Ableton Live - 7.0 LE Manual de usuario

Ableton Live 7 LEReference Manual

CHAPTER 2. FIRST STEPS 8Adjusting the MainWindow Split.

CHAPTER 8. CLIP VIEW 98The Clip Color chooser allows choosing a clip color.8.1.3 Clip SignatureUsing the Clip Signature elds, you can specify the tim

CHAPTER 8. CLIP VIEW 99Groove can be applied to both MIDI clips and audio clips. Applying groove to audioclips does require that the Warp switch be ac

CHAPTER 8. CLIP VIEW 100The Scrub Control inMIDI Map Mode.With quantization set to values less than one bar, it is easy to offset clip playback from L

CHAPTER 8. CLIP VIEW 101To verify this, note that a warped sample's speed follows the tempo as you change theControl Bar's Tempo control.Liv

CHAPTER 8. CLIP VIEW 102The Clip Overview.The Clip Overview provides additional zoom/scrolling functionality. It always shows thecomplete clip, from s

CHAPTER 8. CLIP VIEW 103and end markers), select the start marker, hold down , and use the arrow keys.Using Clip Start and EndControls to Change ClipL

CHAPTER 8. CLIP VIEW 104the mouse is held down over the scrub area, a portion of the clip the size of the chosenquantization setting will be repeatedl

CHAPTER 8. CLIP VIEW 105Regardless of the position of the loop brace, clip play upon launch will begin at the positionmarked by the start marker, whic

CHAPTER 8. CLIP VIEW 1068.2.3 Clip Pitch and GainThe Clip Pitch and GainControls.The Transpose control shifts the clip pitch in semitones.The Detune 

CHAPTER 8. CLIP VIEW 1078.2.5 Saving Default Clip Settings with the SampleThe Save Default ClipButton.The Save Default Clip button saves the current c

9Chapter 3Unlocking LiveLive is protected against illegal use by a copy protection scheme. This scheme has beendesigned to meet the highest security s

CHAPTER 8. CLIP VIEW 108Live 7. For this reason, we have provided a Legacy Hi-Q Mode option, which is enabled bydefault in the Options menu whenever y

CHAPTER 8. CLIP VIEW 109out. Live can handle disk overloads more gracefully than swapped-out audio arriving late:Disk overloads result in unwanted mut

CHAPTER 8. CLIP VIEW 1108.2.10 Cropping SamplesThe Sample Display's (PC) /Ctrl(Mac) context menu includes the Crop Samplecommand. This function c

CHAPTER 8. CLIP VIEW 1118.3 The Notes BoxThe Notes Box.8.3.1 Tempo ControlsThe Orig. BPM eld displays Live's interpretation of the tempo at whic

CHAPTER 8. CLIP VIEW 1128.3.3 MIDI Loop/RegionThese controls manage how the contents of a MIDI clip are played and shown in the MIDIEditor. They work

113Chapter 9Tempo Control and WarpingUnlike music stored on tape or in a traditional digital audio workstation, the music in Liveremains elastic at

CHAPTER 9. TEMPO CONTROL AND WARPING 114point. Setting one knob to control coarse tempo in BPM and another to control ne tempoin hundredths of a BPM

CHAPTER 9. TEMPO CONTROL AND WARPING 115The Sample Box'sWarping Controls.The most signicant control here is the Warp switch, which toggles a cli

CHAPTER 9. TEMPO CONTROL AND WARPING 116This is achieved by adding tempo automation to the Master track for the duration of thetempo master clip. You

CHAPTER 9. TEMPO CONTROL AND WARPING 117helpful to vertically resize the Sample Display by dragging on the split line between the ClipView and the Ses

CHAPTER 3. UNLOCKING LIVE 10Please note that products such as Operator and Sampler are sold separately from Live butare unlocked using the same proced

CHAPTER 9. TEMPO CONTROL AND WARPING 118A One-Bar Loop as ItAppears in the ClipView, by Default.The Orig. BPM eld displays Live's guess of the l

CHAPTER 9. TEMPO CONTROL AND WARPING 119Setting the WarpMarkers for a Poorly CutLoop.Syncing Odd-Length LoopsIf you import a sample that contains a se

CHAPTER 9. TEMPO CONTROL AND WARPING 120Manipulating GroovesYou can now create any number of Warp Markers by double-clicking on one of the numericgrid

CHAPTER 9. TEMPO CONTROL AND WARPING 121Record/Warp/Launch Preferences).Note that, for the auto-warp mechanism to work, les which are being imported

CHAPTER 9. TEMPO CONTROL AND WARPING 122Using the Context Menuto Direct Auto-Warp.Directing Auto-Warp is also relatively simple when you have imported

CHAPTER 9. TEMPO CONTROL AND WARPING 1232. Use the Control Bar's Tap Tempo button to tap along, thereby setting theLive Set's tempo to match

CHAPTER 9. TEMPO CONTROL AND WARPING 124Three Selected WarpMarkers.Here are the steps:1. Select the Warp Markers that you wish to copy by clicking on

CHAPTER 9. TEMPO CONTROL AND WARPING 125the sample (the grains). The warp modes differ in the selection of grains, as well as in thedetails of overl

CHAPTER 9. TEMPO CONTROL AND WARPING 126The Grain Size control determines the grain size used, but unlike in Tones Mode, this is asetting that Live wi

127Chapter 10Editing MIDI Notes and VelocitiesA MIDI clip in Live contains notes and controller data for playing a virtual instrument in aMIDI track&a

CHAPTER 3. UNLOCKING LIVE 11For details, please see the corresponding section.3.2.3 Unlocking OnlineIf the computer you want to unlock Live for is con

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 12810.2 The MIDI EditorTo bring up the MIDI Editor, double-click a MIDI clip to open the Clip View. You

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 129Previewing MIDI Notes.Provided your MIDI track's device chain contains an instrument, activating

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 130a time ruler, which shows note position along a musical timeline. The vertical axis containsboth the

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 131in and out, drag up and down.6. Change the length of what is shown in the Editor by dragging the left

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 132Enlarge the MIDI Editorby Dragging theWindow Split BetweenSession and Clip Views.10.4 Editing MIDI10.

