Ableton Live - 9.0 Manual de usuario

1 Ableton Reference Manual Version 9for Windows and Mac OS Reference Manual by Dennis DeSantis, Ian Gallagher, Kevin Haywood, Rose Knudsen, Gerhard Be

10 First Stepsthat you create and work on in Live. Since screen space is usually limited, the Live views can’t all be displayed at the same time.Each

100 Clip ViewTo make best use of the screen real estate, you can show or hide the Launch, Envelopes, and Sample or MIDI boxes using the Clip View Box

101 Clip View8.1.2 Clip Name and ColorThe Clip Name field allows naming the clip. By default, a clip’s name matches the name of the file it references

102 Clip ViewThe “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 variet

103 Clip ViewThe Scrub Control in MIDI Map Mode.With quantization set to values less than one bar, it is easy to offset clip playback from Live’s mast

104 Clip ViewThe Control Bar’s Tempo Field.To verify this, note that a warped sample’s speed follows the tempo as you change the Control Bar’s Tempo c

105 Clip ViewClick and drag vertically in these areas to smoothly change the zoom level, and horizontally to scroll the display.The Clip Overview.The

106 Clip ViewThe Clip Start and End Markers.These markers can be clicked and dragged to new positions in the Sample Display, or they can be moved with

107 Clip ViewThe Clip Scrub Area.The size of this jump is quantized by the global quantization setting, which can be quickly changed using the [CTRL][

108 Clip ViewThe Clip Loop Controls.The loop brace can be selected with the mouse and its position changed with commands from the computer keyboard:•t

109 Clip ViewSetting the Clip to Run Into a Loop.The Loop Length and Position fields are equipped with Set buttons, which can be used to create loops s

11 Authorizing LiveChapter 3Authorizing LiveLive is protected against illegal use by a copy protection scheme. This scheme has been de-signed to meet

11 0 Clip View8.2.3 Clip Pitch and GainThe Clip Pitch and Gain Controls.The Transpose control shifts the clip pitch in semitones.The Detune field fine-

111 Clip View8.2.5 Saving Default Clip Settings with the SampleThe Save Default Clip Button.The Save Default Clip button saves the current clip’s set

112 Clip Viewmade in older versions that used Hi-Q mode may now sound different. For this reason, we have provided a Legacy Hi-Q Mode option, which is

113 Clip View8.2.8 Clip RAM ModeThe RAM Mode Switch.If the RAM Mode switch is on, Live is loading the audio referenced by the clip into the com-puter

114 Clip Viewafter saving the Live Set, in the Set’s Project folder, under Samples/Processed/Reverse. Until the Set is saved, new samples remain at th

115 Clip ViewThe Sample Display’s [right-click](PC) / [CTRL-click](Mac) context menu includes the Manage Sample File command. This opens the File Mana

116 Clip View•Legato lengthens (or shortens) each selected note so that it is just long enough to reach the beginning of the next note.•Dupl. Loop dou

117 Audio Clips, Tempo, and WarpingChapter 9Audio Clips, Tempo, and WarpingUnlike music stored on tape or in a traditional digital audio workstation,

118 Audio Clips, Tempo, and WarpingYou can have an external sequencer (or drum machine) play along with Live or have Live play along with the sequence

119 Audio Clips, Tempo, and WarpingAlthough Live can be easily synchronized to external MIDI devices (page 561), you may find yourself in situations in

12 Authorizing LiveIf trying Live or another product raises your interest in purchasing it, please visit the Ableton web-shop2. This site contains inf

12 0 Audio Clips, Tempo, and WarpingTo direct Live’s assumptions about new samples, use the Record/Warp/Launch tab of Live’s Preferences. If the Auto-

121 Audio Clips, Tempo, and Warpingers can also be deleted by double-clicking them, or by pressing the computer keyboard’s [Back-space] or [Delete] ke

12 2 Audio Clips, Tempo, and WarpingTransient Markers.As you mouse over transients, temporary “pseudo“ Warp Markers appear. These have the same shape

12 3 Audio Clips, Tempo, and Warping9.2.3 Using Warp MarkersIn the following sections, we will look at a couple of applications for time-warping samp

124 Audio Clips, Tempo, and WarpingSetting the Warp Markers for a Poorly Cut Loop.Syncing Odd-Length LoopsIf you import a sample that contains a seven

125 Audio Clips, Tempo, and WarpingUsing Warp Markers to Manipulate the Groove.“Removing“ a sample’s natural groove by applying Warp Markers is an int

126 Audio Clips, Tempo, and WarpingAuto-Warp’s Results in the Clip View.As long as Auto-Warp made the correct set of informed guesses, the clip will b

127 Audio Clips, Tempo, and WarpingUsing the Context Menu to Direct Auto-Warp.Directing Auto-Warp is also relatively simple when you have imported a p

128 Audio Clips, Tempo, and Warping2. Use the Control Bar’s Tap Tempo button to tap along, thereby setting the Live Set’s tempo to match that of the c

129 Audio Clips, Tempo, and WarpingQuantizing Audio Samples.Using the options presented here, you can select either the current grid size or a specific

13 Authorizing Live3.1.5 What Do I Do About Problems or Questions Regarding Copy Protection?Please visit Ableton’s technical support page.

