is the mode switch. 24. or from the Session or Arrangement View in the form of clips.8. Samples can be replaced by dragging in a new sample. This switch is found on the left side of the Sample tab or along the bottom of the expanded sample view. or by activating the Hot-Swap button in the lower-right corner of the waveform display. Mode Switch in the Sample Tab. . which is used to choose one of Simpler’s three playback modes. Hot-Swapping a Sample. Samples can be dragged into Simpler either directly from the browser. In the latter case. Live Instrument Reference 483 The Sample Tab displays the sample waveform. Simpler will use only the section of the sample demarcated by the clip’s start/end or loop markers. Any adjustments that have been made to a clip’s Warp Markers and other warp- ing properties will be retained when dragging a clip into Simpler.

Classic Mode is polyphonic by default. •Classic Mode is the default mode when using Simpler. . By default. and is optimized for creating “con- ventional” melodic and harmonic instruments using pitched samples. •Slicing Mode automatically and non-destructively slices the sample so that the individual slices can be played back chromatically. delete. Live Instrument Reference 484 Mode Switch in the Expanded View. and is optimized for use with one-shot drum hits or short sampled phrases. This mode is ideal for working with rhythmic drum breaks. You can adjust how sensitive Simpler is to tran- sients. allowing for samples to sustain as long as a note is held down. This mode has simplified envelope controls and does not support looping. or create slices. regardless of how long the note is held. and also manually adjust. the entire sample will play back when a note is triggered. •One-Shot Mode is exclusively for monophonic playback. It features a complete ADSR envelope and supports looping.

particularly when working with the Complex or Complex Pro warp modes. Pressing the Loop On/Off button determines whether or not the sample will loop when a note is held down. This method is especially useful when working with long. you’ll start with a longer region of a sample and end up using only a small part of it.e. These controls include the Start and Length parameters as well as the two “flags” that appear in the waveform display. even with Snap activated. It is therefore still possible. which cross- fades the two points. The transition from loop end to loop start can be smoothed with the Fade control.. the various sample position controls change which region of the sample you play back. While this might be ex- actly the effect you want. Simpler’s waveform display can be zoomed and panned just as in other parts of Live — drag vertically to zoom. The Loop slider determines how much of the available sample will loop. Start and Length are then represented in percentages of the total sample length enabled by the flags. while the End control sets where playback can end. a Length value of 50% will play exactly half of the region between the flags. or even take on a pitch as a result of looping at audio rates. Zoom- ing works the same in all three playback modes. (Note: it’s possible to create sustaining loops that are so short they take on a glitchy or granular character. Live Instrument Reference 485 Classic Mode The Sample Tab in Classic Mode. the sample’s loudness). This parameter is only active if the Loop switch is enabled. it can cause very high CPU loads. Note: Snapping is based on the left channel of stereo samples. and drag horizontally to pan different areas of the sample into view. The Snap switch will help mitigate these by forcing Simpler’s loop and region markers to snap to zero- crossing points in the sample (points where the amplitude is zero). textural samples. to en- counter glitches with stereo samples. For example. In Classic Mode. It is possible for glitches or pops to occur between a looped sample’s start and end points due to the discontinuity in waveform amplitude (i. The left flag sets the absolute position in the sample from which playback can start.) Quite often. .

which determines the final output level of the entire in- strument. For exam- ple. Fade In de- termines how long it takes the sample to reach its maximum volume after a note is played. while Fade Out begins a fade out the specified amount of time before the end of the sample region. a note that is already sustaining will be cut off if the same note is played again. “voice stealing“ will take place.) With Retrig enabled. the amount of time you hold the pad has no effect when Trigger is on. If Retrig is disabled. There is also no Voices control. In One-Shot Mode. multiple copies of the same note can overlap. The various warp parameters are the same in all three playback modes and are discussed be- low (page 488). The Voices parameter sets the maximum number of voices that Simpler can play simultaneously. and ten voices are all vying to be played. Note that this is a separate gain stage from Simpler’s Volume knob. . as they do in Clas- sic Mode. You can shape the volume of the sample using the Fade In and Fade Out controls. the left and right flags set the available playback region. If more voices are needed than have been allocated by the Voices chooser. Live Instrument Reference 486 The Gain slider allows you to boost or cut the level of the sample. Note that Retrig only has an audible effect if the sample has a long release time and the number of Voices is set to more than one. One-Shot Mode The Sample Tab in One-Shot Mode. With Trigger enabled. (Simpler does try to make voice stealing as subtle as possible. the sample will continue playing even after the note is released. This parameter is available in all three playback modes. the two oldest voices will be dropped. in which the oldest voice(s) will be dropped in favor of those that are new. One-Shot Mode is strictly monophonic. if your Voices parameter is set to 8. but there are no Loop or Length controls.

The Fade Out time determines how long it will take to fade to silence after release. the sample will begin fading out as soon as you release the note. multiple slices can be triggered together. and thus how many slices will be automatically created. the left and right flags set the available playback re- gion. The Voices and Retrig controls are available with Poly enabled. Live Instrument Reference 487 Fade In and Fade Out Controls. The Playback chooser determines how many slices can be triggered simultaneously. In Slicing Mode (as in One-Shot Mode). only one slice can be played at a time. Mono is monophonic. The Sensitivity slider determines how sensitive Simpler is to transient levels within the sample. When set to Poly. Higher numbers result in more slices. up to a maximum of 64 slices. With Gate enabled. and work as .) Slicing Mode The Sample Tab in Slicing Mode. but only affects the start and end flags (be- cause there are no loop options. Snap works similarly to its function in Classic Mode.

If you’re not satisfied with Simpler’s automatic analysis.2 Warp Controls Simpler’s Warp Controls. depending on the setting of the Playback chooser. Holding [ALT](PC) / [ALT](Mac) and clicking on a slice will toggle it between a manual and automatic slice. you can click and drag a slice to move it to a new position.8. Double-clicking on the waveform between slices will create a manual slice. you may want to enable Warp. while with Thru selected. if you would rather slice your sample completely by hand. as you play back the sample at different pitches. When the Warp switch is off. they are measured from the triggered slice to the end of the region. Automatically created slices appear as vertical orange lines on the waveform display. but triggering one slice will continue playback through the rest of the sample region. Live Instrument Reference 488 they do in Classic Mode. regardless of which notes you play. In some cases. set the Sensitivity to 0% and create slices as you wish. and are preserved regard- less of the Sensitivity amount. 24. Simpler behaves like a “conventional” sampler. The Trigger/Gate switch works the same as it does in One-Shot Mode. Manually created slices appear white. . the Fade times are measured from the beginning to the end of each in- dividual slice. Double- clicking a slice deletes it. the sample plays back at different speeds. But when working with samples that have their own inherent rhythm. When set to Thru. This means that the fade times may sound different depending on where in the region you trigger. The Fade In and Out controls behave slightly differently. this is exactly the effect that you want. playback is monophonic. This will cause Simpler to play back the sample in sync with your current song tempo. With Mono or Poly selected.

3 Filter Simpler’s Filter Controls. and is available for all filter types. see the section called Adjusting for Good Stretching Quality (page 149). It is mod- eled on the filters used in a famous semi-modular Japanese monosynth and is available for the lowpass and highpass filters. The Clean circuit option is a high-quality.8. but if it gets it wrong. This is modeled on the filters used in a somewhat rare British monosynth. button adjusts the warping of the sample so that it will play back precisely within the specified number of bars or beats. This is available for all of the filter types. respectively. CPU-efficient design that is the same as the filters used in EQ Eight (page 335). The OSR circuit option is a state-variable type with resonance limited by a unique hard-clipping diode. Simpler’s filter section offers a variety of filter types including lowpass. notch. you’ll find that Simpler’s Warp Modes and settings behave in the same way. and a special Morph filter.. you can use the :2 or x2 buttons to double or halve the playback speed. highpass. . The Warp as.. 24. For more information. The MS2 circuit option uses a Sallen-Key design and soft clipping to limit resonance. bandpass. Live makes its best guess about what this value should be based on the length of the sample. Live Instrument Reference 489 If you’re familiar with how warping works in audio clips. Each filter can be switched between 12 and 24 dB slopes as well as a selection of analog-modeled circuit behaviors developed in conjunction with Cytomic that emulate hardware filters found on some classic analog synthesizers.

and . or bandpass filter with any circuit type besides Clean. It is modeled on the filters used in a legacy dual-oscillator monosynth from the United States and is available for the lowpass and highpass filters. or notch setting via dedicated options in the [right-click](PC) / [CTRL-click](Mac) context menu of the Morph knob. bandpass. any instance of Simpler in the Set will open with legacy filters in place of the filters discussed previously. via the Envelope control in the filter’s display. there is an additional Drive control that can be used to add gain or distortion to the signal before it enters the filter. The PRD circuit uses a ladder design and has no explicit resonance limiting.5. via the Vel control in the filter’s display •note pitch. When using the lowpass. via the Filter slider in the LFO section. It shares characteris- tics of both the MS2 and PRD circuits and is available for the lowpass and highpass filters. •LFO. Resonance boosts frequencies near that point. Tip: you can quickly snap the Morph control to a lowpass. via the Key control in the filter’s display •filter envelope. as well as a notch filter. Legacy Filters If you open a Set that was created in a version of Live older than version 9. Frequency determines where in the harmonic spectrum the filter is applied. The most important filter parameters are the typical synth controls Frequency and Resonance. bandpass and highpass filters. highpass. The Morph filter has an additional Morph control which sweeps the filter type continuously from lowpass to bandpass to highpass to notch and back to lowpass. Filter fre- quency can also be modulated by the following: •note velocity. Filter cutoff frequency and resonance can be adjusted via the knobs or by dragging the filter response curve in the display area. The Frequency and Envelope buttons in the filter section’s display area toggle between showing the filter’s frequency response and its envelope. These consist of 12 dB or 24 dB lowpass. Live Instrument Reference 490 The SMP circuit is a custom design not based on any particular hardware. highpass.

8. as seen in most synthesizers. Live Instrument Reference 491 do not feature a Drive control. Note that this change may make your Set sound different. Simpler’s Filter Upgrade Button. Pressing this button will permanently switch the filter selection to the newer models for that in- stance of Simpler. filter frequency. which is held until the note is released. Decay controls the amount of time it takes for the envelope to drop down to the Sustain level. Release time is the amount of time after the end of the note that it . and pitch modulation are all modi- fiable by toggling their respective buttons in the envelope section.4 Envelopes Simpler’s Filter and Amplitude Envelope Controls. for shaping the dynamic response of the sample. Simpler contains three classic ADSR envelopes. Amplitude. 24. Each Simpler loaded with the legacy filters shows an Upgrade button in the title bar. Attack controls the time in milliseconds that it takes for the envelope to reach its peak value after a note is played.