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 133When editing MIDI, you might nd that you want to change which part of the clip you arelistening to,

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 134or downward to enclose the notes in the dotted line that appears.You can use the modier to click and

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 135The Edit menu's Select Loop command selects all notes that begin within the loop brace.The Selec

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 13610.4.6 Changing Note LengthClicking and dragging on a note's left or right edges changes its len

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 137lines unless the grid is not shown, or theAlt(PC) / (Mac) modier is held whiledragging.If one marker

CHAPTER 3. UNLOCKING LIVE 123.3 Copy Protection FAQs3.3.1 Can I Use Live or Other Ableton Products Without a Serial Num-ber?If you do not (yet) own Li

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 138modier is held. To draw markers individually (as you would want to with a crescendo,for instance) de

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 139The Velocity EditorShowing Note-OffVelocities.Please note that note-off (or release) velocity is a

140Chapter 11Launching ClipsThe Live Session View is set apart by the fact that it gives you, the musician, a spontaneousenvironment that encourages p

CHAPTER 11. LAUNCHING CLIPS 141Use the Clip View BoxSelector to Bring up theLaunch Box.Note that you can edit the launch settings of more than one cli

CHAPTER 11. LAUNCHING CLIPS 14211.3 Clip-Level QuantizationThe Clip QuantizationChooser.The Clip Quantization chooser lets you adjust an onset timing

CHAPTER 11. LAUNCHING CLIPS 143The Velocity Amount control allows you to adjust the effect of MIDI note velocity on theclip's volume: If set to z

CHAPTER 11. LAUNCHING CLIPS 144same group after the clip plays. A group is dened by clips arranged in successive slots ofthe same track. Tracks can h

CHAPTER 11. LAUNCHING CLIPS 145in a group, this Follow Action triggers the rst clip.Play First Clip launches the rst (top) clip in a group.Play L

CHAPTER 11. LAUNCHING CLIPS 14623Creating a Group Withthe Two Clips.3. Set up Follow Actions for the rst clip. You will want to make Follow Action Ti

CHAPTER 11. LAUNCHING CLIPS 147The default setting for Follow Action is actually a 1:0 chance that Nothing happens afterthe Follow Action Time, whic

CHAPTER 3. UNLOCKING LIVE 13They can be reached by:E-mail5;Telephone: +49 (0)30 - 288 763 151 (available Monday to Friday 11 to 15hrs CET);Fax: +49 (0

CHAPTER 11. LAUNCHING CLIPS 14811.6.5 Mixing up Melodies and BeatsYou can let Follow Actions perform unpredictable remixes and solos for you: Use a cl

149Chapter 12Routing and I/OIn the context of Live, routing is the setup of the tracks' signal sources and destinations(i.e., their inputs and

CHAPTER 12. ROUTING AND I/O 150The Mixer's In/OutSection and MixerSection Selectors.For every track (except the Master), the In/Out section has t

CHAPTER 12. ROUTING AND I/O 151track's output, via the track's device chain. If the track's output is set to Master, you canhear the

CHAPTER 12. ROUTING AND I/O 15212.2 Exter nal Audio In/OutAn audio interface's inputs are selected by choosing Ext. In from the Input Type choo

CHAPTER 12. ROUTING AND I/O 153the case with audio inputs, the Input Channel chooser also has meters next to every entryto represent activity on the r

CHAPTER 12. ROUTING AND I/O 154the Impulse percussion sampler's sample slots. This means that you can play and recorddrum patterns right off the

CHAPTER 12. ROUTING AND I/O 155The Resampling option in any audio track's Input Type chooser will route the Masteroutput to that track. You can

CHAPTER 12. ROUTING AND I/O 156Two Ways to Route TrackA into Track B.Both approaches result in Track A's output being fed into Track B. Approach

CHAPTER 12. ROUTING AND I/O 157Tap Points for TrackRouting.Pre FX taps the signal that is coming directly from a track, before it has been passedon to

14Chapter 4Live ConceptsThis chapter introduces the essential concepts of Live. We advise you to read this chapterearly in your Live career, as a soli

CHAPTER 12. ROUTING AND I/O 158Routing Points in RacksTap Points for EveryChain in a Track.If a track has one or more Instrument or Effect Racks in it

CHAPTER 12. ROUTING AND I/O 15912.5.2 Making Use of Internal RoutingThis section presents several internal routing examples in more detail.Post-Effect

CHAPTER 12. ROUTING AND I/O 160Recording MIDI as AudioWhen working with MIDI and complex software instruments, it is sometimes more usefulto record th

CHAPTER 12. ROUTING AND I/O 161Creating SubmixesSubmixing the IndividualDrums of a Drum Kit.Suppose we have the individual drums of a drum kit coming

CHAPTER 12. ROUTING AND I/O 162Feeding an AdditionalMIDI Track Into anExisting MIDI Track toReuse its Instrument.This is accomplished by setting the n

CHAPTER 12. ROUTING AND I/O 163switch) also mutes the other MIDI track. To be precise, the other track keeps playing, but itsMIDI is played by an inst

CHAPTER 12. ROUTING AND I/O 164Notice that routing an individual output from Impulse into another track automatically takesthis signal out of Impulse&

CHAPTER 12. ROUTING AND I/O 165Feeding Sidechain InputsSome effects have so-called sidechain inputs. A vocoder, for instance, imposes spectralcharac

CHAPTER 12. ROUTING AND I/O 166Using an Auxiliary MIDITrack to LayerInstruments.Perhaps you wonder why this works, given that the string track's

167Chapter 13Mixing13.1 The Live MixerLive includes a mixer section that is accessible from two views:The Arrangement ViewMixer.In the Arrangement Vie

CHAPTER 4. LIVE CONCEPTS 15Selecting the Library bookmark in Live's File Browser will take you to the Live Library ofcreative tools. There are a

CHAPTER 13. MIXING 168its name, and adjust its height accordingly.The Session View Mixer.The Session View is a standard vertical mixer layout. You&apo

CHAPTER 13. MIXING 169The Mixer SectionSelectors.Let's look at the mixer controls:121365445 632The Mixer Controls.1. The Meter shows the track&ap

CHAPTER 13. MIXING 170option enabled, inserting an instrument into a new or empty MIDI track willautomatically arm the track.13.1.1 Session Mixer Feat

CHAPTER 13. MIXING 171Nevertheless, Live provides this optional visual feedback for signals that travel beyond 0 dBin any track.13.2 Audio and MIDI Tr

CHAPTER 13. MIXING 17213.3 Retur n Tracks and the Master TrackIn addition to tracks that play clips, a Live Set has a Master track and up to two retur

CHAPTER 13. MIXING 173can be used to set up a separate monitor mix for an individual musician in a band.The Master track is the default destination fo

CHAPTER 13. MIXING 174Choose from SevenCrossfader Curves.The chart below details the power level and response of each crossfader curve.TransitionDippe

CHAPTER 13. MIXING 175right) will toggle the crossfader's absolute left and right positions.Mapping to two of the three elds allows for a snapp

CHAPTER 13. MIXING 17613.5 Soloing and CueingBy default, soloing a track simply mutes all other tracks (except in some cases where tracksare feeding o