130 Audio Clips, Tempo, and WarpingUse the Preserve control to preserve divisions in the sample as boundaries when warping. For the most accurate resu

131 Audio Clips, Tempo, and Warping9.3.3 Texture ModeTexture Mode works well for sound textures with an ambiguous pitch contour (e.g., polyphonic orc

132 Audio Clips, Tempo, and Warping9.3.6 Complex Pro ModeComplex Pro Mode uses a variation of the algorithm found in Complex mode, and may offer even

133 Editing MIDI Notes and VelocitiesChapter 10Editing MIDI Notes and VelocitiesA MIDI clip in Live contains notes and controller data for playing a M

134 Editing MIDI Notes and Velocities10.2 The MIDI EditorTo bring up the MIDI Editor, double-click a MIDI clip to open the Clip View. You can use the

135 Editing MIDI Notes and VelocitiesPreviewing MIDI Notes.Provided your MIDI track’s device chain contains an instrument (page 217), activating the P

136 Editing MIDI Notes and Velocities10.3 MIDI Editor Navigation and TransportNote Scale Position Is Shown Vertically and Beat-Time Horizontally.The

137 Editing MIDI Notes and Velocities2. Click and drag vertically in the note ruler to change which octaves are shown, or drag horizontally to change

138 Editing MIDI Notes and VelocitiesAs you work with MIDI, you may find yourself needing extra screen space. You can click and drag vertically on the

139 Editing MIDI Notes and VelocitiesThe Fold Button Extracts Key Tracks Containing Notes.When editing MIDI, you might find that you want to change whi

14 Authorizing Live

14 0 Editing MIDI Notes and Velocities10.4.4 Editing NotesEditing in the MIDI Editor is similar to editing in the Arrangement (page 80). In both case

141 Editing MIDI Notes and Velocitiesarrow keys.•[Shift] plus the up or down arrow keys extends or retracts the duration of selected notes, according

14 2 Editing MIDI Notes and VelocitiesChanging Note Length.Tip: To set a group of notes to the same length, select them all, grab the end of the longe

14 3 Editing MIDI Notes and VelocitiesTo adjust your quantization parameters, open the Quantization Settings dialog from the Edit menu.Quantizing MIDI

14 4 Editing MIDI Notes and VelocitiesAs in the Note Editor, you can select multiple velocity markers to change by clicking with the [Shift] modifier h

14 5 Editing MIDI Notes and Velocitieswithout releasing the mouse button. If you change velocity with this vertical movement, Live will remember the c

14 6 Editing MIDI Notes and Velocities10.4.9 MIDI Note StretchMIDI Note Stretch Markers.When multiple notes or a range of time are selected in the No

14 7 Editing MIDI Notes and Velocities10.4.10 Cropping MIDI ClipsMIDI data that is outside of the loop brace can be deleted by means of the Crop Clip

14 8 Editing MIDI Notes and Velocities

14 9 Converting Audio to MIDIChapter 11Converting Audio to MIDI(Note: the features discussed in this chapter are not available in the Intro and Lite E

15 Live ConceptsChapter 4Live ConceptsThis chapter introduces the essential concepts of Live. We advise you to read this chapter early in your Live ca

150 Converting Audio to MIDIThe Slicing Dialog.When you select Slice to New MIDI track, you’ll be presented with a dialog box. This offers a list of s

151 Converting Audio to MIDI11.1.1 Resequencing SlicesRearranging the Sliced MIDI Data.By default, your sliced MIDI data will form a chromatically-as

152 Converting Audio to MIDI11.2 Convert Harmony to New MIDI TrackThis command identifies the pitches in a polyphonic audio recording and places them

153 Converting Audio to MIDIThe Convert Melody command can work with music from your collection, but also allows you to record yourself singing, whist

154 Converting Audio to MIDILive uses the transient markers (page 121) in the original audio clip to determine the divisions between notes in the conv

155 Using GroovesChapter 12Using GroovesThe timing and “feel“ of each clip in your Set can be modified through the use of grooves. Live comes with a la

156 Using GroovesThe Hot-Swap Groove Button.Grooves can be applied to both audio and MIDI clips. In audio clips, grooves work by adjusting the clip’s

157 Using GroovesThe Groove Pool.12.1.1 Adjusting Groove ParametersGrooves in the Groove Pool appear in a list, and offer a variety of parameters tha

158 Using Grooves•Velocity — adjusts how much the velocity of the notes in clips will be affected by the veloc-ity information stored in the groove fil

159 Using Grooves12.2 Editing GroovesThe effect that groove files have on your clips is a combination of two factors: the parameter settings made in t

16 Live Concepts4.2 Live SetsThe type of document that you create and work on in Live is called a Live Set (page 51). Live Sets reside in a Live Proj

160 Using Grooves12.3.1 Grooving a Single VoiceDrummers will often use variations in the timing of particular instruments in order to create a convin