. These parameters can be adjusted via their dedicated controls or graphically. by dragging the handles within the enve- lope visualizations. 24. saw- tooth up and random waveforms.8. sawtooth down. or played note. LFOs are applied individually to each voice. in Simpler.01 and 30 Hz. square. The influence of envelopes on pitch and filter cutoff can be set using the envelope amount (Amount) controls in the top right of each of these sections. triangle. The LFO runs freely at frequencies between 0. Live Instrument Reference 492 takes for the envelope to drop from the Sustain level back down to zero.5 LFO Simpler’s LFO Section. or synced to divisions of the Set’s tempo. The LFO (low-frequency oscillator) section offers sine. Pitch Envelope Amount Control.

) The Key parameter scales each LFO’s Rate in proportion to the pitch of incoming notes. and filter. When enabled. all voices’ LFOs have the same rate and may just differ in their phase. The Volume. The output volume of Simpler is controlled by the Volume control. 24.8. Live Instrument Reference 493 The time required for the LFO to reach full intensity is determined by the Attack control. To achieve special effects. . the LFO’s phase is reset to the Offset value for each new note. as adjusted by the Velocity>Volume control. Pan. Tip: Whether or not spread is applied to a particular note depends upon the setting of the Spread parameter during the note-on event. Panorama is defined by the Pan control. pitch. (Note that Offset has no effect when Retrigger is disabled. create a sequence where Spread is zero most of the time and turned on only for some notes. Pitch. respectively. while the others will play mono. Simpler also offers a special Spread parameter that creates a rich stereo chorus by using two voices per note and panning one to the left and one to the right. The R switch toggles Retrigger. A high Key setting assigns higher notes a higher LFO rate. but can be further swayed by randomness (via the Random>Pan slider) or modulated by the LFO. for instance. and Filter sliders determine how much the LFO will modulate the volume. The two voices are detuned. which can also be dependent upon note velocity. pan. and the amount of detuning can be adjusted with the Spread control. If Key is set to zero. These notes will then play in stereo. Tremolo effects can be achieved by allowing the LFO to modulate the Volume parameter. you could.6 Global Parameters Simpler’s Global Parameters.

Pitch can also be modulated by the LFO or pitch envelope. you can enable linear crossfades. and vice-versa. Crop removes the portions of the sample that are outside of the Start and End points.50 cents. Two glide modes are available: Glide. and presets that use any of these functions will sound and behave very differently in Sampler.8. . [right-click](PC) / [CTRL-click](Mac) on Simpler’s title bar and choose the Simpler -> Sampler command. In this way. however the Transpose control allows transposing this by +/. that Simpler’s warping and slicing functionality is not available in Sampler. however. But by turning off “Use Constant Power Fade for Loops“ in the [right-click](PC) / [CTRL-click](Mac) context menu of Simpler’s title bar. The pitch envelope is especially helpful in creating percussive sounds. Manage Sample reveals the loaded sample in Live’s File Manager (page 79). new notes will start from the pitch of the last note played and then slide gradually to their own pitch. By default. Note that this command is not available when working with samples that have been loaded from official Ableton Packs. For fine tuning of the pitch. which works monophonically. 24. and Portamento. which works polyphonically. To do this. The speed of the glide is set with the Time control. Note that both Crop and Reverse are non-destructive.48 semitones. Note that the Fade parameter is not available when warp is enabled.7 Context Menu Options A number of Simpler’s features are only accessible by opening the context menu via a [right- click](PC) / [CTRL-click](Mac) on the sample display or Simpler’s title bar. which can be adjusted +/. presets created in Simpler can be in a multisample context in Sampler. Live Instrument Reference 494 Simpler plays back a sample at its original pitch if the incoming MIDI note is C3. Note. Show in Finder/Explorer reveals the sample within its folder in your computer’s operating system. while the Show in Browser option reveals the sample in Live’s browser. Simpler includes a glide function. Simpler uses constant-power fades. You can also modulate the Transpose parameter with clip envelopes and external controllers. Simpler reacts to MIDI Pitch Bend messages with a sensitivity of +/. Normalize Volumes adjusts the volume of the loaded sample so that its highest peak uses all of the available headroom. Presets created in Simpler can be converted for use in Sampler (page 456). When this function is activated. while Re- verse plays the entire sample backwards. use the Detune control.5 semitones.

two additional context menu options are available: Slice to Drum Rack replaces the Simpler with a Drum Rack in which each of the current slices is split onto its own pad. . Save the CPU spent on Simpler by doing some of the following: •When using warping. However. •Turn off the LFO for a slightly positive influence on CPU. Slice to New MIDI Track is similar. a clip is created that plays back the slices in order. Additionally. •A filter’s CPU cost correlates with the steepness of its slope — the 24 dB slope is more ex- pensive than the 12 dB slope. For more about slicing. be aware that the Complex and Complex Pro modes use significant- ly more CPU power than the other Warp Modes. •Turn off the Filter if it is not needed. when slicing to a new track. •Turn Spread to 0% if it is not needed.8 Strategies for Saving CPU Power Real-time synthesis needs lots of computing power. as they require twice the processing. so your original sample is not changed. •Stereo samples need significantly more CPU than mono samples.8. there are strategies for reducing CPU load. see the dedicated chapter for this topic (page 171). When working in Slicing Playback Mode. 24. but this creates an additional track containing a Drum Rack rather than replacing the current Simpler. Live Instrument Reference 495 they create a copy of the sample and apply the process to the copy. •Decrease the number of simultaneously allowed voices with the Voices control.

The full version of Tension is not included with the standard version of Live. This elaborate synthesis engine responds dynamically to the control signals it receives while you play thereby reproducing the richness and responsiveness of real string instruments.9. which is controlled by the finger/fret interaction or termination. including keyboard modes. a damper model and different types of soundboards. Tension is a synthesizer dedicated to the emulation of string instruments. portamento. The frequency of the oscillation is determined by the effective length of the string. Tension features four types of excitators (two types of hammer. Tension is also equipped with filters. The combination of these different elements allows for the reproduction of a wide range of string instruments. a model of the fret/finger interaction. but is a special fea- ture available for purchase separately. A damper can be applied to the strings in order to reduce the decay time of the oscillation.1 Architecture and Interface It is the vibration from the string which constitutes the main sound production mechanism of the instrument. vibrato and legato functions. Tension offers a wide range of performance features. for exam- . a pick and a bow) an accurate model of a string. Live Instrument Reference 496 24. and developed in col- laboration with Applied Acoustics Systems. LFOs and envelope parameters that extend the sound sculpting possibilities beyond what would be possible with “real-world“ instruments. Instead. Finally. The string is set into motion by the action of an excitator which can be a hammer. a pick or a bow. it produces sound by solving mathematical equations that model the different components in string instruments and how they interact.9 Tension The Tension Instrument. The synthesizer is entirely based on physical mod- eling technology and uses no sampling or wavetables. 24. This is the case on a piano.

Pickup and Body. Hammer (bouncing) and Plectrum.9. Each section (with the ex- ception of String and the global Keyboard section) can be enabled or disabled independently. The Tension interface is divided into two main tabs. The modelled string can be played using different types of excitators in order to reproduce different types of instruments and playing techniques. Hammer. The Excitator Section Tension’s Excitator Section. viola or cello. In other instruments. Live Instrument Reference 497 ple. when felt is applied to the strings by releasing the keys and sustain pedal. which can radiate sound efficiently. Damper. String. In some instruments. Turning off a section reduces CPU usage.2 String Tab The String tab contains the parameters related to the physical properties of the string itself. 24. The String tab contains all of the fundamental sound producing components related to the string it- self: Excitator. The bow sets the string in sustained oscillation. such as the electric guitar. which are further divided into sections. and the choices available are Bow. as well as the way in which it’s played. In addition to these main sections. The vibration from the string is then transmitted to the body of the instrument. The excitator is selected using the Type chooser. a filter section has been included between the string and body sections in order to expand the sonic possibilities of the instrument. Termination. Bow — this excitator is associated with bowed instruments such as the violin. as well as controls for global performance parameters. The Filter/Global tab contains the Filter section. the string vibration is transmitted directly to the body through the bridge. a pickup is used to transmit the string vibration to an amplifier. The motion of the bow hair across the string creates .

these three parameters can be further modulated by note velocity and pitch by adjusting the Vel and Key sliders. The fre- quency of this alternation between sticking and slipping determines the fundamental pitch. the contact point is fixed to a single location. The mass and stiffness of the hammer are adjusted with the (surprise) Mass and Stiffness knobs. Live Instrument Reference 498 friction. Velocity adjusts the speed of the bow across the string. meaning that it can bounce on the string multiple times. as there is less mass setting the string into mo- tion. Stiffness. The Force knob adjusts the amount of pressure being applied to the string by the bow. In this case. generally resulting in a louder. while at 50% it activates the string at its midpoint. respectively. The sound becomes more “scratchy“ as you increase this value. At 0%. Lower values results in a “thinner. for example. for example. This playing mode can be found on a hammered dulci- mer.“ smaller sound. however. brighter sound. The behavior is a bit different if the Fix. the excitator contacts the string at its termination point. Hammer and Hammer (bouncing) — these two excitator types simulate the behavior of soft ham- mers or mallets. while Velocity controls the speed at which the hammer is struck against the string. The friction between the bow and the string can be adjusted with the Friction control. Velocity and Position can be modulated by velocity or note pitch via the Vel and Key sliders. the interaction between the ham- mer and string will become shorter. As you increase the Damping amount. . This behavior is similar to that of a guitar. and specifies the point on the string where the excitator makes contact. which adjusts how much of the hammer’s impact force is absorbed back into the ham- mer. causing the string to alternate between sticking to the hair and breaking free. Velocity and Damping knobs behave similarly to the Hammer mode. The Protrusion knob adjusts how much of the plectrum’s surface area is placed under the string. the Vel and Key sliders below these three controls allow you to modulate their behavior based on note velocity or pitch. This type of mechanism is found in a piano. Hammer (bounc- ing) models a hammer that is located above the string and is dropped onto it. Hammer models a hammer that is located below the string and strikes it once before falling away. The Position knob is applicable to each excitator model. It can be thought of as an angled object placed under the string that snaps the string into motion. Plectrum — a plectrum or “pick“ is associated with instruments such as guitars and harpsichords. Protru- sion. It is somewhat analogous to the Stiffness parameter. Higher values usually result in a faster attack. rather than changing as the length of the string changes. The behavior of the hammer is further controlled by the Damp- ing knob. The Stiffness. but instead of controlling the stiffness of the hammer’s surface it adjusts the stiffness of the virtual “spring“ that connects the hammer to the mass that powers it. Finally. As with the Bow excitator. Pos switch is enabled.