CHAPTER 13. MIXING 1772. The Cue Out chooser selects the output on your hardware interface to be usedfor cueing. This has to be set to an output other

CHAPTER 4. LIVE CONCEPTS 16The Arrangement View and the Session View interact in useful (though potentially confusing)ways. One can, for instance, imp

CHAPTER 13. MIXING 178Note that delay compensation for plug-ins and Live devices is a separate feature, and isautomatic by default. Unusually high Tra

179Chapter 14Recording New ClipsThis chapter is about recording new clips from audio and MIDI input signals. Note that thisis a different kind of reco

CHAPTER 14. RECORDING NEW CLIPS 180The Track In/Out Sectionin the Arrangement(Left) and Session View(Right).Audio tracks default to recording a stereo

CHAPTER 14. RECORDING NEW CLIPS 181Clicking one track's Arm button unarms all other tracks unless theCtrl(PC) / (Mac)modier is held. Arming a tr

CHAPTER 14. RECORDING NEW CLIPS 1822. Recording creates new clips in all tracks that have their Arm button on.3. When the Overdub switch is on, the ne

CHAPTER 14. RECORDING NEW CLIPS 18334 12Recording a New ClipInto the Session View.1. Set the Global Quantization chooser to any value other than None

CHAPTER 14. RECORDING NEW CLIPS 18414.3.3 Overdub Recording MIDI PatternsLive makes pattern-oriented recording of drums and the like quite easy. Using

CHAPTER 14. RECORDING NEW CLIPS 18514.4 Recording in SyncLive keeps the audio and MIDI you have recorded in sync, even when you later decide on adiffe

CHAPTER 14. RECORDING NEW CLIPS 18614.5 Recording Quantized MIDI NotesIf you will be recording MIDI, you have the option of automatically quantizing M

CHAPTER 14. RECORDING NEW CLIPS 18714.7 Setting up File TypesThe following Preferences from the Record/Warp/Launch tab are relevant to the sample les

CHAPTER 4. LIVE CONCEPTS 17The exclusivity of clips in a track also implies that, at any on time, a track will either play aSession clip or an Arrange

CHAPTER 14. RECORDING NEW CLIPS 188The Scene Up/DownButtons.One key is used to jump to the next scene...A Track Launch Button... and another key to s

189Chapter 15Working with Instruments andEffectsEvery track in Live can host a number of devices. These devices can be of three differentsorts:MIDI ef

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 190Devices in the TrackView.To save space in the Track View, a device can be collapsed by double-clic

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 19115.1 Using the Live DevicesThe Live Device Browser.Click on the Device Browser selector to access

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 192MIDI and Audio TrackArm ButtonsThis is how you would play live instruments through effects on a tr

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 193A MIDI Track's DeviceChain Can Contain AllThree Device Types.To remove a device from the chai

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 194The Level MetersBetween Devices in aChain.Note that no clipping can occur between devices because

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 195Presets in the DeviceBrowser.You can browse and load presets quickly with the computer keyboard:Sc

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 196Saving PresetsYou can create and save any number of your own presets in the Device Browser.The Sav

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 197To save the current settings of a device as a default preset, open the (PC) /Ctrl(Mac) context men

Live LE for Windows and Mac OSCreated by Bernd Roggendorf, Gerhard Behles, Robert Henke, Awi, Reiner Rudolph, Stefan Haller, Stefan Franke,Frank Hoffm

CHAPTER 4. LIVE CONCEPTS 18Audio signals are recorded and played back using audio tracks, and MIDI signals arerecorded and played back using MIDI trac

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 198The Plug-In DeviceBrowser.Audio Units and VST Plug-ins are browsed and imported using the Plug-In

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 199You can also rescan if you believe that your plug-in database has somehow become cor-rupted. Holdi

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 200Once a plug-in is placed in a track, you can use it just like a Live device:You can edit all of it

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 201You can use the View menu's Show/Hide Plug-In Windows command or theCtrlAltP(PC) /AltP(Mac) s

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 202have to tell Live about the location of the VST Plug-in folder containing the devices youwant to u

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 203and local directories: /Library/Audio/Plug-Ins/VST. You can turn Live's use ofthese plug-ins

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 204The VST Plug-InProgram Chooser.To select a program from the plug-in's bank, use the chooser b

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 20515.4 Audio Units Plug-InsAudio Units Plug-ins are only available in Mac OS X. In most respects, th

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 206Opening an Audio UnitsPlug-In Window.Audio Units have presets that function just like those for th

207Chapter 16Instrument, Drum and Effect RacksA Rack is a exible tool for working with effects, plug-ins and instruments in a track'sdevice chai

CHAPTER 4. LIVE CONCEPTS 19An Audio Clip'sProperties as Displayedin the Clip View.Many powerful manipulations arise from Live'swarping capab

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 20816.1 An Overview of Racks16.1.1 Signal Flow and Parallel Device ChainsInside An Audio EffectRack (As

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 20916.1.2 Macro ControlsThe Macro Controls.One unique property of Racks are their Macro Controls.The Mac

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 21016.2.1 Pad ViewPad View (As It Appearsin the Full Version ofLive).The Pad View is unique to Drum Rack

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 211Pad View excels as a performance interface, particularly when triggered by a hardwarecontrol surface

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 212Mixing Rack Chains inthe Session View.Chains in the Session View mixer look similar to tracks, but th

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 213Rack contains them, the Audio To chooser in the mixer for return chains allows you toroute a return c

214Chapter 17Automation and Editing EnvelopesOften, when working with Live's mixer and devices, you will want the controls' movementsto beco

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 215Volume, Pan and theTrack Activator SwitchHave Been Automated.17.2 Deleting AutomationTo delete automat

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 2162. You can click on it to reactivate all automation and thereby return to the automa-tion state as it

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 217which devices actually have automation by showing an LED next to their labels.You can make things clea

CHAPTER 4. LIVE CONCEPTS 20MIDI Files Are Draggedin from Live's FileBrowsers.As you'd expect, a MIDI clip's contents can be accessed an

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 218Drawing an Envelope.Drawing creates steps as wide as the visible grid, which you can modify using a nu

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 219the modier while dragging, which will eliminate breakpoints as you wipe overthem. Holding down theCtr

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 22017.4.4 Edit Menu CommandsWhen working with automation data, the Edit menu commands behave differently

221Chapter 18Clip EnvelopesEvery clip in Live can have its own clip envelopes. The aspects of a clip that are inuenced byclip envelopes change depend

CHAPTER 18. CLIP ENVELOPES 22218.1 The Clip Envelope EditorUse the Clip View BoxSelector to Bring up theEnvelopes Box.To work with clip envelopes, bri