161 Launching ClipsChapter 13Launching ClipsThe Live Session View is set apart by the fact that it gives you, the musician, a spontaneous en-vironment

162 Launching ClipsNote 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

163 Launching Clips13.3 Clip Launch QuantizationThe Clip Quantization Chooser.The Clip Quantization chooser lets you adjust an onset timing correctio

164 Launching ClipsThe 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

165 Launching Clipsthe clip plays. A group is defined by clips arranged in successive slots of the same track. Tracks can have an unlimited number of g

166 Launching Clips “First“ launches the first (top) clip in a group. “Last“ launches the last (bottom) clip in a group. “Any“ plays any clip in the gr

167 Launching ClipsCreating a Group With the Two Clips.3. Set up Follow Actions for the first clip. You will want to make Follow Action Time equal to t

168 Launching ClipsThe default setting for Follow Action is actually a 1:0 chance that “No Action“ happens after the Follow Action Time, which means t

169 Launching Clips13.6.6 Creating Nonrepetitive StructuresFollow Actions are great when it comes to sound installations, as they allow you to create

17 Live Conceptsor their respective selectors. Because the two views have distinct applications, they each hold individual collections of clips. Howev

170 Launching Clips

171 Routing and I/OChapter 14Routing and I/OIn the context of Live, “routing“ is the setup of the tracks’ signal sources and destinations (i.e., their

172 Routing and I/O•The lower chooser pair (“Audio/MIDI To“) selects the track’s output. All tracks have audio outputs, except for MIDI tracks without

173 Routing and I/Owhere (for instance, a ReWire slave program). With this setting, output from the clips is suppressed. An “In“ monitoring setting ca

174 Routing and I/OMono is turned into stereo simply by using the identical signal for left and right channels. When a track is routed into a mono out

175 Routing and I/OActivating the Computer MIDI Keyboard.The center row of letter keys on the keyboard will play notes corresponding to the white keys

176 Routing and I/Ogenerator, allowing you to treat both components as if they were separate devices. This allows you to use Live as the hub of your M

17 7 Routing and I/OAn Audio Track Receiving Audio From and a MIDI Track Sending MIDI to Reason.The following example shows how to send MIDI from one

178 Routing and I/Oeffects. If you want to continue work on the project without reopening Reason, simply record Reason’s audio by arming the audio tra

179 Routing and I/O208). Note that the recording track’s own output will be suppressed while resampling is taking place, and will not be included in t

18 Live ConceptsTherefore, one usually puts clips that should play alternatively in the same Session View column, and spreads out clips that should pl

180 Routing and I/Ooutput of the tracks that are feeding it. Also, you can still solo Track A and hear its output signal. In this case, all other trac

181 Routing and I/Oand mixer. Soloing a track that taps another track Post Mixer will not allow you to hear the tapped track.Routing Points in RacksTa

182 Routing and I/O14.6.2 Making Use of Internal RoutingThis section presents several internal routing examples in more detail.Post-Effects Recording

183 Routing and I/ONative Instruments’ Absynth to produce something that sounds more like a piece of music than a single tone. This output lends itsel

184 Routing and I/OSuppose we have the individual drums of a drum kit coming in on separate tracks for multitrack recording. In the mix, we can easily

185 Routing and I/OFeeding an Additional MIDI Track Into an Existing MIDI Track to Reuse its Instrument.This is accomplished by setting the new MIDI t

186 Routing and I/Oplayed by an instrument that is out of the mix. This can be easily remedied by cutting the clips from the pad track and pasting the

187 Routing and I/OUsing Multi-Timbral Plug-In InstrumentsMany plug-in instruments support multi-timbral operation. A multi-timbral instrument is like

188 Routing and I/O4. Select the MIDI channel to route to in the second chooser on the External Instrument de-vice.5. From the External Instrument’s A

189 Routing and I/OA number of Ableton’s built-in devices have their own sidechain controls with integrated routing choosers that match those found in

19 Live ConceptsThe Back to Arrangement Button in the Session View.The Back to Arrangement Button in the Arrangement View.We can click this button to

19 0 Routing and I/O

191 MixingChapter 15Mixing15.1 The Live MixerLive includes a mixer section that is accessible from two views:The Arrangement View Mixer.In the Arrang

192 MixingThe Session View Mixer.The Session View is a standard vertical mixer layout, which you may find more intuitive than the Arrangement mixer. No

193 MixingThe Mixer Section Selectors.Let’s look at the mixer controls:The Mixer Controls.1. The Meter shows the track’s RMS (average) and peak output

194 Mixing6. If the Arm Recording button is on, the track is record-enabled (page 205). With multiple tracks selected, pressing any of their Arm switc

195 MixingNevertheless, Live provides this optional visual feedback for signals that travel beyond 0 dB in any track.15.2 Audio and MIDI TracksAudio

196 Mixinggether when dropped. To move nonadjacent tracks without collapsing, use [CTRL] + arrow keys instead of the mouse.When multiple tracks are se

197 MixingAn Unfolded Group Track Visualized in Session View...When tracks are placed into a group, their Audio To routing choosers (page 179) are aut