The Damping slider adjusts the amount of high frequency content in the string’s vibration. The Inharm slider models this behav- ior. . the excitator position is relative — the hammers normally strike the string at about 1/7th of their length — and so is best modelled with Fix. The Excitator section can be toggled on or off via the switch next to its name. Live Instrument Reference 499 where the picking position is always basically the same regardless of the notes being played. are all more or less inharmonic. With it off. meaning that the string’s partials are all exact multiples of the fundamental frequency. for example. causing upper partials to become increasingly out of tune as its value increases. This parameter can be modulated by note pitch via the <Key slider to its right. Real-world strings. Pos turned off. however. The excitator’s position can additionally be modulated by velocity or note pitch. The effective length of the string is also responsible for the pitch of the sound we hear. the string can only be activated by interaction with its damper. (If both the Excitator and Damper sections are disabled.) Please note that the Excitator section’s parameters work closely together to influence the overall behavior of the instrument. nothing can set the string in motion — if you find that you’re not producing any sound. via the Vel and Key sliders. and this increases with the width of the string. The vibration of the string is the main component of a stringed instrument’s sound. The theoretical model of a resonating string is harmonic. The String Section Tension’s String Section. On a piano. check to see that at least one of these sections is on. You may find that certain combinations of settings result in no sound at all. Higher values result in more upper partials (less damping).

The Ratio slider sets the ratio of the decay time of the string’s oscillation during note onset and re- lease. The Delay slider sets how long it will take for the vibrato to start after the note begins. while Amount adjusts the intensity (amplitude) of the effect. The <Mod slider adjusts how much the modulation wheel will affect the vibrato intensity. by introducing random deviation to the Rate. . the time set by the Decay slider sets the decay time for both the onset and release of the note. The <Key slider next to Decay allows decay time to be modulated by note pitch. Live Instrument Reference 500 The Decay slider determines how long it takes for the resonating string to decay to silence. Rate adjusts the frequency of the pitch variation. The two most important parameters in this section are the Rate and Amount sliders. Higher values increase the decay time. This control is relative to the value set by the Amount knob. while At- tack sets how long it takes for the vibrato to reach full intensity (as set by the Amount knob). The Vibrato section uses an LFO to modulate the string’s pitch. At 0%. the release time decreases but the onset decay time stays the same. the controls in this section can be used to enhance the realism of a stringed instrument model — or to create something never heard before. The Vibrato Section Tension’s Vibrato Section. As with all of Tension’s param- eters. Delay and Attack parameters. As you increase the Ratio. Amount. The Error slider introduces unpredictability into the vibrato.

When the Gated switch is turned on. Note that the state of the Gated switch determines whether or not the Velocity control is enabled. as well as the speed with which it is lifted from the string when the key is de- pressed. while higher values model a metal damper. In instruments such as guitars and violins. the player damps by stopping the string’s vibration with the fingers. Dampers regulate the decay of strings but also produce some sound of their own. which means that the Velocity control has no effect. it is somewhat analogous to a hammer. Note that very high Mass and Stiffness values can simulate dampers that connect with the string hard enough to change its effective length. which is an important characteristic of a string instrument’s timbre. As you in- crease the value. this is a felt pad that is applied to the string when the key is released. The Velocity control adjusts the speed with which the damper is applied to the string when the key is released. and shares some of the same parameters. the damper always remains on the string. All string instruments employ some type of damping mechanism that mutes the resonating string. With Gated off. the string will mute more quickly. thus causing a change in tuning. The stiffness of the damper’s material is adjusted with the Stiffness control. Although a damper functions to mute the string rather than activate it. The Mass knob controls how hard the damper’s surface will press against the string. Live Instrument Reference 501 The Damper Section Tension’s Damper Section. the damper is applied to the string when the key is released. In pianos. . Lower values simulate soft materials such as felt. which can result in a very loud sound on key release. Be careful with this parameter — very high Velocity values can cause the damper to hit the string extremely hard.

while at 50% it damps the string at its midpoint. which set the force the finger applies to the string and the finger’s stiffness. The damper’s position can additionally be modulated by velocity or note pitch. Stiffness and Velocity parameters can be further modulated by note pitch. respectively. via the sliders below. Pos switch is enabled. The Damper section can be toggled on or off via the switch next to its name. At 0%. which in turn sets the pitch of the note played. The behavior is a bit different if the Fix. via the Vel and Key sliders. In this case. The Mass amount can be additionally modulated by velocity or note pitch via the sliders. but here specifies the point on the string where the damper makes contact. rather than changing as the length of the string changes. however. finger and string. . The Position knob serves an analogous function to the control in the Excitator section. causing an in- crease in decay time. Lower values result in less damping (lon- ger decay times. The stiffness of the fret is modelled with the Fret Stiff parameter. this interaction is used to change the effective length of the string. the contact point is fixed to a single location. the mechanism becomes so stiff that it bounces against the string. The physical parameters of the finger are adjusted with the Fing Mass and Fing Stiff knobs. At higher values. The Termination Section Tension’s Termination Section. The best way to get a sense of how this parameter behaves is to gradually turn up the knob as you repeatedly strike a single key. which affects the overall amount of vibration absorbed by the damper. On a physical instrument. Live Instrument Reference 502 The Mass. The stiffness of the damper mechanism is adjusted with the Damping knob. This in turn reduces the overall amount of time that the damper is in contact with the string.) But this becomes a bit less predictable as the Damping value goes over 50%. The Termination section models the interaction between the fret. the damper contacts the string at its termination point.

the pickup is located at the string’s ter- mination point. In some instru- ments. The body also filters these vibrations. . similar to the type found in an electric gui- tar or electric piano. such as guitars. which functions similarly to this parameter in the Excitator and Damper sections. while higher values have more fullness and depth. The Body Section Tension’s Body Section. Live Instrument Reference 503 The Pickup Section Tension’s Pickup Section. The Pickup section models an electromagnetic pickup. At 0%. The role of the body or soundboard of a string instrument is to radiate the vibration energy from the strings. The only control here is the Position slider. thinner sound. The Pickup section can be toggled on or off via the switch next to its name. based on its size and shape. while at 50% it is under the midpoint of the string. the body also includes an air cavity which boosts low frequencies. Lower values generally result in a brighter.

Higher values mean a longer decay. there is no direct output from the String section. as well as global controls. In general. the Body section is effectively bypassed. . You can further modify the body’s frequency response with the Hi Cut and Low Cut knobs. The Str/Body knob adjusts the ratio between the String section’s direct output and the signal filtered by the Body section. as you increase the body size. 24. The decay time of the body’s resonance can be adjusted with the Decay knob.3 Filter/Global Tab The Filter/Global tab contains the filter parameters for the instrument. Live Instrument Reference 504 The body type chooser allows you to select from different body types modelled after physical instruments. The Filter Section Tension’s Filter Section. from extra small (XS) to extra large (XL).9. The lonely Volume knob to the right of this section sets the overall output of the instrument. This knob is replicated on the Filter/Global tab. the frequency of the resonance will be- come lower. When turned all the way to the left. The Body section can be toggled on or off via the switch next to its name. The body size chooser sets the relative size of the resonant body. When turned all the way to the right.

The Sustain knob sets the level at which the envelope will remain from the end of the decay phase to the release of the key. You can choose between 2nd and 4th order low-pass. Live Instrument Reference 505 Tension’s Filter section features a highly configurable multi-mode filter that sits between the String and Body sections. The Freq and Res controls can each be modulated by LFO. The Envelope generator is a standard ADSR (attack. Higher values result in an increased sustain level as the velocity increases. When a formant filter is chosen in the chooser. This section can be toggled on or off via the switch next to its name. while the amount of reso- nance is adjusted with the Res control. The time it takes for the envelope to reach the sustain level after the attack phase is set by the Decay knob. The resonance frequency of the filter is adjusted with the Freq slider. envelope or note pitch via the sliders below. The attack time is set with the Attack knob. The first random waveform steps between random values while the second uses smoother ramps. Finally. You can choose between sine. This is the time it takes for the envelope to reach zero after the key is released. notch. high-pass and formant filters. band-pass. the Res control cycles between vowel sounds. sustain. release). The LFO subsection provides an additional modulation source for the filter. When this knob is turned all the way to the left. As you increase the Vel value. The sustain level can be additionally modulated by velocity via the Vel slider below the knob. With it turned all the way to the right. This section can be toggled on or off via the switch next to its name. there is no sustain phase. . there is no decay phase. decay. while Attack sets how long it takes for the oscillator to reach its full amplitude. the filter can be modulated by a dedicated envelope gen- erator and low-frequency oscillator (LFO). The Delay knob sets how long it will take for the LFO to start after the note begins. the release time is set with the Release knob. rectangular and two types of random waveforms. The filter’s chooser allows you to select the filter type. Note that the LFO and Env sliders have no ef- fect unless the Envelope and LFO subsections are enabled. The waveform chooser sets the type of waveform used by the LFO. triangle. In addition. This time can also be modulated by velocity via the Vel slider below the knob. the attack time will become increas- ingly shorter at higher velocities.

The Voices chooser sets the available polyphony. The pitch bend modulation range in semitones is set by the P. and notes will be cut off starting from the low- est pitch. Bend slider. The remaining section contain all of the parameters that adjust how Tension responds to MIDI data. while Priority determines which notes will be cut off when the maximum polyphony is exceeded. as well as controls for performance parameters such as tuning and portamento. Semi and Tuning controls function as coarse and fine tuners. Tension will play in equal temperament. At 0%. equal temperament tends to sound “wrong“ on pianos. Stretch simulates a technique known as stretch tuning. Global and Keyboard Parameters Tension’s Global and Keyboard Parameters. In- . which is a common tuning modification made to electric and acoustic pianos. Octave transposes the entire instrument by octaves. A setting of Last gives priority to the most recently played notes. The switches below this knob toggle the Rate between frequency in Hertz and tempo-synced beat divisions. Live Instrument Reference 506 The LFO’s speed is set with the Rate knob. while Semi transposes up or down in semitone increments. new notes that are higher than currently sustained notes will have priority. The Tun- ing slider adjusts in increments of one cent (up to a maximum of 50 cents up or down). The entire Filter section can be toggled on or off via the switch next to its name. which means that two notes are an octave apart when the upper note’s fundamental pitch is exactly twice the lower note’s. The Keyboard section contains all of Tension’s polyphony and tuning parameters. cutting off the oldest notes as necessary. The Octave. When Priority is set to High. Low Priority is the opposite. But because the actual resonance behavior of a vibrating tine or string differs from the theoretical model.