CHAPTER 18. CLIP ENVELOPES 223The bottom menu, the Control chooser, selects among the controls of the item chosen inthe top menu. In both choosers, pa

CHAPTER 18. CLIP ENVELOPES 224clips, you can create an abundance of interesting variations from the same clip in real time anything from subtle corre

CHAPTER 18. CLIP ENVELOPES 225The TranspositionEnvelope with Steps(Top) and Ramps(Bottom).Note that the warp settings determine how accurately Live&ap

CHAPTER 18. CLIP ENVELOPES 22618.2.3 Muting or Attenuating Notes in a SampleClick on the Volume quick-chooser to access an audio clip's volume en

CHAPTER 18. CLIP ENVELOPES 227than centimeters: A vertical grid line is worth a sixteenth note of offset and the modulationcan reach from plus eight s

CHAPTER 4. LIVE CONCEPTS 21The Track ViewDisplaying a MIDI Track'sDevice Chain.Live's built-in audio effects, MIDI effects and instruments a

CHAPTER 18. CLIP ENVELOPES 22818.3 Mixer and Device Clip EnvelopesClip envelopes can be used to modulate mixer and device controls. Since mixer anddev

CHAPTER 18. CLIP ENVELOPES 229percentage: The clip envelope cannot open the send further than the Send knob, but it canreduce the actual send value to

CHAPTER 18. CLIP ENVELOPES 230while recording new clips: Names of controllers that already have clip envelopes appearwith an adjacent LED in the Contr

CHAPTER 18. CLIP ENVELOPES 2311342Using a Clip Envelope toCreate a Fade-Out OverSeveral Repetitions of aLoop.1. Choose the Clip Volume envelope, and u

CHAPTER 18. CLIP ENVELOPES 23218.5.2 Creating Long Loops from Short LoopsLet us take this a step further. For a different part of your set, you would

CHAPTER 18. CLIP ENVELOPES 23318.5.3 Imposing Rhythm Patterns onto SamplesSo far, we have been talking about imposing long envelopes onto small loops.

234Chapter 19Live Audio Effect ReferenceLive comes with a selection of custom-designed, built-in audio effects. The Working withInstruments and Effec

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 235track either the ltered signal or an external sidechain source.There are four different lter types: lowpa

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 236envelope follower and is never actually heard.The Auto Filter also contains a Low Frequency Oscillator to m

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 23719.2 Auto PanThe Auto Pan Effect.Auto Pan offers LFO-driven manipulation of amplitude and panning for creat

CHAPTER 4. LIVE CONCEPTS 22Plug-In Devices AreAvailable from thePlug-In Device Browser.Consider an audio clip playing in an audio track. The audio sig

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 23819.3 Beat RepeatThe Beat Repeat Effect.Beat Repeat allows for the creation of controlled or randomized repe

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 239create sonic artifacts. The No Triplets button sets grid division as binary.Grid size can be changed random

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 24019.4 ChorusThe Chorus Effect.The Chorus effect uses two parallel time-modulated delays to create chorus (th

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 241while the Polarity switch sets (surprise!) the polarity. Polarity changes have the most effectwith high amo

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 242Ratio:The Threshold slider sets where compression begins. Signals above the threshold areattenuated by an a

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 243operation after the signal falls below the threshold.A slight amount of attack time (1050 ms) allows peaks

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 244model, which analyzes the output of the device and then self-adjusts its compression be-havior. Because fee

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 245With Dry/Wet at 100%, the compressor is triggered entirely by the sidechain source. At0%, the sidechain is

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 246Sidechaining in Dance MusicSidechaining/ducking is a dance music producer's secret weapon because it c

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 247Three tube models, A, B and C, provide a range of distortion characteristics known fromreal amplier tubes.

CHAPTER 4. LIVE CONCEPTS 23The mixer has controls for volume, pan position and sends, which adjust the contributioneach track makes to the input of an

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 24819.7 EQ EightThe EQ Eight Effect.The EQ Eight effect is an equalizer featuring up to eight parametric lter

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 249Each lter band can be turned on or off independently. Turn off bands that are not in useto save CPU power.

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 250If you have ever used a good DJ mixer you will know what this is: An EQ that allows you toadjust the level

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 25119.9 ErosionThe Erosion Effect.The Erosion effect degrades the input signal by modulating a short delay wit

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 25219.10 Filter DelayThe Filter Delay Effect.The Filter Delay provides three independent delay lines, each pre

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 253value.The Feedback parameter sets how much of the output signal returns to the delay line input.Very high v

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 254The LFOs have six possible waveform shapes: sine, square, triangle, sawtooth up, sawtoothdown and random. T

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 255The Threshold slider sets the gate's sensitivity. If the gate is open and passing signal (i.e.,the sig

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 256by inserting a Gate on the pad's track and choosing the drum loop's track as the sidechaininput.1

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 257parameter to the Y-axis, use the parameter row on the left side.The Feedback parameter sets how much of the

CHAPTER 4. LIVE CONCEPTS 24the track's mix and Send controls disappear from the mixer.The Mixer for a MIDITrack without anInstrument.4.8 Presets

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 258Phaser uses a series of all-pass lters to create a phase shift in the frequency spectrum of asound.The Pol

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 25919.15 Ping Pong DelayThe Ping Pong DelayEffect.The Ping Pong Delay effect uses a single tapped delay line t

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 260The Dry/Wet control adjusts the balance between the processed and dry signals. Set it to100 percent if usin

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 261(8 bit resolution). If set to 1, the result is pretty brutal: Each sample contains either a fullpositive or

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 262adjust the amount of time it takes for the resonators to be silent after getting an input signal.The longer

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 26319.18.1 Input ProcessingThe input signal passes rst through high and low cut lters, whose X-Y controller

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 264The Size parameter controls the room's volume. At one extreme, a very large size willlend a shifting

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 26519.18.5 OutputAt the reverb output, you can adjust the effect's overall Dry/Wet mix, and vary the ampl

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 266Soft Sine, Medium Curve and Hard Curve modes soften signal clipping to varying degrees.Sinoid Fold mode can

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 26719.20 Simple DelayThe Simple Delay Effect.The Simple Delay provides two independent delay lines, one for ea

CHAPTER 4. LIVE CONCEPTS 25Track Routing Is Set upUsing the In/Out Sectionin the Arrangement (Left)or Session View (Right).Signals from the tracks can

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 26819.21 SpectrumThe Spectrum Device.Spectrum performs realtime frequency analysis of incoming audio signals.