198 Mixing15.4 Return Tracks and the Master TrackIn addition to Group Tracks and tracks that play clips, a Live Set has a Master track and return tra

19 9 MixingThe Master track is the default destination for the signals from all other tracks. Drag effects here to process the mixed signal before it

2 Copyright 2013 Ableton AG. All rights reserved. Made in Germany. This manual, as well as the software described in it, is furnished under license an

20 Live Concepts4.5 Audio and MIDIClips represent recorded signals. Live deals with two types of signals: audio and MIDI. In the digital world, an au

200 MixingChoose from Seven Crossfader Curves.The chart below details the power level and response of each crossfader curve.Crossfader Curve Propertie

201 Mixingseparately available for MIDI or keyboard mapping. There are two special scenarios for remote control with respect to the crossfader:•A key

202 Mixingchooser. The crossfader’s automation curve is accessible when “Mixer“ is chosen from the Mas-ter track’s Device chooser and “Crossfade“ is s

203 Mixing1. The Master Out chooser selects the output on your interface to be used as the main output.2. The Cue Out chooser selects the output on yo

204 MixingNote that delay compensation for plug-ins and Live devices is a separate feature (page 235), and is automatic by default. Unusually high Tra

205 Recording New ClipsChapter 16Recording New ClipsThis chapter is about recording new clips from audio and MIDI input signals. Note that this is a d

206 Recording New ClipsThe computer keyboard is, by default, activated as a pseudo-MIDI input device (page 174), allowing you to record MIDI even if n

207 Recording New Clips16.3 RecordingRecording can be done in both the Session and the Arrangement Views. If you want to record onto more than one tr

208 Recording New Clipsstart position.5. Likewise, to prevent recording after the punch-out point, activate the Punch-Out switch. The punch-out point

209 Recording New Clips1. Set the Global Quantization chooser to any value other than “None“ to obtain correctly cut clips.2. Activate the Arm button

21 Live ConceptsSamples Are Dragged in from Live’s Browser.Live offers many options for playing samples in exciting new ways, allowing you to create a

210 Recording New Clipsand changing its loop properties (page 115).4. Arm the track.5. Press the Session Record button.6. The notes you play are added

211 Recording New ClipsStep Recording in the MIDI Editor.1. Arm the MIDI track that contains the clip into which you want to record.2. Enable the Prev

212 Recording New Clipseven during recording. You could, for instance, cheat a bit by turning down the tempo to record a technically difficult part, an

213 Recording New Clipsif, for example, you recorded with Record Quantization set to “Eighth Note Triplet Quantization“ and then changed your mind, us

214 Recording New Clips16.7 Setting up File TypesThe following Preferences from the Record/Warp/Launch tab are relevant to the sample files that are c

215 Recording New ClipsThe Scene Up/Down Buttons.One key is used to jump to the next scene...A Track Launch Button... and another key to start and en

216 Recording New Clips

217 Working with Instruments and EffectsChapter 17Working with Instruments and EffectsEvery track in Live can host a number of devices. These devices

218 Working with Instruments and EffectsTo save space in the Device View, a device can be collapsed by double-clicking on its title bar or by choosing

219 Working with Instruments and Effects17.1 Using the Live DevicesDevices in Live’s Browser.Live’s built-in devices can be accessed in the browser.

22 Live Conceptsperformance. It is also possible to radically change the sonic signature of a sound using extreme warp settings.4.7 MIDI Clips and MI

220 Working with Instruments and EffectsThis is how you would play live instruments through effects on a track, for example, or use a MIDI keyboard’s

2 21 Working with Instruments and Effectsby clicking in the space after the last device, or by using the right arrow key to move the selec-tion there.

222 Working with Instruments and Effectslook into clip envelopes (page 267), which can automate or modulate individual device pa-rameters on a per-cli

223 Working with Instruments and EffectsNote that pressing [Q] to enter Hot-Swap mode will swap from the last selected device on a given track. If no

224 Working with Instruments and EffectsDefault PresetsPresets saved to the Defaults folders in your User Library will load in place of Live’s generic

225 Working with Instruments and Effects•Create an empty Simpler or Sampler•Adjust the parameters as you like•Drag the edited device to the “On Drum R

226 Working with Instruments and Effectsbrary17.2 Using Plug-InsThe collection of devices that you can use in Live can be extended with plug-ins. Liv

227 Working with Instruments and Effectsactivating) plug-in sources can be found later in this chapter, in the sections on the VST Plug-in folder (pag

228 Working with Instruments and EffectsThe Plug-In Unfold Button.You can view or hide the plug-in’s parameters by toggling the button in the plug-i

229 Working with Instruments and Effectsonly those plug-in windows belonging to the track that is currently selected.You can use the View menu’s Show/

23 Live Concepts4.8 Devices and the MixerA track can have not only clips but also a chain of devices (page 217) for processing signals. Double-clicki

230 Working with Instruments and Effectseters, you can create a Rack (page 237) containing the configured plug-in. Racks can then be saved to your User

2 31 Working with Instruments and EffectsMacintosh only: The floating editor windows of some VST Plug-ins do not receive computer key strokes. This is