while Detune adjusts the amount of tuning variation applied to each stacked voice. upper notes become flatter while lower notes become sharper. The switch next to the name toggles the section on or off. Tension’s modular architecture may not seem so different from what you’re used to in other synthesizers. it’s very easy to find parameter combinations that produce no sound at all. Proportional causes the slide time to be proportional to the interval between the notes. 24. while high values provide another good way to approximate a youth orchestra. With Legato enabled. Large intervals will slide slower than small intervals. what you do to one parameter can have a dramatic effect on a parameter somewhere else. Disabling this switch causes the slide time to be constant regardless of interval. the sliding will only occur if the second note is played before the first note is released. The Portamento section is used to make the pitch slide between notes rather than changing im- mediately. Live Instrument Reference 507 creasing the Stretch amount raises the pitch of upper notes while lowering the pitch of lower ones. it consists of functional building blocks that feed information through a signal path and modify it as it goes. The Voices switch selects between two or four stacked voices. Negative values simulate “negative“ stretch tuning. But it’s important to remember that Tension’s components are not isolated from one another. The Time slider sets the overall speed of the slide.9. so be careful when setting levels! . Because of this. The Error slider increases the amount of random tuning error applied to each note. Increasing the Delay amount adds lag before each stacked voice is activated. Try very high values if you would like to relive your experiences from junior high school orchestra. It’s also very easy to create extremely loud sounds. The result is a more brilliant sound. The Unison section allows you to stack multiple voices for each note played. Low values can create a subtle chorusing ef- fect. The effect can be toggled on and off via the switch next to its name.4 Sound Design Tips At first glance. The Volume knob sets the overall output of the instrument.

the bow will need to increase its velocity to have any effect. it may help to study how the presets were made. But if that string is constricted by an enormous damper. Live Instrument Reference 508 When programming Tension. it may help to think about the various sections as if they really are attached to a single. . To get a sense of what’s possible. You’ll soon realize that Tension can do far more than just strings. For example. physical object. a bow moving at a slow speed could per- haps excite an undamped string.

you must install Live 8. and in-depth instructions can be found at the Ableton website7.1 Installing and Authorizing Max for Live In order to use Max for Live. These can be used just like Live’s built-in devices and can also give you ideas for your own device building projects. and MIDI devices. Max for Live must be authorized before it can be used. The chapter on authorizing Live (page 31) contains more information about this process. 25. effects and tutorials.com/authorization-live8 .ableton. Max for Live also comes with a collection of pre-made instruments.1 (or newer) and Max 5. you will first need to point to it in Live’s File/Folder Preferences: 6 http://www.com/ 7 http://www. Max for Live 509 Chapter 25 Max for Live Max for Live. allows users to extend and customize Live by creating instruments. audio effects. In addition to providing a comprehensive toolkit for building devices.cycling74. If you’ve installed Max to somewhere other than the default location.1 (or newer). Max for Live can also be used to extend the functionality of hardware controllers and even modify clips and param- eters within a Live Set. Please note that this content will only be available after Max is installed and authorized. Max is available as a download from Cycling ’74’s website6. an add-on product co-developed with Cycling ’74. Like all Ableton add-ons.

however. Note that this is the default location that is suggested when pressing the Save Preset but- ton in the title bar of the Max device. If this happens. Max for Live devices appear in the Max Instrument. At this point. If you save a preset for a Max device. To avoid these issues. Many of these devices also come with their own presets. Live will try to maintain the necessary file references by copying the Max device into your User Library and saving the preset based on this copy.2 Using Max for Live Devices Max for Live comes with a collection of instruments and effects which are ready for use. you can use Live’s File Manager (page 82) to fix the problem. 25. these file associations may be broken. Once authorization is complete and Live has found the Max application. Max for Live should be ready for use. Max for Live 510 The Path to the Max Installation. it is important to make sure that any presets that refer to this device remain associated with it. which are similar to Live’s device presets (page 244) but with one important difference: because a Max device can be stored outside of Live’s known locations. Max MIDI Effect and Max Audio Effect folders in the Max for Live label in the browser. we recommend always storing Max devices and their presets in your User Library. the Max content will begin to install into your Live Library. If the referenced Max file is then moved or renamed. .

Max for Live 511 25. The area where you work with Max objects is called the editor (or “patcher“). already contains some of these elements: the plugin~ object passes all incoming audio to the plugout~ object. The Edit Button for a Max Device. A Default Max Audio Effect. for example. with the current device loaded and ready for editing. drag a Max Instrument. This launches the Max editor in a new window. which then passes the audio on to any additional devices in the chain. . An empty Max Audio Effect.3 Editing Max for Live Devices Max devices (or “patches“) are constructed of objects that send data to each other via virtual cables. What a Max device actually does depends on the objects that it contains. Max MIDI Effect or Max Audio Effect from the browser into your Set. and the way in which they’re connected together. To load an empty Max device. and can be accessed by pressing the Edit button in the Max device’s title bar.

you should save your Max device before you use it in Live. In this case. . If you choose Save As. 25. pictures. Additionally. Note: unlike Live’s native devices. you may want to use Live’s file management tools to collect all of these dependencies into a single place. but rather as separate files. particularly if you want to share your Max devices. you will be asked whether or not the new version should update only the device that was originally opened for editing or all instances of the device in the Set. Max for Live 512 A Default Max Audio Effect in the Patcher. Saving an edited device will automatically up- date all instances of that device that are used in your current Live Set. The default location when saving a Max device is the folder in the Library that corresponds to the type of device being saved. Max devices themselves may depend on other files (such as samples. This is done via the Save or Save As commands in Max’s File menu. We recommend always saving Max devices to this default loca- tion. Max devices are not saved inside Live Sets. or even other Max patches) in order to work properly. there are some special file management considerations when creating presets for Max devices.4 Max Dependencies As mentioned earlier. After editing.

Cycling ’74 provides compre- hensive documentation and tutorials built into the Max environment.5 Learning Max Programming To help you learn more about building and editing Max devices. To learn more about freezing. These Lessons are available from Live’s Help View. . which can be accessed from Live’s Help menu. select “Max Help“ from the Help menu in any Max window. A frozen device contains all of the files that are needed to use it. Max for Live also comes with a number of Lessons which provide step-by-step tutorials for build- ing a variety of Max devices. Note that freezing of Max devices is not the same as Live’s Freeze Track command (page 643). To access this documenta- tion. There is also a “Max for Live Help“ entry in the same menu. and about how Max deals with managing dependencies for its own files. we recommend reading the built-in Max documentation. 25. Max for Live 513 One way in which Max for Live helps to deal with external dependencies is by allowing you to freeze a Max device.

Max for Live 514 .

2. Session View slots — Note that MIDI and computer key assignments are bound to the slots. such as MIDI keyboards or controller boxes. or the track is affected by the crossfader’s B position. This chapter describes the details of map- ping to the following specific types of controls in Live’s user interface: 1. most of Live’s controls can be remote-controlled with an external MIDI controller and the computer keyboard. Live also offers dedicated control via Ableton Push (page 527) and Push 2 (page 575). pan and sends. Radio buttons — A radio button selects from among a number of options. 5.1 MIDI Remote Control Live can be controlled remotely by external MIDI control surfaces. not to the clips they contain. One instance of a radio button is the crossfader assignment section in each track. 3. Continuous controls — like the mixer’s volume. 26. the behavior of which is described in detail in the respective section of the Mixing chapter (page 221). Before we explain how remote control assignments are made and implemented. which offers three options: The track is assigned to the crossfader’s A position. the track is unaffected by the crossfader. 4. let’s first make the distinction between MIDI remote control and a separate use of MIDI in Live: as the input for . metronome and transport controls. The crossfader. the Control Bar’s tap tempo. MIDI and Key Remote Control 515 Chapter 26 MIDI and Key Remote Control To liberate the musician from the mouse. Switches and buttons — among them the Track and Device Activator switches.

Depending on the controller. as it now ”belongs” solely to the Clip Launch button. If your controller is not listed here. which can be opened with the [CTRL][. 26. Let’s suppose that you are using a MIDI keyboard to play an instrument in one of Live’s MIDI tracks. Live may need to perform a ”preset dump” to complete the setup. This is done in the Link/MIDI tab of Live’s Preferences. Before pressing it. If this is the case. MIDI keys that become part of remote control assignments can no longer be used as input for MIDI tracks. Finally. so consult your hardware’s documentation if you are unsure. if it is listed here. The method for enabling this varies for each manufacturer and product. Manual Control Surface Setup (page 518). Live will then set up your hardware automatically. .](PC) / [CMD][. and then define its MIDI input and output ports using the two columns to the right. don’t fret — it can still be enabled manually in the next section. press the Dump button. Before making any MIDI assignments. If you assign C-1 on your MIDI keyboard to a Session View Clip Launch button. verify that your control surface is ready to receive preset dumps.](Mac) keyboard shortcut . This is a common cause of confusion that can be easily resolved by observing the Control Bar’s MIDI indicators (page 198).1. Up to six supported control surfaces can be used simultaneously in Live. you will need to set up Live to recognize your control surfaces. that key will cease playing C-1 of your MIDI track’s instrument.1 Natively Supported Control Surfaces Control Surfaces are defined via the menus in the Link/MIDI tab. Setting Up Control Surfaces. the Dump button to the right of your control surface’s choosers in the Live Preferences will become enabled. Open the first chooser in the Control Surface column to see whether your control surface is sup- ported natively by Live. MIDI and Key Remote Control 516 our MIDI tracks. you can select it by name.

Control Surfaces Can Follow Device Selection. you will also want to enable the Remote switches for the MIDI ports that your control surface is using. depending upon the configuration of knobs. complete with the details of their instant mappings. guaranteeing hands-on access no matter where the current focus is in your Live Set. You’ll recognize the same list of control surfaces that you defined in the Link/MIDI Preferences.. By default. These feature-dependent configurations are known as instant mappings. and is described in the next section. Lessons can be accessed at any time by selecting the Help View option from the View menu. you will find a Control Surface Reference that lists all currently sup- ported hardware. . Within Live’s built-in lessons.” context menu. of course. In this case. Live uses a standard method for mapping its functions and parameters to physical controls. natively supported control surfaces can be ”locked” to specific devices. [right-click](PC) / [CTRL-click](Mac) on a device’s title bar. To enable or disable locking. Note: You can always manually override any instant mappings with your own assignments. MIDI and Key Remote Control 517 Instant Mappings In most cases. the instru- ment in a MIDI track will automatically be locked to the control surface when the track is armed for recording. This varies. Instant mappings are advantageous because the control surface’s controllers will automatically reassign themselves in order to control the currently selected device in Live. sliders and buttons on the control surface. and then select your preferred controller from the ”Lock to.. This is done in the MIDI Ports section of the Link/MIDI Preferences tab. In addition to following device selection.