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 269scaling, but switch the legending at the top of the display between Hertz and note names.Linear scaling is

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 270appears on both outputs. This is especially useful if you have a stereo le that containsdifferent informat

CHAPTER 19. LIVE AUDIO EFFECT REFERENCE 271Alt(Mac) modier while dragging vertically in the X-Y display changes the frequencyband's Q (bandwidth

272Chapter 20Live MIDI Effect ReferenceLive comes with a selection of custom-designed, built-in MIDI effects. The Working withInstruments and Effects

CHAPTER 20. LIVE MIDI EFFECT REFERENCE 273controlled by the device, which also provides a full complement of both classic and originalarpeggiator feat

CHAPTER 20. LIVE MIDI EFFECT REFERENCE 274Con & Diverge.Pinky Up and PinkyUpDown.Thumb Up andThumb UpDown.Play Order places notes in the

CHAPTER 20. LIVE MIDI EFFECT REFERENCE 275pressed. When Hold is active and any of the original keys also remain physically held, notescan be added to

CHAPTER 20. LIVE MIDI EFFECT REFERENCE 276The dynamics of Arpeggiator are controlled using the velocity section. With Velocity setto On and Target s

CHAPTER 20. LIVE MIDI EFFECT REFERENCE 277semitone shift added with the Shift 6 control.Note that no two notes of the same pitch can contribute to the

CHAPTER 4. LIVE CONCEPTS 26these commences recording. Clicking the Clip Record button again denes the end ofthe recording and launches the new clip.

CHAPTER 20. LIVE MIDI EFFECT REFERENCE 278On/Off Balance  This determines the velocity of the output note. It is a balance betweenthe incoming note&a

CHAPTER 20. LIVE MIDI EFFECT REFERENCE 27920.5 RandomThe Random Effect.Random adds an element of the unknown to the otherwise commonplace pitch parame

CHAPTER 20. LIVE MIDI EFFECT REFERENCE 280For example, with Chance set to 100 percent, Choices set to 12 and Scale set to 1, playingC3 once will trigg

CHAPTER 20. LIVE MIDI EFFECT REFERENCE 281The Range and Lowest controls work together to dene the note range within which scalemapping will take effe

CHAPTER 20. LIVE MIDI EFFECT REFERENCE 282LED below the X-Y display ash when a note is blocked by gating. In Fixed Mode, the OutHi velocity denes al

283Chapter 21Live Instrument ReferenceLive comes with a selection of custom-designed, built-in instruments. The Working withInstruments and Effects

CHAPTER 21. LIVE INSTRUMENT REFERENCE 28421.1 ImpulseThe Impulse Instrument.Impulse is a drum sampler with complex modulation capabilities. The eight

CHAPTER 21. LIVE INSTRUMENT REFERENCE 285this behavior also denes how Impulse reacts to parameter changes from clip envelopes orautomation, which are

CHAPTER 21. LIVE INSTRUMENT REFERENCE 28621.1.4 Saturator and EnvelopeThe Saturator gives the sample a fatter, rounder, more analog sound, and can be

CHAPTER 21. LIVE INSTRUMENT REFERENCE 287this signal to a separate track. Please see the Routing chapter to learn how to accomplishthis for Impulse&ap

CHAPTER 4. LIVE CONCEPTS 274.12 Clip EnvelopesEnvelopes are found not only in tracks but also in clips. Clip envelopes are used to modulatedevice and

CHAPTER 21. LIVE INSTRUMENT REFERENCE 28821.2.2 Sample ControlsSimpler plays a specic region or loop of the sample, as determined by a group of sampl

CHAPTER 21. LIVE INSTRUMENT REFERENCE 289vertically to zoom, and drag horizontally to pan different areas of the sample into view.21.2.4 EnvelopeSimpl

CHAPTER 21. LIVE INSTRUMENT REFERENCE 29030 Hz, or sync to divisions of the Set's tempo. LFOs are applied individually to each voice,or played no

CHAPTER 21. LIVE INSTRUMENT REFERENCE 291The Voices parameter sets the maximum number of voices that Simpler can play simultane-ously. If more voices

CHAPTER 21. LIVE INSTRUMENT REFERENCE 292SONiVOX, Chocolate Audio and Puremagnetik.Note  The Essential Instrument Collection is not included with dow

CHAPTER 21. LIVE INSTRUMENT REFERENCE 29321.3.3 The Included InstrumentsThe following multisampled instruments are included:Acoustic Keyboards  Grand

294Chapter 22MIDI and Key Remote ControlTo liberate the musician from the mouse, most of Live's controls can be remote-controlledwith an exter na

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 29522.1 MIDI Remote ControlLive can be controlled remotely by external MIDI control surfaces, such as MIDI key

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 296listed here, don't fret  it can still be enabled manually in the next section, Manual ControlSurface

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 297Control Surfaces CanFollow Device Selection.In addition to following device selection, natively supported c

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

CHAPTER 4. LIVE CONCEPTS 28The Key/MIDI MapControls.Session clips, switches, buttons and radio buttons can be mapped to computer keyboardkeys as well.

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 29822.1.2 Manual Control Surface SetupIf your MIDI control surface is not listed in the MIDI/Sync Preferences&

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 29922.1.3 Takeover ModeMIDI ControllerTakeover Mode.When MIDI controls that send absolute values (such as fade

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 30022.2 The Mapping BrowserThe Mapping Browserand Selector.All manual MIDI, computer keyboard and Macro Contro

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 30122.2.1 Assigning MIDI Remote ControlThe MIDI Map ModeSwitch.Once your remote control setup has been dened

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 302note is assigned a discrete value, equally spaced over the parameter's range of values.Hint: Session V

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 30322.2.4 Mapping to Relative MIDI ControllersSome MIDI controllers can send value increment and value decr

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 304available option. Decrement messages make it jump backward.Continuous Controls  Each type of relative MIDI

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 305Relative Session mapping is useful for navigating a large Live Set, as Live always keeps thehighlighted sce

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 306Keyboard assignments can produce the following effects in Live:Clips in Session View slots will be affected

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 30722.3.1 Channel StripsThe Eight Channel Stripsand the Master Strip.The Mackie Control's eight channel s

CHAPTER 4. LIVE CONCEPTS 29A Live Clip in the FileBrowser.Live Clips are a very powerful way of storing ideas, as they save not only the clip's C

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 3081. Arm  By default, this arms the track for recording in exclusion of all other tracks.To arm the track no

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 30922.3.2 V-Pots and Assignment SwitchesThe V-Pots andAssignment Switches.The Mackie Control's V-Pots hav

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 310switch) pressing a V-Pot toggles the options.There are six assignment switches to the right of the channel

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 31122.3.3 Bank/Channel and Flip/ReturnBank, Channel, Flip andReturn Buttons.1. Bank  If more than eight track