232 Working with Instruments and Effects3. Make sure that the Use VST Plug-In Custom Folder option is set to “On,“ so that your se-lected folder is an

233 Working with Instruments and EffectsSome VST Plug-ins contain errors or are incompatible with Live. During the scanning process, these may cause t

234 Working with Instruments and EffectsThe VST Load Program or Bank Button (Left) and Save Program or Bank Button (Right).VST programs and banks can

235 Working with Instruments and Effectsyou will find the Plug-In Sources section. Turning on the Use Audio Units option activates Audio Units Plug-ins

236 Working with Instruments and Effectsprocess an input signal and output a result. The compensation algorithm keeps Live’s tracks in sync while mini

237 Instrument, Drum and Effect RacksChapter 18Instrument, Drum and Effect RacksInside An Audio Effect Rack.A Rack is a flexible tool for working with

238 Instrument, Drum and Effect Racks18.1 An Overview of Racks18.1.1 Signal Flow and Parallel Device ChainsInside An Audio Effect Rack.In any of Liv

239 Instrument, Drum and Effect Racks18.1.2 Macro ControlsThe Macro Controls.One unique property of Racks are their Macro Controls.The Macro Controls

24 Live ConceptsPlug-In Devices Are Available from the Browser’s Plug-Ins Label.Consider an audio clip playing in an audio track. The audio signal fro

240 Instrument, Drum and Effect Racks•Instrument Racks contain instruments, but can additionally contain both MIDI and audio effects. In this case, al

241 Instrument, Drum and Effect RacksComponents of a Drum Rack.1. Racks have distinct views that can be shown or hidden as needed. Therefore, every Ra

242 Instrument, Drum and Effect Racksappear. Simply select an entry from the list, and Live will select that device and move it into view for you.Navi

243 Instrument, Drum and Effect RacksNote: Racks, chains and devices can be freely dragged into and out of other Racks, and even between tracks. Selec

244 Instrument, Drum and Effect Rackszones, which are discussed next, and is quite helpful when troubleshooting complex configura-tions.18.5 ZonesZone

245 Instrument, Drum and Effect Racks4. An incoming MIDI note gets compared to a chain’s key zone. If the MIDI note lies within the key zone, it is pa

246 Instrument, Drum and Effect Racks18.5.3 Velocity ZonesThe Velocity Zone Editor.Each chain in an Instrument Rack or MIDI Effect Rack also has a ve

247 Instrument, Drum and Effect RacksThe chain select zone is a data filter just like the other zones; although all chains in a Rack re-ceive input sig

248 Instrument, Drum and Effect RacksLet’s move the chain select zones of the second and third chains so that each of our zones is oc-cupying its own

249 Instrument, Drum and Effect RacksThe Chain List in a Drum Rack.1. In addition to the standard selectors found on all Racks, Drum Racks have four a

25 Live ConceptsThe mixer has controls for volume, pan position and sends, which adjust the contribution each track makes to the input of any return t

250 Instrument, Drum and Effect Racks18.6.1 Pad ViewPad View.The Pad View is unique to Drum Racks and offers an easy way to map and manipulate sample

251 Instrument, Drum and Effect RacksDragging a pad to another pad swaps the note mapping between the pads. This means that any MIDI clips triggering

252 Instrument, Drum and Effect Racks18.7 Using the Macro ControlsMaking Macro Control Assignments in Map Mode.With the potential for developing comp

253 Instrument, Drum and Effect Racksslider’s value. The current values can also be inverted by pressing [right-click](PC) / [CTRL-click](Mac) on the

254 Instrument, Drum and Effect RacksMixing Rack Chains in the Session View.Chains in the Session View mixer look similar to tracks, but they have no

255 Instrument, Drum and Effect Racksin the mixer and drag it to the mixer’s drop area. This creates a new track with the full contents of the snare c

256 Instrument, Drum and Effect Racks

257 Automation and Editing EnvelopesChapter 19Automation and Editing EnvelopesOften, when working with Live’s mixer and devices, you will want the con

258 Automation and Editing EnvelopesWhen Automation Arm is on, all changes of a control that occur while the Control Bar’s Ar-rangement Record button

259 Automation and Editing EnvelopesControls for Recording Session Automation.1. Enable the Automation Arm button to prepare for automation recording.

26 Live ConceptsThe Mixer for a MIDI Track without an Instrument.4.9 Presets and RacksEvery Live device can store and retrieve particular sets of par

260 Automation and Editing EnvelopesThis allows you to, for example, overdub Session automation into an existing MIDI clip without also recording note

261 Automation and Editing EnvelopesThe Re-Enable Automation Button.This button serves two purposes. It reminds you that the current state of the cont

262 Automation and Editing Envelopes1. To show a track’s envelopes, “unfold“ the track by clicking the button next to the track name. (Note that, fo

263 Automation and Editing Envelopes19.5.1 Drawing EnvelopesWith Draw Mode enabled, you can click and drag to “draw“ an envelope curve.The Draw Mode

264 Automation and Editing Envelopesdragging is in the current selection, all other breakpoints in the selection will follow the movement.To Move all