This capability is indicated for individual controllers in the Control Surface Reference lesson. Defining Control Surfaces Manually. MIDI and Key Remote Control 518 Getting Hands-On: Control Surfaces Can Be Locked to Devices. To use an input port for remote control of Live. Select the Help View option from the Help menu to access Live’s built-in lessons.2 Manual Control Surface Setup If your MIDI control surface is not listed in the Link/MIDI Preferences’ Control Surface chooser.1.” . A hand icon in the title bar of locked devices serves as a handy reminder of their status. 26. make sure the corresponding switch in its Remote column is set to ”On. Note: Some control surfaces do not support locking to devices. it can still be enabled for manual mapping in the MIDI Ports section of this tab. The MIDI Ports table lists all available MIDI input and output ports.

you will also need to enable the Remote switch for its output port. The Control Bar’s MIDI indicators will flash whenever Live recognizes an incoming MIDI message. where they address a different destination parameter with each controller bank. Live will merge their incoming MIDI signals. its new value is sent immediately to its desti- nation parameter. This option can provide smooth value changes. try sending some MIDI data to Live from your control surface. When working with a control surface that provides physical or visual feedback. Three takeover modes are available: None — As soon as the physical control is moved. you will need to decide how Live should handle the sudden jumps in values that will occur when moving a control for the first time after switching the bank. Once your controller is recognized by Live. and you only need to do it for one parameter at a time. Your next step will be creating MIDI mappings between your control surface and Live. When MIDI controls that send absolute values (such as faders) are used in a bank-switching setup. 26. the destination value tracks the control’s value 1:1. MIDI and Key Remote Control 519 You can use any number of MIDI ports for remote mapping. Luckily. As soon as they are equal. this is a simple task. you have completed the setup phase (but we rec- ommend that you take the time to select a Takeover Mode before you leave the Preferences behind). Pick-Up — Moving the physical control has no effect until it reaches the value of its destination parameter.1. . usually resulting in abrupt value changes. but it can be difficult to estimate exactly where the pick-up will take place. To test your setup.3 Takeover Mode MIDI Controller Takeover Mode. Live needs to be able to communicate with such control surfaces when a value has changed so that they can update the positions of their motorized faders or the status of their LEDs to match.

It compares the physical control’s value to the destination parameter’s value and calculates a smooth convergence of the two as the control is moved. and can be quickly inverted with a [right-click](PC) / [CTRL-click](Mac) context menu command. The Mapping Browser is hidden until one of the three mapping modes is enabled.2 The Mapping Browser The Mapping Browser. Their mapping structure can be displayed while working in Live by choosing the Help View op- tion from the Help menu and then opening the Control Surface Reference lesson.1 Assigning MIDI Remote Control The MIDI Map Mode Switch. MIDI and Key Remote Control 520 Value Scaling — This option ensures smooth value transitions. As soon as they are equal. 26. and the mapping’s Min and Max value ranges. 26. Note that Instant Mappings are context based and are not displayed in the Mapping Browser. computer keyboard (page 525) and Macro Control (page 263) map- pings are managed by the Mapping Browser. the parameter’s name. the path to the mapped parameter. For each mapping. the destination value tracks the control’s value 1:1. . it lists the control element. Delete mappings using your computer’s [Backspace] or [Delete] key. The assigned Min and Max ranges can be ed- ited at any time. It will then display all mappings for the current mode. All manual MIDI.2.

each note is assigned a discrete value. etc. giving MIDI controllers and notes remote control assignments is simple: 1. 26. You will see that this new MIDI mapping is now listed in the Mapping Browser. 2. Exit MIDI Map Mode by pressing the MIDI switch once again. but you can always review your mappings by entering MIDI Map Mode again. •Variable Parameters — When assigned to a single note. Hint: Session View slots can be assigned to a MIDI note range for chromatic playing: First play the root key (this is the key that will play the clip at its default transposition). If your browser is closed. and then. 3. turning a knob.2. while hold- ing down the root key. Note On messages toggle the pa- rameter between its Min and Max values. [CTRL][ALT][B](PC) / [CMD][ALT][B](Mac) will open it for you. equally spaced over the parameter’s range of values. . When assigned to a range of notes. •Radio Buttons — Note On messages toggle through the available options. and that the Mapping Browser becomes available. Enter MIDI Map Mode by pressing the MIDI switch in Live’s upper right-hand corner. Click on the Live parameter that you’d like to control via MIDI. •Switches — A Note On message toggles the switch’s state.. Notice that assignable elements of the interface become highlighted in blue.2 Mapping to MIDI Notes MIDI notes send simple Note On and Note Off messages to Live’s interface elements. on your MIDI controller. Send a MIDI message by pressing a keyboard key. The Mapping Browser will disappear. These messages can produce the following effects on controls in Live: •Session View Slots — Note On and Note Off messages affect clips in the slot according to their Launch Mode settings (page 184). hold one key below the root and one above it to define the limits of the range. 4. MIDI and Key Remote Control 521 Once your remote control setup has been defined in the Link/MIDI Preferences.

127 value range is mapped onto the range of avail- able options. 26.. A pan knob sending relative messages would prevent . Live also supports pitch bend messages and high-precision (”14-bit Absolute”) controller mes- sages with a 0.3 Mapping to Absolute MIDI Controllers Absolute MIDI controllers send messages to Live in the form of absolute values ranging from 0 to 127.2. controller values 64 and above turn the switch on. The above specifications apply to these as well. MIDI and Key Remote Control 522 26. •Continuous Controls — The controller’s 0. In this case. Specifically. These controls prevent parameter jumps when the state of a control in Live and the corresponding control on the hardware MIDI controller differ.16383 value range.. •Switches — For track activators and on/off buttons in devices.. might turn the Volume control on a Live track all the way up or play a Session View clip. while values inside the range turn it off. Controller values that are above or below this range turn it off.. •Radio Buttons — The controller’s 0..2. MIDI controller messages from 0 to 127 can produce the following effects on controls in Live: •Session View Slots — Controller values 64 and above are treated like Note On messages. For all other switches (such as transport controls). while controller values below 64 turn it off. a slight movement in a hardware pan knob that sends absolute values would tell Live to pan right. These values lead to different results depending on the type of Live control to which they are assigned. caus- ing an abrupt jump in the track’s panning.127 value range is mapped onto the param- eter’s range of values. For example. controller values that are out- side of the range turn the switch on. You can reverse this behavior by setting a Min value that is higher than its corresponding Max value. If the hardware control is panned hard right.. and the Live control is panned hard left.4 Mapping to Relative MIDI Controllers Some MIDI controllers can send ”value increment” and ”value decrement” messages instead of absolute values. A value message of 127. for example. except that the value range’s center is at 8191/8192. controller values that are within the mapping’s Min and Max range turn the switch on. Controller values 63 and below are treated like Note Off messages. imagine that you have assigned the pan knob on your control surface to the pan parameter of a track in Live.

Decrement messages make it jump backward. but if you happen to know the relative controller type.. You can improve the detection process by moving the relative controller slowly to the left when you make an assignment. a strip of assignable controls ap- pears below the Session grid: . Relative Session View Navigation Notice that you can make not only absolute mappings to individual slots and scenes.” There are four types of relative controllers: Signed Bit. but also relative mappings to move the highlighted scene and operate on the highlighted clips. •Switches — Increment messages turn the switch on. In both MIDI Map Mode and Key Map Mode (page 525). Some MIDI encoders use ”acceleration” internally. Decrement messages turn it off.. you can manually select it.127 MIDI controller value range to identify value increments and decrements: Please consult the documentation that came with your MIDI controller if you need further infor- mation on relative MIDI controllers. generating larger changes in value when they are turned quickly. •Continuous Controls — Each type of relative MIDI controller uses a different interpretation of the 0. Signed Bit 2. ”Pan slightly to the left of your cur- rent position. Each of these are also available in a ”linear” mode. Live tries to detect the controller type and whether acceleration is being used or not. Live will offer its suggestion in the Status Bar’s ”mode” chooser. Live will do the following with relative MIDI controller messages: •Session View Slots — Value increment messages are treated like Note On messages. Value decrement messages are treated like Note Off messages. since its incremental message to Live would simply say. Bin Offset and Twos Com- plement. MIDI and Key Remote Control 523 this. For control surfaces that are not natively supported. •Radio Buttons — Increment messages make the radio button jump forward to the next available option.

Assign these buttons to launch the clip at the highlighted scene. it is important to remember that creating remote control mappings for any control in the Clip View interface could potentially affect any clip in the Live Set. To avoid unpleasant musical surprises. 1. If the Record/Warp/Launch Prefer- ences’ Select Next Scene on Launch option is checked. Assign this button to launch the highlighted scene. 3. see the previous section on Relative Map Modes (page 522). we rec- ommend mapping Clip View controls to relative MIDI controllers to prevent undesirable jumps in parameter values. notes or controllers to move the highlighted scene up and down. you can move successively (and hopefully successfully!) through the scenes. 4. but it will also display the settings of multi-selected clips. 2. Assign this scene number value box to a MIDI controller — preferably an endless en- coder — to scroll through the scenes. Mapping to Clip View Controls The Clip View (page 117) displays the settings for whichever clip happens to be currently selected. in the respective track. as Live always keeps the high- lighted scene at the Session View’s center. Assign these buttons to keys. Relative Session mapping is useful for navigating a large Live Set. For this reason. . For details. MIDI and Key Remote Control 524 4 3 1 2 The Relative Session Mapping Strip.

MIDI and Key Remote Control 525 26. If the Browser is hidden. •Keys assigned to radio buttons will toggle through the available options. Press the computer key to which you wish to assign the control. you will want to show it at this point using the appropriate View menu command.5 Computer Keyboard Remote Control The Key Map Mode Switch. Notice that the assignable elements of the interface become highlighted in red when you enter Key Map Mode. 2. Leave Key Map Mode by pressing Live’s KEY switch once again. The Mapping Browser will disappear.2. The Mapping Browser will also become available. Enter Key Map Mode by pressing the KEY switch in the upper right-hand corner of the Live screen. but your mappings can be reviewed at any time simply by entering Key Map Mode again. Click on the Live parameter that you wish to assign to a key. •Keys assigned to switches will toggle switch states. Please be sure not to confuse this remote control functionality with Live’s ability to use the com- puter keyboard as a pseudo-MIDI keyboard (page 196) that can generate MIDI notes from computer keystrokes for use with instruments. 4. The details of your new mapping will be displayed in the Mapping Browser. Keyboard assignments can produce the following effects in Live: •Clips in Session View slots will be affected by mapped keys according to their Launch Mode settings (page 184). 3. Creating control surface assignments for your computer keyboard is straightforward: 1. . Remember that only the con- trols that are shown with a red overlay are available for mapping.

MIDI and Key Remote Control 526 .

beats. In the studio. and then will provide a reference of all of Push’s controls. as shown in the diagram below. Push allows you to quickly generate clips that populate Live’s Session View as you work entirely from the hardware. Push serves as a powerful instrument for clip launching. this chapter will walk you through some of the fundamental workflows. Using Push 527 Chapter 27 Using Push Ableton Push is an instrument for song creation that provides hands-on control of melody and harmony. as well as on which type of track is selected. Push’s controls are divided into a number of sections. sounds. Display/Encoder Section Tempo Section Selection Control State Control Note Section Edit Section Add Section Transport Section Focus/Navigation Section Touch Strip Pad Section Scene/Grid Section Overview of Push’s Controls. To help you learn how to work with Push. On stage. Much of Push’s behavior depends on which mode it is in. . and song structure.

ableton. . allowing you to browse deeper levels of subfolders or view a larger number of presets on the display. the display shows all of your available sounds and effects. In Browse Mode. These are available at https://www. Push can be used immediately.2 Browsing and Loading Sounds You can browse and load sounds directly from Push. 27.com/learn-push/ 27. As long as Live is running. as well as locations from the Places section of Live’s browser (page 54). After connection. Use the In and Out buttons to shift the display to the right or left. Push will be auto- matically detected as soon as it is connected to a USB port on your computer. Press Push’s Browse button: The Browse Button. The display is divided into columns.1 Setup Setting up the Push hardware is mostly automatic. The far left column shows either the specific type of device being browsed or the Places label. Using Push 528 There are also a number of videos that will help you get started with Push. It is not necessary to install drivers and Push does not need to be manually configured in Live’s Preferences. without needing to use Live’s browser. This is done in Push’s Browse Mode. Each column to the right shows the next subfolder (if any exist).