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 312button while pressing these.2. Channel  You can use the channel + and - buttons to scroll through thea

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 31322.3.4 TransportThe Transport Controls.1. Previous/Next Locator  Using these buttons, you can skip forward

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 3142. Loop On/Off  Toggles the Arrangement Loop switch on/off.3. Punch-In/Punch-Out  Toggles Live's Pun

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 315Control's Options button while pressing this.12. Jog Wheel  In the Session View, the jog wheel scroll

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 31622.3.5 Software-Specic ControlsThe Software-SpecicControls.1. Shift, Option, Control, Alt  Used to acces

CHAPTER 22. MIDI AND KEY REMOTE CONTROL 317meters appear only when pan assignment mode is active.4. F-Keys  These keys can be mapped freely to contro

CHAPTER 4. LIVE CONCEPTS 30Choosing the LibraryBookmark.The rst time you run Live, it will automatically install its Library to your standard user fo

318Chapter 23Computer Audio Resources andStrategiesReal-time audio processing is a demanding task for general-purpose computers, which areusually desi

CHAPTER 23. COMPUTER AUDIO RESOURCES AND STRATEGIES 319Fortunately, Live supports multicore and multiprocessor systems, allowing the processingload fr

CHAPTER 23. COMPUTER AUDIO RESOURCES AND STRATEGIES 32023.1.2 CPU Load from Tracks and DevicesGenerally, every track and device being used in Live inc

CHAPTER 23. COMPUTER AUDIO RESOURCES AND STRATEGIES 321Reduce the amount of audio channels being written by choosing mono inputs insteadof stereo inpu

322Chapter 24Live 7 Audio Fact SheetMuch of Ableton's recent development effort has been focused on carefully and objectivelytesting Live's

CHAPTER 24. LIVE 7 AUDIO FACT SHEET 323we will never release an update unless it passes every test.24.2 Neutral OperationsProcedures in Live that will

CHAPTER 24. LIVE 7 AUDIO FACT SHEET 324rendering to a le with the same bit depth as the original results in complete phasecancellation.rendering to a

CHAPTER 24. LIVE 7 AUDIO FACT SHEET 32524.2.4 Summing at Single Mix PointsLive 7 uses double precision (64-bit) summing at all points where signals ar

CHAPTER 24. LIVE 7 AUDIO FACT SHEET 32624.2.7 Freeze, Flatten(Please note that freezing is not available in Live LE.)When tracks are frozen, the audio

CHAPTER 24. LIVE 7 AUDIO FACT SHEET 327frozen audio from the same track via phase cancellation to ensure that the les are identical.24.2.8 Bypassed E

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

CHAPTER 24. LIVE 7 AUDIO FACT SHEET 328The neutrality of clip splitting is tested under a variety of conditions:splitting unwarped clips with loop on

CHAPTER 24. LIVE 7 AUDIO FACT SHEET 32924.3.2 Sample rate conversion/transpositionSample rate conversion (during both real-time playback and rendering

CHAPTER 24. LIVE 7 AUDIO FACT SHEET 33024.3.4 DitheringWhenever rendering audio to a lower bit depth, it is a good idea to apply dithering in orderto

CHAPTER 24. LIVE 7 AUDIO FACT SHEET 331Normalization is a gain change, which is a non-neutral operation. Also, the new les will becreated at the samp

CHAPTER 24. LIVE 7 AUDIO FACT SHEET 332Record audio into Live using high-quality hardware components (audio interface, ca-bles, etc.) and at the highe

333Chapter 25Live 7 MIDI Fact SheetIn conjunction with our work on the audio engine, Ableton has spent additional effort an-alyzing Live's MIDI t

CHAPTER 25. LIVE 7 MIDI FACT SHEET 334ware device (such as a MIDI keyboard) into a DAW for storage. An ideal recordingenvironment would capture this i

CHAPTER 25. LIVE 7 MIDI FACT SHEET 335needs to be moved from one such process to another  when converting MIDIdata into a plug-in's playback, fo

CHAPTER 25. LIVE 7 MIDI FACT SHEET 336makes it possible to record events to the clip at the time you hear them  not the time youplay them.For playbac

CHAPTER 25. LIVE 7 MIDI FACT SHEET 337timestamps attached to incoming MIDI events are accurate, and that outgoing events willbe dealt with appropriate

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

CHAPTER 25. LIVE 7 MIDI FACT SHEET 338Windows:Interface A: The maximum jitter was +/- 4 ms, with the majority of the jitter occurringat +/- 1 ms.Inter

CHAPTER 25. LIVE 7 MIDI FACT SHEET 339Audio Recording(another instance of Live)MIDI-to-AudioConverterLiveMIDI ClipAudio ClipMIDI Output TestCongurati

CHAPTER 25. LIVE 7 MIDI FACT SHEET 340you experience timing issues, we recommend switching to the other mode. This is setin the MIDI Ports list in the

341Chapter 26Live Keyboard Shortcuts26.1 Showing and Hiding ViewsWindows MacintoshToggle Full Screen ModeF11CtrlF11Toggle Session/Arrangement ViewTogg

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 342Windows MacintoshHide/Show CrossfaderCtrlAltFAltFOpen the PreferencesCtrl,,Close Window/DialogEscEsc26.2 Access

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 34326.4 BrowsingIn addition to the shortcuts shown here, editing shortcuts can also be used in the Browser.Windows

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 34426.6 EditingWindows MacintoshCutCtrlXXCopyCtrlCCPasteCtrlVVDuplicateCtrlDDDeleteDeleteUndoCtrlZZRedoCtrlYZRenam

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 34526.7 Loop Brace and Start/End MarkersThe loop brace and start/end markers must rst be selected before any of t

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 34626.9 Arrangement View CommandsThe shortcuts for zooming, snapping/drawing and loop/region settings also work in

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 34726.11 Commands for Breakpoint EnvelopesThe shortcuts for zooming, snapping/drawing and loop/region settings als

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

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 34826.14 Clip View Sample DisplayThe shortcuts for zooming and loop/region settings also work in the Sample Displa

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 34926.16 Grid Snapping and DrawingWindows MacintoshToggle Draw ModeCtrlBBNarrow GridCtrl1 1 Widen GridCtrl2

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 35026.18 Working with Sets and the ProgramWindows MacintoshNew Live SetCtrlNNOpen Live SetCtrlOOClose Live SetCtrl

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 35126.20 Using the Context MenuA context menu is available in Live for quick access to many commonly used menu ite

352Chapter 27Live 7 LE vs. Live 7 ComparisonChartLive 7 LE Live 7Maximum number of audio tracks per project 64 UnlimitedMaximum number of MIDI tracks

CHAPTER 27. LIVE 7 LE VS. LIVE 7 COMPARISON CHART 353Live 7 LE Live 7Number of included Ableton MIDI effects 7 7Maximum number of Ableton MIDI effects

CHAPTER 27. LIVE 7 LE VS. LIVE 7 COMPARISON CHART 354Live 7 LE Live 7WAV, AIFF, MP3, Ogg Vorbis, FLAC le support Yes Yes

355IndexAAbletone-mail addressessales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13technical support . . . . . . . . . . . . . . . . .