265 Automation and Editing EnvelopesA Curved Envelope Segment19.5.3 Locking EnvelopesWhen moving Arrangement View clips, Live normally moves all auto

266 Automation and Editing EnvelopesIf you want your edits to apply to both the clip and all of its associated envelopes, apply edit commands to a sel

267 Clip EnvelopesChapter 20Clip EnvelopesEvery clip in Live can have its own clip envelopes. The aspects of a clip that are influenced by clip envelop

268 Clip EnvelopesThe Clip View’s Envelopes Box.The top menu is the Device chooser, which selects a general category of controls with which to work. D

269 Clip Envelopes20.2 Audio Clip EnvelopesClip envelopes extend Live’s “elastic“ approach to audio and, in conjunction with Live’s audio effects, tu

27 Live ConceptsTrack Routing Is Set up Using the In/Out Section in the Arrangement (Left) or Session View (Right).Signals from the tracks can be sent

270 Clip EnvelopesThe Transposition Envelope with Steps (Top) and Ramps (Bottom).Note that the warp settings determine how accurately Live’s time-warp

271 Clip Envelopes20.2.3 Muting or Attenuating Notes in a SampleSelect “Clip” in the Device chooser and “Volume Modulation” in the Control chooser. B

272 Clip EnvelopesSample offset modulation is the tool of choice for quickly creating interesting variations of beat loops. We discourage using this t

273 Clip Envelopesof confusion. However, modulation envelopes differ from automation envelopes in one important way: Whereas automation envelopes defin

274 Clip EnvelopesAs you raise and lower the Volume slider, you can observe the dot following your movement in a relative fashion.Modulating the track

275 Clip Envelopesof the listed controllers by drawing steps or using breakpoints. You can also edit clip envelope representations of controller data

276 Clip EnvelopesUsing a Clip Envelope to Create a Fade-Out Over Several Repetitions of a Loop.1. Choose the Clip or Mixer Volume envelope, and unlin

277 Clip EnvelopesWe depart from the clip we just set up to fade out over eight bars. Activate the clip volume envelope’s Loop switch. Now, as you pla

278 Clip Envelopes20.5.4 Clip Envelopes as LFOsIf you are into sound synthesis, you may want to think of a clip envelope with a local loop as an LFO.

279 Working with VideoChapter 21Working with VideoLive’s flexible architecture makes it the perfect choice for scoring to video. You can trim video cli

28 Live ConceptsTrack Arm Buttons, as They Appear in the Session View.It is also possible to record into Session View slots on the fly (page 208). This

280 Working with Video21.2 The Appearance of Video in Live21.2.1 Video Clips in the Arrangement ViewA video clip in the Arrangement View looks just

281 Working with Video21.2.2 The Video WindowThe Video Window in the Arrangement View.The Video Window is a separate, floating window that always rema

282 Working with VideoSetting a Video Clip as Tempo Master.Remember from the Audio Clips, Tempo, and Warping chapter (page 117) that, although any num

283 Working with Video2. Drag a QuickTime movie from Live’s browser and drop it into an audio track in the Ar-rangement View. The Video Window will ap

284 Working with VideoA Video Clip at the Start of the Arrangement.2. Next, we double-click on the video clip’s title bar to display its contents in t

285 Working with VideoThe Video Clip and the Final Clip of Music.5. Now, we click on the video clip’s title bar (to deselect everything else), then dr

286 Working with Video

287 Live Audio Effect ReferenceChapter 22Live Audio Effect ReferenceLive comes with a selection of custom-designed, built-in audio effects. The Workin

288 Live Audio Effect Reference•Boost is based on the ”Tremolo” channel of the same amp, and is great for edgy rock riffs.•Blues is based on a ’70s-er

289 Live Audio Effect Reference22.1.1 Amp TipsBecause Amp is modeled on real-world analog devices, its behavior can sometimes be difficult to predict.

29 Live ConceptsAutomation is represented by breakpoint envelopes, which can be drawn, edited and recorded in real-time.The Automated Pan Control and

290 Live Audio Effect Reference22.2 Auto FilterThe Auto Filter Effect.The Auto Filter effect provides classic analog filter emulation. It can be modul

291 Live Audio Effect ReferenceLower Release values cause the envelope to respond more quickly to falling input signals. Higher values extend the enve

292 Live Audio Effect ReferenceFor sample and hold, the Phase and Spin controls are not relevant and do not affect the sound. Instead, the Auto Filter

293 Live Audio Effect Referenceperfectly out of phase (180 degrees apart), so that when one reaches its peak, the other is at its minimum. Phase is pa

294 Live Audio Effect ReferenceActivating the Repeat button bypasses all of the above controls, immediately capturing material and repeating it until

295 Live Audio Effect Reference22.5 CabinetThe Cabinet Effect.Cabinet is an effect that emulates the sound of five classic guitar cabinets. Developed

296 Live Audio Effect ReferenceCabinet Mic Positions.The switch below the Microphone chooser toggles between a Dynamic and Condenser mic. Dynamic mics