Samples and presets from official Packs or Live’s core library will preview when selected in the browser. the button will turn green again. What you see when in Browse Mode depends on the device that was last selected. the button will turn amber. press the green button on the right. Navigate up via the Selection Control button (the first row below the display) in each column. Using Push 529 In and Out Buttons. For example. Navigate down one folder via the State Control button for each level (the second row below the display). Browse Mode will show you replacement instruments. if you navigate to a different entry. drum kits. you will see effects. the Samples label (as well as any of your own folders in Places that only contain samples) won’t be visible unless you’re browsing from a single pad in a Drum Rack (page 532). This indicates that the currently selected entry is loaded. When starting with an empty MIDI track. To load the default preset of the selected device. as well as VST and Audio Units instruments (page 249). allowing you to quickly try out presets or devices. . instruments. You can scroll quickly through folders and subfolders via the encoders. If you were working with an instrument. Folders are only vis- ible on Push if they contain items that can be loaded at any particular time. Tip: pressing an amber load button will load the next entry in the list. Holding Shift while pressing the up or down buttons will move by a whole page. If you were working with an effect. and Max for Live devices (page 509). Loading Devices or Device Presets in Browse Mode. effects. the display shows all of your available sounds. press the green button on the left. To load a device preset. After pressing a device or preset load button.

Push’s 8x8 pad grid automatically configures itself into three sections. The Note Mode Button.3 Playing and Programming Beats To create beats using Push. Then use Browse Mode to load one of the Drum Rack presets from Live’s library. When working with a MIDI track containing a Drum Rack. Using Push 530 27. Step Sequencer Controls Drum Rack Pads Loop Length Controls The Pad Grid When Working With Drums . first make sure Note Mode is enabled. allowing you to simultaneously play. step sequence and ad- just the length of your clip.

The pad colors in 64-pad mode are the same as those used in the three-section layout. like Live’s Drum Rack. you can also use the entire 8x8 pad grid for real-time drum playing. .3. The Drum Rack pad colors indicate the following: •Bright yellow — this pad contains a sound. allowing you to quickly get back to step sequencing. This is useful when working with very large drum kits. such as those cre- ated by slicing (page 171). Using Push 531 The 16 Drum Rack pads are laid out. al- lowing for real-time playing. To toggle to 64-pad mode.1 64-Pad Mode In addition to Push’s default three-section layout. Octave Up/Down Buttons. •Green — this pad is currently-playing. When working with Drum Racks that contain a larger number of pads. in the classic 4x4 arrangement. press the Note Mode button a second time. •Light Blue — this pad is selected. •Dark blue — this pad is soloed. •Orange— this pad is muted. 27. Pressing Note again will then toggle back to the standard three-section layout. use Push’s touch strip or the Octave Up and Octave Down keys to move up/down by 16 pads. •Dull yellow — this pad is empty. Hold Shift while using the touch strip or Octave keys to move by single rows.

You may still need to use the touch strip or Octave keys in order to see the specific 16 pads you want. tapping other pads will select them for browsing. then press the selection button below the pad’s name. as indicated by the arrow in the display. tap that pad. the Drum Rack is selected. . By default. Device Button. entering Browse Mode again will allow you to load or replace the sound of only the se- lected pad. Once in Browse Mode. the 16 pads available for step sequencing will not change automatically. To select an indi- vidual pad instead. Using Push 532 Note: when moving back and forth between 64-pad mode and the three-section layout. Now. press the Device button to show the devices on the track. 27. Selecting an Individual Pad in a Drum Rack. allowing you to quickly load or replace multiple sounds within the loaded Drum Rack.3. To switch between browsing Drum Racks and single pads.2 Loading Individual Drums Browse Mode can also be used to load or replace individual pads within a loaded Drum Rack.

To record notes with the step sequencer.3. each step sequencer pad corresponds to a 16th note. 27. hold the Duplicate button and press the pad you’d like to copy.3 Step Sequencing Beats Tapping a pad also enables it for step sequencing.) Select Button. press and hold the Select button while tapping a pad. By default. . While continuing to hold Duplicate. Using Push 533 Additional Pad Options To copy a pad to a different location in your Drum Rack. The clip will begin playing as soon as you tap a step. Note that this will replace the destination pad’s devices (and thus its sound) but will not replace any existing notes already recorded for that pad. but you can change the step size via the buttons in the Scene/Grid section. tap the pads in the step sequencer controls to place notes in the clip where you want them. (Tip: to select a pad without playing it. press the pad where you’d like to paste the copied pad.

Mute and Solo Buttons.) Tapping a step that already has a note will delete that note. the currently playing step is indicated by the moving green pad in the step sequencer section. As the clip plays. . Press and hold Solo button while tapping a pad to solo that sound. (When Record is enabled. Using Push 534 Scene/Grid Buttons. Press and hold the Mute button while tapping a step to deactivate it without deleting it. the moving pad will be red.

•Light Red — the right two columns of pads will turn red if triplets are selected as the step size. In this case. Using Push 535 You can also adjust the velocity and micro-timing of individual notes. •Blue — this step contains a note. •Dull yellow — this step contains a note. but the note is muted. press and hold Delete while tapping the pad. To delete all notes for a pad. as described in the section on step sequencing automation (page 554). The pad colors in the step sequencer section indicate the following: •Unlit — this step doesn’t contain a note. these pads are not active. Darker blues indicate higher velocities. (Note: this will only delete notes that are within the current loop. only the first six pads in each row of steps can be used. .) Delete Button.

Using Push 536 When Triplets are Selected. •Then Press the Record button to begin recording . Follow these steps to record in real-time: •If you want to record with a click track. see the section called Adjusting the Loop Length (page 548). the Red Steps are Unavailable. For detailed information about adjusting the loop length pads. press the Metronome button to enable Live’s built-in click Metronome Button. 27.4 Real-time Recording Drum patterns can also be recorded in real-time by playing the Drum Rack pads.3.

Subsequent presses continue to toggle between playback and overdub. Pressing Record a third time will enable over- dub mode. This allows you to practice before recording a new idea. allowing you to record into the clip while it plays back. Now any Drum Rack pads you play will be recorded to the clip. pressing New also duplicates all clips that are playing on other tracks to a new scene and continues playing them back seamlessly. Pressing Record again will stop recording but will continue playing back the clip. Using Push 537 Record Button. By default. This behavior can be changed by changing the Workflow mode in Push’s User preferences (page 558). . Pressing New stops playback of the currently selected clip and prepares Live to record a new clip on the currently selected track.

3. Using Push 538 New Button.5 Fixed Length Recording Press the Fixed Length button to set the size of new clips to a predetermined length. 27. .

New or Play/Stop buttons. new clips will continue to record until you press the Record. When Fixed Length is disabled. Fixed Length Recording Options. . Using Push 539 Fixed Length Button. Press and hold Fixed Length to set the recording length. Tip: enabling Fixed Length while recording will switch recording off and loop the last few bars of the clip. depending on the Fixed Length setting.

When you touch the knob. Tip: if you press and release Repeat quickly. the button will turn off when released. for ex- ample.1 Recording with Repeat With Push’s Repeat button enabled. Repeat Button. rhythmically-even notes. Varying your finger pressure on the pad will change the volume of the repeated notes. allowing for momentary control of repeated notes. you can hold down a pad to play or record a stream of continuous. Turn up the Swing knob to apply swing to the repeated notes. Using Push 540 27. If you press and hold. the button will stay on.4. This is useful for recording steady hi-hat patterns. the display will show the amount of swing.4 Additional Recording Options 27. The repeat rate is set with the Scene/Grid buttons. .

Press and hold Quantize to change the quantization options: . Quantize Button.2 Quantizing Pressing Push’s Quantize button will snap notes to the grid in the selected clip. Using Push 541 Swing Knob.4. 27.

while Quantize Amount determines the amount that notes can be moved from their original positions. Using Push 542 Quantization Options. Add Track Button. harmony parts. Press the Add Track button to add a new MIDI track to your Live Set. Swing Amount determines the amount of swing that will be applied to the quantized notes. When working with drums. . press and hold Quantize and press a Drum Rack pad to quantize only that drum’s notes in the current clip. Note that these controls correspond to the settings of the Record Quantization chooser in Live’s Edit menu. Enable Record Quantize to automatically quantize notes while recording and adjust the record quantization value with Encoder 8. 27. and adjustments can be made from Live or from Push. etc.5 Playing Melodies and Harmonies After working on a beat. Quantize To sets the nearest note value to which notes will be quantized. you’ll want to create a new track so that you can work on a bassline. Note that the Swing amount can be adjusted from Encoder 1 or from the dedicated Swing knob.

make sure Note Mode is enabled. After loading your instrument. but is not the root. each pad is a fourth higher. try out the following shape anywhere on the grid: .) •Red — the currently-playing note when recording. Adding a track puts Push into Browse mode. every note on the grid is in the key of C major. Continue until you reach the next C: C Major Scale. Using Push 543 (Tip: press and hold the Add Track button to select between Audio. Push’s 8x8 pad grid automatically configures itself to play notes. MIDI and Return tracks. The pad colors help you to stay oriented as you play: •Blue — this note is the root note of the key (C. When working with a MIDI track containing an instrument. so you can immediately load an instrument. •Green — the currently-playing note (other pads will also turn green if they play the same note. Moving to the right. Moving upward. Play a major scale by playing the first three pads in the first row.) •White — this note is in the scale. By default. The bottom left pad plays C1 (although you can change the octave with the Octave Up and Down buttons). To play triads. then the first three pads in the next row upwards. each pad is the next note in the C major scale.