INDEX 356Auto-Hide Plug-In Windows preference 200Auto-Open Plug-In Windows preference 200Auto-Warp . . . . . . . . . . . . . . . . . . . . . . . . . .

INDEX 357adding/removing . . . . . . . . . . . . . . . . . . . 90Clip Update Rate preference . . . . . . . . . . . 112Clip View . . . . . . . . . . .

CHAPTER 5. MANAGING FILES AND SETS 34then select the Close All Folders option to show only top-level folders. Double-clicking aFile Browser's sel

INDEX 358and tracks . . . . . . . . . . . . . . . . . . . . . . . . . 171in the Browser . . . . . . . . . . . . . . . . . . . . . . 39Delete Fragmenta

INDEX 359le management . . . . . . . . . see Manage FilescommandFile Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57File Type pref

INDEX 360Insert Scene command . . . . . . . . . . . . . . . . . . 90Insert Silence command . . . . . . . . . . . . . . . . . 81Insert Time Signature C

INDEX 361Maximum Cache Size preference . . . . . . . . 42Metronome switch . . . . . . . . . . . . . . . . . . . . . 185MIDIexporting . . . . . . . . .

INDEX 362Paste Time command . . . . . . . . . . . . . . . . . . . 81pencil tool . . . . . . . . . . . . . . . . . see Draw ModePhaser effect . . . . .

INDEX 363Repeat Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 141resampling . . . . . . . . . . . . . .154, see recordingRescan Plug-Ins pr

INDEX 364and editing MIDI . . . . . . . . . . . . . . . . . . 134and exporting . . . . . . . . . . . . . . . . . . . . . . 44Select Next Scene on Laun

INDEX 365and scene names . . . . . . . . . . . . . . . 87, 90time signature changes . . . . . . . . . . . . . . . . . .75Toggle Mode . . . . . . . . .

INDEX 366Vinyl Distortion effect . . . . . . . . . . . . . . . . . . 270Volume control . . . . . . . . . . . . . . . . . . . . . . . . .169Volume quic

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

CHAPTER 5. MANAGING FILES AND SETS 36The Rescan Button.Automatic rescanning for new searches can be activated and deactivated in the File/FolderPrefer

CHAPTER 5. MANAGING FILES AND SETS 37indicate this via a small rotating ring on the Browser button.The Rotating RingMeans That a Search isin Progress.

CHAPTER 1. WELCOME TO LIVE 21.2 What's New in Live 7?1.2.1 Multiple Time SignaturesWork with multiple time signatures in both Arrangement and Ses

CHAPTER 5. MANAGING FILES AND SETS 38Click on the les (or use and ) to select and listen to them. If the transport is running,Live tries to preview 

CHAPTER 5. MANAGING FILES AND SETS 39Dropping a Clip toCreate a New Track.In the Session View, double-clicking or pressingReturnon a le in the Browse

CHAPTER 5. MANAGING FILES AND SETS 405.1.7 Hot-Swap ModeIn addition to the drag-and-drop method of loading les from the Browser, Live offers aHot-Swa

CHAPTER 5. MANAGING FILES AND SETS 41is selected, or if the Hot-Swap button is pressed again. Hot-swapping can also be cancelledwith a press of theEsc

CHAPTER 5. MANAGING FILES AND SETS 425.2.1 The Decoding CacheTo save computational resources, Live keeps the decoded sample les of compressedsamples

CHAPTER 5. MANAGING FILES AND SETS 43Storing default clip settings with the analysis le is different from saving the clip as a LiveClip.While analysi

CHAPTER 5. MANAGING FILES AND SETS 44data CD, which could serve as a backup of your work or be used with other digital audioapplications.Which Signal

CHAPTER 5. MANAGING FILES AND SETS 45Remember  a rendered audio le contains only what you heard prior to rendering. So, forexample, if you're p

CHAPTER 5. MANAGING FILES AND SETS 46File Type, Bit Depth, Sample Rate  These options specify the type of sample to becreated.Convert to Mono  If th

CHAPTER 5. MANAGING FILES AND SETS 47A MIDI File and itsTracks in the Browser.Note that while you can rename or delete entire MIDI les via the Browse

CHAPTER 1. WELCOME TO LIVE 3Hi-Quality modes have also been added to the Dynamic Tube and Saturator effects

CHAPTER 5. MANAGING FILES AND SETS 48A Live Clip in theBrowser.Live Clips are a great way of storing your ideas for later use or development, as they

CHAPTER 5. MANAGING FILES AND SETS 49and manage all of the various components of the Live Set: Live Clips, device presets, anysamples used, etc.5.5.1

CHAPTER 5. MANAGING FILES AND SETS 50Arrangement View DropArea for Importing LiveSets.If you prefer to import individual tracks from a Set, you can un

CHAPTER 5. MANAGING FILES AND SETS 51You can browse, preview and import Session View clips from the Set as if they had beenstored as individual Live C

CHAPTER 5. MANAGING FILES AND SETS 52many clips or instruments within the Live Set are using that sample. Here is what you cando:Replace a sample  Dr

CHAPTER 5. MANAGING FILES AND SETS 53The Sample ReferenceList's Location Column.5.6 Live ProjectsA Live Project is a folder containing Live-relat

CHAPTER 5. MANAGING FILES AND SETS 54A Live Set and itsRecordings in a LiveProject Folder.The project folder (Tango Project) contains the Live Set (

CHAPTER 5. MANAGING FILES AND SETS 55to save it outside the Tango Project folder, say on the Desktop. Live creates a new projectfolder named Samba Pro

CHAPTER 5. MANAGING FILES AND SETS 56A New Project WasAdded by Saving a LiveSet Outside its OriginalProject.Note that the new project folder has no Sa

CHAPTER 5. MANAGING FILES AND SETS 575.6.2 Projects and PresetsBy default, new instrument and effect presets are stored in the Live Library, making th

4Chapter 2First StepsNote: This manual has been adapted for Live LE. Specically, this means that features whichare not available in Live LE have not

CHAPTER 5. MANAGING FILES AND SETS 58listing unused samples in the Project;packing a Project in Live Pack format;exporting the Project's contents