297 Live Audio Effect ReferenceMultiple micsA common studio technique is to use multiple mics on a single cabinet, and then adjust the bal-ance during

298 Live Audio Effect ReferenceDelay 2 can switch among three different modes. When off, only Delay 1 is audible. In Fix Mode, only Delay 1’s delay ti

299 Live Audio Effect Reference22.7 CompressorThe Compressor Effect.A compressor reduces gain for signals above a user-settable threshold. Compressio

3 Welcome to Live Chapter 1Welcome to Live 1.1 The Ableton Team Says: Thank YouLive is the result of musicians wanting a better way to create, produc

30 Live ConceptsAn Envelope for Clip Transposition.4.14 MIDI and Key RemoteTo liberate the musician from the mouse, most of Live’s controls can be “r

300 Live Audio Effect ReferenceDry/Wet adjusts the balance between the compressed and uncompressed signals. At 100%, only the compressed signal is hea

301 Live Audio Effect ReferenceCompressor’s Transfer Curve.•The Activity view shows the level of the input signal in light grey. In this mode, the GR

302 Live Audio Effect Referencethe signal, and may lead to a slight “buzziness” caused by distortion. Short release times can cause ”pumping” as the c

303 Live Audio Effect Reference22.7.1 Sidechain ParametersThe Compressor Device With Sidechain Section.Normally, the signal being compressed and the

304 Live Audio Effect Referenceoutput, and is only a trigger for the compressor, this temporary listening option can make it much easier to set sidech

305 Live Audio Effect Reference22.7.3 Upgrading from Legacy ModeCompressor’s internal algorithms were updated in Live 9, in collaboration with Dr. Jo

306 Live Audio Effect Referencelowest note will have priority. The Transpose and Fine knobs allow for coarse and fine offset of the MIDI-modulated tuni

307 Live Audio Effect ReferenceSpread detunes the two resonators in relation to each other. Positive values raise the pitch of the left resonator whil

308 Live Audio Effect ReferenceThe Radius parameter is only available for the Pipe and Tube resonators. Radius adjusts the ra-dius of the pipe or tube

309 Live Audio Effect Referenceoften be damped when the tuning or quality are set to low values. This parameter is unavailable with the Pipe or Tube r

31 Live ConceptsLive offers, in addition to this general purpose mapping technique, dedicated support for Able-ton Push (page 489), the Akai APC40 (pa

310 Live Audio Effect ReferenceThe Tone control sets the spectral distribution of the distortions, directing them into the higher registers, or throug

311 Live Audio Effect Reference(Note: the EQ Eight effect is not available in the Intro and Lite Editions.)The EQ Eight effect is an equalizer featuri

312 Live Audio Effect Referenceadjusted for the low cut, notch and high cut filters. In these modes, vertical dragging adjusts the filter Q.To get an ev

313 Live Audio Effect ReferenceContext Menu OptionsSeveral of EQ Eight’s controls are only available via the [right-click](PC) / [CTRL-click](Mac) con

314 Live Audio Effect ReferenceEach band can be adjusted from -infinite dB to +6 dB using the gain controls. This means that you can completely remove,

315 Live Audio Effect Reference22.12 ErosionThe Erosion Effect.The Erosion effect degrades the input signal by modulating a short delay with filtered

316 Live Audio Effect Reference22.13 External Audio EffectThe External Audio Effect.(Note: the External Audio Effect is not available in the Intro an

317 Live Audio Effect ReferenceSince hardware effects introduce latency that Live cannot automatically detect, you can manu-ally compensate for any de

318 Live Audio Effect Referencetermined by the filter settings. The feedback from each of the three delays is also routed back through the filters.Each

319 Live Audio Effect Reference22.15 FlangerThe Flanger Effect.(Note: the Flanger effect is not available in the Lite Edition.)Flanger uses two paral

32 Live ConceptsLive Clips are a very powerful way of storing ideas, as they save not only the clip’s Clip View settings, but also the corresponding t

320 Live Audio Effect ReferenceSpin detunes the two LFO speeds relative to each other. Each delay is modulated at a different frequency, as determined

321 Live Audio Effect ReferenceBy changing the Mode from Shift to Ring, Frequency Shifter switches from classical frequency shifting to ring modulatio

322 Live Audio Effect Referencethis up an octave, we multiply these frequencies by two, resulting in new frequencies at 880 Hz and 1760 Hz.22.16.1 Fr

323 Live Audio Effect Reference22.17 GateThe Gate Effect.(Note: the Gate effect is not available in the Lite Edition.)The Gate effect passes only sig

324 Live Audio Effect ReferenceWith the Flip button enabled, the gate works in reverse; the signal will only pass if its level is below the threshold.