Using the display and the Selection and State Control buttons. Using Push 544 C Major Chord. The selected scale type is also marked with an arrow. You can change to a vari- ety of other scale types using the first encoder.5. the pads and scale selection options indicate major scales.1 Playing in Other Keys Press Push’s Scales button to change the selected key and/or scale. or the two buttons below the display on the far left. Scales Button. 27. The currently selected key is marked with an arrow in the display: By default. . you can change the key played by the pad grid.

in which case the bottom-left pad will play the nearest note in the key. In Key/Chromatic: With In Key selected. Notes that are in the key are lit. In Chromatic Mode. the pad grid is effectively “folded” so that only notes within the key are available. Additional Note Layout Options. while notes that are not in the key are unlit. . the notes on the pad grid shift so that the bottom-left pad always plays the root of the selected key. you can also change the layout of the grid using the two buttons on the far right. Using Push 545 Key and Scale Selection. In addition to changing the key. the notes on the pad grid remain in the same positions when you change keys. the pad grid contains all notes. Fixed Y/N: When Fixed Mode is on. Holding the Shift button while in Scales mode allows you to access a number of additional note layout options.) When Fixed is off. the bottom-left pad will always play C (except in keys that don’t contain a C.

To toggle to the melodic step sequencer. (Tip: one editing possibility is available in the real-time Note Mode: to quickly delete all notes of the same pitch within the current loop. press the Note Mode button a second time. and Fixed Y/N) are saved with the Set. Push will return to these settings when the Set is reloaded again. But for detailed editing. These options are useful if you need a very large range of notes available. you can also step sequence your melodies and harmonies. The “Sequent” options lay out all notes in order. The “4th >” option is also built on 4ths. scale type. Using Push 546 The “4th” and “3rd “options refer to the note interval that the grid is based on. because they have no duplicated notes. the default layout is “4th ^” which means that each row of pads is a 4th higher than the row below it. each column is a 4th higher than the col- umn to the left. All of the real-time recording options available for drums (page 536) are also available for melodies and harmonies. including fixed length recording (page 538). press and hold Delete and then tap the respective pad. recording with repeat (page 540). but now moves to the right rather than upwards. The last settings that you chose in the Scale options (key. while the ^ and > symbols refer to the rotation of the grid. For example. and quantizing (page 541). you’ll work with the me- lodic step sequencer described in the next section.6 Step Sequencing Melodies and Harmonies In addition to playing and recording in real time. In Key/Chromatic.) 27. This will set the 8x8 pad grid as follows: .

each row corresponds to one of the available pitches in the currently selected scale. the display will briefly show the available range. Each column of pads represents a step in the resolution set by the Scene/Grid buttons. The bottom seven rows of pads allow you to place notes in the clip.) After adjusting the pitch range or when switching between the real-time and step sequencing layouts. notes that are in the key are lightly shaded. pressing the Octave Up and Down button shifts the range of available notes. Using Push 547 Loop Length Controls Step Sequencer Controls Play Position The Pad Grid When Step Sequencing Pitches. When using the melodic step sequencer. the pads in the top row adjust the length of your loop. while notes that are not in the key are unlit. With Chromatic selected. as described in more detail below (page 548). (Tip: hold the Shift key while adjusting the touch strip or pressing the Octave buttons to fine tune the pitch range. As with the real-time playing layout. The light blue row (which is the bot- tom row by default) indicates the root of the selected key. With In Key selected. . The Display Shows the Range of Available Notes. You can also use the touch strip to change the range.

brightly-lit touch strip lights indicate the currently available note range. for a total of two beats.1 Adjusting the Loop Length The loop length controls allow you to set the length of the clip’s loop and determine which part of it you can see and edit in the melodic and drum step sequencers. In the melodic layout. Each loop length pad cor- responds to a page of steps. for a total of two bars. hold one pad and then tap another pad (or. and the length of a page depends on the step resolution. two pages of steps are available at a time. quickly double-tap the corresponding pad. To change the loop length. the pages will update so that the current play position (as indicated by the moving green pad in the step sequencer section) always remains visible. as described in the section on step sequencing automation (page 554).) Each Loop Length Pad Corresponds to One Page.6. one page of eight steps is available at a time. while dim- ly-lit touch strip lights indicate that the clip contains notes within the corresponding note range. When working with drums at the default 16th note resolution. Note that the page you see is not necessarily the page you hear. Tip: in addition to adding and removing notes. Using Push 548 Additionally. But in some cases. When you set the loop length. Pressing Note again will toggle back to the real-time playing layout. 27. you may want to disable . to set the loop length to exactly one page. you can also adjust the velocity and micro-timing of the notes.

but is not currently playing. But you may want to move between already-existing tracks to continue working on musical ideas using those instruments and devices. The Left/Right Arrows move between tracks. you may want to edit a single page of a longer loop. you can continue to add more. This will “lock” the view to that page without changing the loop length. The Arrow Keys allow you to do this. simply reselect the current loop. so it can be played immediately. •White — this page is within the loop. To then turn auto-follow back on. Note that selecting a MIDI track on Push automati- cally arms it. . Arrow Keys. but is not currently visible in the step sequencer sec- tion. track Arm buttons will appear pink to indi- cate that they have been armed via selection. 27. For example. •Dull yellow — this page is visible in the step sequencer section.) The pad colors in the loop length section indicate the following: •Unlit — this page is outside of the loop. In Live. •Green — this is the currently playing page. single-tap the pad that cor- responds to that page.7 Navigating in Note Mode Now that you’ve created a few tracks. To do this. while still allowing the loop to play for the length you set. (Note that single-tapping a page that is outside of the current loop will immediately set the loop to that page. Using Push 549 this auto-follow behavior.

which allows Push’s encoders to control parameters in Live’s devices. Navigating with the Up/Down Arrows in Note Mode always begins playback immediately. which is set in Push’s User preferences (page 558). The specific behavior of the Up/Down Arrows is determined by the Workflow mode. Clips in other tracks are not affected. Note that this is the same behavior as if the clips were set to Legato Mode in Live (page 186). . while the State Control buttons turn the selected device on or off. In both modes. Using Push 550 Pink Track Arm Button. the Selection Control buttons select devices in the currently selected track. In Scene Workflow.8 Controlling Live’s Instruments and Effects Pressing the Device button puts Push in Device Mode. Device Button. In Clip Workflow. The currently selected device is marked with an arrow in the display. the Up/Down Arrows move up or down by a single scene. and a triggered clip will take over the play position from whatever clip was played in that track before. the selected scene is triggered. 27. In Device Mode. only the selected track’s clip is triggered.

The In and Out buttons allow you to navigate to additional devices and parameters that may not be immediately available. In and Out Buttons.9 Mixing with Push To control volumes. press the corresponding button on Push. Use these buttons to access: •additional banks of parameters (for effects that have more than one bank of parameters). Hold Shift while adjusting the encoders for fine-tune control. 27. Using Push 551 Device Mode Settings. •additional device chains within Racks that contain more than one chain. . or sends with the encoders for up to eight tracks simultaneously. pans.

Using Push 552 Volume and Pan & Send Buttons. In Track Mode. (Tip: press and hold a Group Track’s Selection Control button to unfold or fold the track.) . Track Button. pan and the first six sends of the selected track. Pressing the Pan & Send button repeatedly will cycle between controlling pans and however many sends are available in your Live Set. Press the Selection Control buttons to select which track will be controlled in Track Mode. Press the Master button to select the Master track. In Volume Mode. Press Push’s Track button to enable Track Mode. the encoders control track volume. the encoders control track volume. Selecting Tracks in Track Mode.

press the Automation button again to turn it off.10 Recording Automation Changes that you make to device and mixer parameters can be recorded to your clips as au- tomation. Using Push 553 27. Automated parameters are shown with a “�” symbol next to the parameter name in the display. To record automation. press Push’s Automation button. allowing you to record changes you make to Push’s encoders as part of the clip. If automa- tion hasn’t been recorded for a parameter. press and hold the Delete button and touch the corresponding encoder. When you’re done recording parameter changes. holding Delete and touching an encoder will reset the corresponding parameter to its default value. This toggles Live’s Session Automation Arm button. Parameters that you have overridden (by manually adjusting the parameter while not recording) will show their value in brackets. . so that the sound will change over time as the clip plays. To delete the changes you’ve recorded for a particular parameter. Automation Button.

1 Note-Specific Parameters Press Notes and then adjust the corresponding encoders in order to: •nudge notes backwards or forwards in time. press and hold a step to access note-specific parameters (selected by pressing the button below “Notes” in the display) or per-step automa- tion (selected by pressing the button below “Automat” in the display). . Using Push 554 Automated and/or Overridden Parameters are Indicated in the Display. 27. The value represents the percentage that the note is offset from the previous grid line. 27. Hold a Step to Adjust Note and Automation Parameters.11 Step Sequencing Automation In both the drum and melodic step sequencers. To reenable all automation that you have manually overridden press and hold Shift and press the Automation button. The first encoder adjusts the coarse length while the second encoder allows you to fine tune the length adjustment. (Negative values indicate that the note occurs before the grid line.11.) •change the length of the selected notes.

To do this. Hold Select and Press a Drum Pad to Tweak All Notes Played by that Pad. The display will show the range of values for the selected steps. Length. Note that per-step automation can be created for any step.2 Per-Step Automation Press “Automat” when holding a step in order to create and edit device or mixer automation for only the selected step. and then adjusting the encoders. press and hold all of the pads you’d like to adjust. . With Multiple Steps Selected. length. When working with drums. While holding a step and tweaking an encoder. and then tweak the encoders. and Velocity values by holding an empty step and then tweaking any of these encoders. Using Push 555 •change the velocity of the selected notes. the Display Shows the Range of Parameter Values. you can adjust nudge.11. 27. the corresponding parameter’s automation value will be adjusted specifically for the time represented by that step. Tip: you can also create notes with your desired Nudge. pressing the pad. and velocity for every note played by a particular pad by pressing and holding the Select button. even if that step doesn’t contain notes. You can also adjust these note-specific parameters for multiple steps at the same time.

pressing the button records a new clip.) Session Button. the 8x8 pad grid will now launch clips and the Scene/Grid Buttons will launch scenes. Using Push 556 27. press and hold Shift. Releasing the button will then return to Note Mode. and then press Stop. •Playing clips pulse green to white. pressing and holding Note while in Session Mode will temporarily toggle Note Mode. Stopping Clip Playback. •Recording clips pulse red to white. If the track is selected. To stop all clips.12 Controlling Live’s Session View Press Push’s Session button to switch from Note Mode to Session Mode. The pads light up in different colors so you know what’s going on: •The color of all non-playing clips in your Live Set is reflected on the pads. Likewise. You can stop all music in a track by enabling Stop Mode and pressing that track’s State Control button. Pressing a pad triggers the clip in the corresponding location in Live’s Session View. (Press and hold the Session button to temporarily toggle Session Mode. . In Session Mode.