CHAPTER 5. MANAGING FILES AND SETS 59By default, the Live 7 Library contains the following sub-folders:Ableton Project Info  contains les that Live

CHAPTER 5. MANAGING FILES AND SETS 60The Library LocationChooser.If any of these previous Library locations are now unavailable (perhaps because of an

CHAPTER 5. MANAGING FILES AND SETS 61contents.In all three of these cases, you may also choose to create a new Library, without copyingor moving any c

CHAPTER 5. MANAGING FILES AND SETS 62The File Manager's Listof Missing Samples.5.8.1 Manual RepairTo manually x a broken sample reference, locat

CHAPTER 5. MANAGING FILES AND SETS 63Automatic RepairOptions in the FileManager.Search Folder  includes a user-dened folder, as well as any sub-fold

CHAPTER 5. MANAGING FILES AND SETS 645.9 Collecting Exter nal SamplesTo prevent a Live Set from containing broken sample references, Live provides the

CHAPTER 5. MANAGING FILES AND SETS 65Separated by location (the Library, installed by factory Live Packs, other Projects and else-where  sample colle

CHAPTER 5. MANAGING FILES AND SETS 66Any selection of Live Sets, Live Clips, Live Presets  (PC) /Ctrl(Mac) on therespective items in the File Browser

CHAPTER 5. MANAGING FILES AND SETS 675.12 Packing Projects into Live PacksLive's File Manager provides the option of packing a Live Project in Li

CHAPTER 2. FIRST STEPS 5directly in the program via the Help menu. We highly recommend following the lessons.Many users have told us that the lessons

CHAPTER 5. MANAGING FILES AND SETS 68the device's title bar and dropping into the Current Project. You can then use the FileManagement tools, col

CHAPTER 5. MANAGING FILES AND SETS 692) Navigate to the Project folder in the Browser and choose Manage Project via the(PC) /Ctrl(Mac) context menu.3)

70Chapter 6Arrangement ViewThe Arrangement V iew displays the Arrangement, which contains music laid out along asong timeline, like a multitrack tape.

CHAPTER 6. ARRANGEMENT VIEW 716.1 NavigationLive offers several fast methods for zooming and scrolling the Arrangement display:134562Navigating theArr

CHAPTER 6. ARRANGEMENT VIEW 72horizontally to scroll the display. Using this method, you can zoom and scroll tofocus around any part of the Arrangemen

CHAPTER 6. ARRANGEMENT VIEW 73the Arrangement the size of the chosen quantization setting will be repeatedlyplayed. With small quantization settings,

CHAPTER 6. ARRANGEMENT VIEW 746.3 Launching the Arrangement with LocatorsUsing Locators toLaunch Play in theArrangement.Locators can be set at any poi

CHAPTER 6. ARRANGEMENT VIEW 75To name a locator, select it by clicking its triangular marker, and choose the Rename Editmenu command (or use theCtrlR(

CHAPTER 6. ARRANGEMENT VIEW 76select the area up to the next time signature marker.Any time signature with a one- or two-digit numerator and a denomin

CHAPTER 6. ARRANGEMENT VIEW 77Please note that these resolution options affect all tracks - deleting and inserting timechanges the length of the entir

CHAPTER 2. FIRST STEPS 62.2 Setting up PreferencesLive's Preferences window is where you can nd various settings that determine how Livelooks, b

CHAPTER 6. ARRANGEMENT VIEW 78and nudge the loop brace to the left/right by the current grid setting.and shift the loop brace left/right in steps the

CHAPTER 6. ARRANGEMENT VIEW 796.7 Selecting Clips and TimeWith the exception of moving and resizing clips, Arrangement editing in Live is selection-ba

CHAPTER 6. ARRANGEMENT VIEW 80Clicking the Loop Braceto Select the Loop forEditing.6.8 Using the Editing GridTo ease editing, the cursor will snap to

CHAPTER 6. ARRANGEMENT VIEW 816.9 Using the ...Time CommandsWhereas the standard commands like Cut, Copy and Paste only affect the current selection,t

CHAPTER 6. ARRANGEMENT VIEW 826.10 Splitting ClipsThe Split command can divide a clip or isolate part of it.To split a clip in two halves, do the foll

CHAPTER 6. ARRANGEMENT VIEW 83Consolidating SeveralClips Into a New Clip.Suppose you have, by editing or improvising, come up with a layout of clips t

84Chapter 7Session ViewIn Live's Arrangement View, as in all traditional sequencing programs, everything happensalong a xed song timeline. For a

CHAPTER 7. SESSION VIEW 857.1 Session View ClipsThe Controls for aSession View Clip.1. Each clip in the Session View has a triangular button at the le

CHAPTER 7. SESSION VIEW 86The ArrangementPosition Fields and theStop Button.7.2 Tracks and ScenesEach vertical column, or track, can play only one cli

CHAPTER 7. SESSION VIEW 87The scene below a launched scene will automatically be selected as the next to be launchedunless the Select Next Scene on La

CHAPTER 2. FIRST STEPS 72.3 The Main Live ScreenMost of your work in Live happens in the main Live screen. This screen consists of a numberof views, a

CHAPTER 7. SESSION VIEW 887.3 The Track Status FieldsYou can tell a track's status by looking at the Track Status eld just above the active trac

CHAPTER 7. SESSION VIEW 897.4 Setting Up the Session View GridClips arrive in the Session View by being imported from the File Browsers or throughreco

CHAPTER 7. SESSION VIEW 907.4.2 Removing Clip Stop ButtonsSlots Without Clip StopButtons.You can add and remove Clip Stop buttons from the grid using

CHAPTER 7. SESSION VIEW 91The Control Bar's RecordButton.When the Record button is on, Live logs all of your actions into the Arrangement:the cli

CHAPTER 7. SESSION VIEW 92The Stop All ClipsButton.To disable all Arrangement clips simultaneously, click on the Stop All Clips button in theMaster Tr

93Chapter 8Clip ViewThe Clip View is where clip properties can be set and adjusted.The Clip View.The Clip View is opened by clicking on the Clip Overv

CHAPTER 8. CLIP VIEW 94Clicking the ClipOverview Opens theClip View.In the Session View, clicking on a Track Status Field opens the Clip View for edit

CHAPTER 8. CLIP VIEW 95in common:The Clip box contains basic clip settings.The Envelopes box and the Envelope Editor manage the clip's envelopes,

CHAPTER 8. CLIP VIEW 96The Clip View for a MIDIClip.To make best use of the screen real estate, you can show or hide the Launch, Envelopes,and Sample

CHAPTER 8. CLIP VIEW 978.1 The Clip BoxThe Clip Box.8.1.1 Clip Activator SwitchUsing this switch, you can deactivate a clip so that it does not play w