Hold the Shift button while hitting Up or Down to move eight scenes up or down. (Tip: you can also use the Oc- tave Up and Down buttons to move by eight scenes at a time. The directional arrows and Shift button increase the scope of the eight-by-eight grid. but. the software also reflects what’s happening on the hardware. In the Session Overview. •Red: there are no clips playing in that range. For example.) In the Session Overview. The clip slots currently being controlled by Push’s pad grid are shown in Live with a colored border. the color coding is a little different: •Amber: indicates the currently selected block of clips. Using Push 557 Push tells you what’s going on in the software. Hold down the Shift button and the pad grid zooms out to reveal an over- view of your Session View. holding the Shift button and then pressing the pad in row three. column one will put the focus on scenes 17-24 and tracks 1-8.) •The Left and Right arrow keys move you left or right one track at a time. •No color: there are no tracks or scenes in that range. importantly. Hold the Shift but- ton while hitting Left or Right to move eight tracks at a time.1 Session Overview Push’s Session Overview lets you navigate through large Live Sets quickly without looking at your computer screen. •Pressing Up or Down moves you up or down one scene at a time. which will be surrounded by the colored border in the software. each scene launch button represents a block of 64 scenes (if they are available in your Set. 27. •Green: there are clips playing in that block of clips (though that may not be the block of clips selected). each pad represents an eight-scene-by- eight-track block of clips. giving you a matrix of 64 scenes by 64 tracks. Hit a pad to focus on that section of the Session View.12. . while Shift is held. Furthermore.

Using Push 558 27. and ranges from Linear (a one-to-one relationship between striking force and note velocity) to various logarithmic curves. notes may trigger accidentally and pads may “stick” on.13 Setting User Preferences Press and hold the User button to adjust the sensitivity of Push’s velocity response. User Button User Settings Pad Threshold sets the softest playing force that will trigger notes. aftertouch. and other settings. Higher Log values provide more dynamic range when playing softly. Lighter playing styles may benefit from higher Log values. The diagram below demonstrates the various velocity curves. Velocity Curve determines how sensitive the pads are when hit with various amounts of force. Note that at lower settings. More force is required at high- er settings. with striking force on the horizontal axis and note velocity on the vertical axis. .

In Scene Workflow (which is the default). and seamlessly switches to playing them back. you’re working with only the currently selected clip. or Up/Down arrow buttons are pressed. This is the same as the Capture and Insert Scene command in Live’s Create menu (page 113). allowing you to create a new idea in the current . In Scene Workflow: •Duplicate creates a new scene containing all of the currently playing clips. Using Push 559 Linear Log 1 (Default) 127 127 Note Velocity Note Velocity 1 1 Striking Force ― ―› Striking Force ― ―› Log 2 Log 3 127 127 Note Velocity Note Velocity 1 1 Striking Force ―› Striking Force ― ―› Log 4 Log 5 127 127 Note Velocity Note Velocity 1 1 Striking Force ― ―› Striking Force ― ―› Diagram of Push’s Velocity Curves The Workflow option determines how Push behaves when the Duplicate. an empty clip slot is prepared. New. In Clip Workflow. Which mode you choose depends on how you like to organize your musical ideas. •New is identical to Duplicate. Instead. musical ideas are organized and navi- gated in scenes. except that it does not duplicate the currently selected clip.

In Clip Workflow: •Duplicate creates a copy of the currently selected clip in a new scene. . Clips in other tracks are not affected. nothing will happen. Clips in other tracks are not affected. as follows: 120 -> 0 121 -> 18 122 -> 36 123 -> 54 124 -> 72 125 -> 90 126 -> 108 127 -> 127 27. Playback of the currently select- ed track’s clip in the new scene begins seamlessly. while continuing playback of any currently playing clips in other tracks. Playback of the clips in the new scene begins seamlessly. (Tip: hold Shift while pressing Dupli- cate to create a new scene containing all of the currently playing clips.) •New prepares an empty clip slot on the currently selected track. But input values between 120 and 127 will be scaled to output a value from 0 to 127.14 Push Control Reference The function of each section and control is explained below. if you set the Aftertouch Threshold to 120 and play with an aftertouch value of 119. •the Up/Down Arrows move up or down by a single scene. Aftertouch Threshold sets the lowest incoming aftertouch value (from 0-127) that Push will reg- ister. For example. Input values below this level will be ignored. •the Up/Down Arrows move up or down by a single scene. Using Push 560 track. while input values above this level will be scaled across the entire aftertouch range.

allowing you to play drums across the entire 8x8 pad grid. Pressing Note additional times toggles between real-time playing and melodic step sequencing. . This will also display the clip name in the display. Session Mode — When selected. the Pad Section changes to launch clips in Live’s Session View. the Pad Section changes its functionality based on the type of track that is currently selected: •MIDI track containing an instrument — the pads plays notes. Arrow Keys — move through your Live Set (in Session Mode) and between tracks or scenes/clips (in Note Mode). Note Mode — when selected. the lower-left 16 pads play the Drum Rack. hold Select and press a clip to select the clip without launching it. and the upper four rows control the step sequencer. In Note Mode. hold Select and press a Drum Rack pad to select its notes without triggering the pad. the lower-right 16 pads adjust the loop length of the clip. Using Push 561 Focus/Navigation Section Focus/Navigation Section. Select — In Session Mode. Press Note again to toggle to 64-pad mode. Shift — press and hold Shift while pressing other buttons to access additional functionality. •MIDI track containing a Drum Rack — the Pad Section is divided.

the notes on the pad grid remain in the same posi- .) Note Section Note Section. Scales — When Note Mode is on and an instrument track is selected. Hold Shift while pressing Add Effect to add the new device to the left of the currently selected device. •Fixed Y/N: When Fixed Mode is on. Add Track — creates a new MIDI track to the right of the currently selected track. Note that this button has no effect when a Drum Rack track is selected or when in Session Mode. Add Effect — opens Browse Mode to add a new device to the right of the currently selected device. first select the instrument in a track. Using Push 562 Add Section Add Section. MIDI. pressing this button allows you to select which scale will be played on the pads. Press and hold Add Track to select a different type of track to add (Audio. These buttons adjust how notes are played on Push. Then hold Shift while pressing Add Effect. Tip: to add a MIDI Effect. These buttons add new devices or tracks to your Live Set. or Return.

These buttons have additional functionality in other modes (scale selection. These buttons will be unlit if no additional octaves are available. all incoming notes (whether step sequenced or played in real-time) are played at full velocity. turn the encoder slowly to the left during mapping. in which case the bottom-left pad will play the nearest note in the key. If a Drum Rack is selected. User — All of Push’s built-in functionality can be disabled via User Mode. •In Key/Chromatic: With In Key selected. Press and hold the User button to access a number of configuration options.)” mode. the notes on the pad grid shift so that the bottom-left pad always plays the root of the selected key. To ensure this mode is selected. the bottom-left pad will always play C (except in keys that don’t contain a C. the leftmost eight buttons will toggle devices on and off. holding down a pad will retrigger the note. Octave Up/Down — if an instrument track is selected. This allows Push to be reprogrammed to control alternate functions in Live or other software. Notes that are in the key are lit. etc. the pad grid contains all notes. the leftmost eight buttons will either stop clips or mute or solo the cor- responding track.) Repeat — when Repeat is enabled. State Control Section State Control Section. In Chromatic Mode. while notes that are not in the key are unlit. Mute. these buttons shift the Drum Rack’s pad overview up or down by 16 pads. these buttons shift control of the Session View up or down by eight scenes. or Solo). (Tip: Push’s relative encoders work best in “Relative (2’s Comp.) .) When Fixed is off. When working with tracks. The Scene/Grid buttons change the rhythmic value of the repeated note. depending on which of the three rightmost buttons is pressed (Stop. When working with devices instead of tracks. In Session Mode. •Scale selection: Select the base scale with the up/down buttons on the lefthand side. Press and hold Accent to temporarily enable it. the pad grid is effectively “folded” so that only notes within the key are available. Accent — when Accent is enabled. these buttons shift the pads up or down by octave. Using Push 563 tions when you change keys.

and then press Stop. Releas- ing the button will then return to the previous mode. These buttons work in conjunction with the Display/Encoder Section buttons and select what parameters can be edited by the encoders and shown in the display. the In and Out buttons shift the display to the right or left. press and hold Shift. Using Push 564 Tip: to stop all clips. allowing you to browse deeper levels of subfolders or view a larger number of presets on the display. Selection Control Section Selection Control Section. In all modes. The six buttons to the right of the display determine the editing mode of the encoders. the ninth encoder controls the volume of the Master track (or the Pre-Cue volume if Shift is held. Note that you can temporar- ily toggle to a different editing mode by pressing and holding the corresponding button. Display/Encoder Section Display/Encoder Section.) Holding Shift while adjusting any of the first eight encoders allows you to fine-tune whichever parameter is currently being controlled by that encoder. The In and Out buttons allow you to access devices inside Racks or additional parameter banks for devices with more than eight parameters. . In Browse Mode.

In Track Mode. Pan & Send Mode. Press the Master button to select the Master track. In Clip Mode. •Loop Start (or Clip Start if Loop is off) . the encoders control track volume. pan and the first six sends of the selected track. In Pan & Send Mode. press once to control pans. Select which clip track to control via the eight Selection Control buttons.the encoders control various parameters for the selected clip. The parameters de- pend on the type of clip selected: Clip Mode With a MIDI Clip Selected. Subsequent presses cycle through sends. In Volume Mode. Using Push 565 Volume Mode. the encoders control volume of the eight selected tracks. Track Mode.

Using Push 566

•Position

•Loop Length (or Clip End if Loop is off)

•Loop On/Off

Clip Mode With an Audio Clip Selected.

•Loop Start (or Clip Start if Loop is off)

•Position

•Loop Length (or Clip End if Loop is off)

•Loop On/Off

•Warp Mode

•Detune

•Transpose

•Gain

Device — The encoders control parameters for the selected device.

Using Push 567

Browse — The encoders scroll through the available devices and presets.

Tempo Section

Tempo Section.

Tap Tempo — as you press once every beat, the tempo of the Live Set will follow your tapping.
If the “Start Playback with Tap Tempo” button is enabled in Live’s Record/Warp/Launch Prefer-
ences, you can also use tapping to count in: If you are working in a 4:4 signature, it takes four
taps to start song playback at the tapped tempo.

Metronome — toggles Live’s metronome on or off.

The left encoder adjusts Live’s tempo in increments of one BPM. Holding Shift while adjusting will
set the tempo in increments of .1 BPM.

The right encoder sets the amount of swing applied when Quantizing, Record Quantizing or
when Repeat is pressed.

Using Push 568

Edit Section

Edit Section.

Undo — undoes the last action. Press and hold Shift while pressing Undo to Redo. Note that
Push’s Undo button applies Live’s Undo functionality, so it will undo actions in your Live Set even
if they were done without using Push.

Delete — In Note Mode, this button deletes the selected clip. In Session Mode, hold Delete and
then press a clip to delete that clip. Hold Delete and select a device or track with Push’s Selec-
tion Control buttons to delete. Hold Delete and touch an encoder to delete automation con-
trolled by that encoder. If automation has not been recorded for a particular parameter, holding
Delete and touching the corresponding encoder will reset that parameter to its default value.

Quantize — press and release to quantize the selected notes (or all notes in the clip if there is no
selection). Hold Quantize and press a drum pad to quantize that pad’s notes. For audio clips,
Quantize will affect transients. Press and