325 Live Audio Effect ReferenceThese can either be frequencies in the signal to be gated or, by using the EQ in conjunction with an external sidechain

326 Live Audio Effect Referencecompressor to return to normal operation after the signal falls below the threshold. The Release knob’s values are in s

327 Live Audio Effect Reference22.18.1 Sidechain ParametersThe Glue Compressor With Sidechain Section.Normally, the signal being compressed and the i

328 Live Audio Effect ReferenceContext Menu OptionsOversampling can be toggled on or off via the [right-click](PC) / [CTRL-click](Mac) context menu. E

329 Live Audio Effect Referencenote) of delay. With Sync Mode active, changing the Delay Time field percentage value short-ens and extends delay times

33 Managing Files and SetsChapter 5Managing Files and SetsVarious types of files are used in making music with Live, from those containing MIDI (page 4

330 Live Audio Effect Reference22.20 LimiterThe Limiter Effect.(Note: the Limiter effect is not available in the Lite Edition.)The Limiter effect is

3 31 Live Audio Effect ReferenceThe meter gives a visual indication of how much gain reduction is being applied to the signal.Note that any devices or

332 Live Audio Effect Referencethe length of the originally recorded material. The Play button plays back the current state of Looper’s buffer without

333 Live Audio Effect ReferenceDiagram of Looper’s Multi-Purpose Transport Button BehaviorLooper’s Multi-Purpose Transport Button is optimized for use

334 Live Audio Effect Referencerecord until you press another transport button. If you specify a fixed number of bars to record by selecting another op

335 Live Audio Effect ReferenceEnabling the Reverse button plays the previously recorded material backwards. Any material that you overdub after enabl

336 Live Audio Effect Reference2. Record at least one pass of material into Looper.3. Create another audio track.4. In the new track’s top Audio From

337 Live Audio Effect Referenceboth an upper and lower threshold, allowing for two types of dynamics processing to be used simultaneously per band.22.

338 Live Audio Effect ReferenceDownward and Upward Expansion.To summarize:•Downward compression (common): make loud signals quieter•Upward compression

339 Live Audio Effect Referencequency is set to 2000 Hz, then the low band goes from 0 Hz to 500 Hz, the mid band from 500 Hz to 2000 Hz and the high

34 Managing Files and SetsThe Browser.The browser display is divided into left and right sections, called the sidebar and the content pane respectivel

340 Live Audio Effect ReferenceFor the Above thresholds, Attack defines how long it takes to reach maximum compression or expansion once a signal excee

341 Live Audio Effect ReferenceNormally, the signal being processed and the input source that triggers the device are the same signal. But by using si

342 Live Audio Effect Referenceeasily hear the results of your adjustments. Generally, de-essing works best with fairly fast attack and release times.

343 Live Audio Effect Reference(Note: the Overdrive effect is not available in the Intro and Lite Editions.)Overdrive is a distortion effect that pays

344 Live Audio Effect Reference(Note: the Phaser effect is not available in the Lite Edition.)Phaser uses a series of all-pass filters to create a phas

345 Live Audio Effect Reference22.25 Ping Pong DelayThe Ping Pong Delay Effect.(Note: the Ping Pong Delay effect is not available in the Lite Edition

346 Live Audio Effect ReferenceThe Dry/Wet control adjusts the balance between the processed and dry signals. Set it to 100 percent if using Ping Pong

347 Live Audio Effect ReferenceIf the downsample dial is set to ”1”, every input sample passes to the output and the signal does not change. If set to

348 Live Audio Effect ReferenceThis device consists of five parallel resonators that superimpose a tonal character on the input source. It can produce

349 Live Audio Effect Reference22.28 ReverbThe Reverb Effect.22.28.1 Input ProcessingThe input signal passes first through high and low cut filters, w

35 Managing Files and Sets•Instruments — all of your Instrument Racks, as well as “raw” Live instruments and their pre-sets, organized by device (rath

350 Live Audio Effect ReferenceSpin applies modulation to the early reflections. The X-Y control accesses the depth and fre-quency of these modulations

3 51 Live Audio Effect ReferenceThe Echo Density and Scale parameters provide additional control over the diffusion’s density and coarseness, and, whe

352 Live Audio Effect Referencea nonlinear process, the incoming signal is reshaped to a greater or lesser degree depending upon its level at each mom

353 Live Audio Effect Referencefilter, essentially an equalizer, is used for controlling higher frequencies. It is shaped with the Freq (cutoff frequen

354 Live Audio Effect ReferenceIf the Sync switch is off, the delay time reverts to milliseconds. In this case, to edit the delay time, click and drag

355 Live Audio Effect Reference(Note: the Spectrum device is not available in the Intro and Lite Editions.)Spectrum performs realtime frequency analys

356 Live Audio Effect ReferenceTo get an even better view, you can toggle the location of the display between the device chain and Live’s main window

357 Live Audio Effect ReferenceThe Width control acts as a continuous mono to stereo controller when set from 0 to 100 per-cent. However, beyond 100 p

358 Live Audio Effect ReferenceThe Pinch Effect section adds odd harmonics to the input signal. These distortions typically occur 180 degrees out of p

359 Live Audio Effect ReferenceVocoders work by running both the carrier and modulator signals through banks of bandpass filters. The output level of e

36 Managing Files and Sets•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

360 Live Audio Effect ReferenceSens. sets the sensitivity of the unvoiced detection algorithm. At 100%, the unvoiced noise gen-erator is always on. At

361 Live Audio Effect ReferenceThe Dry/Wet control adjusts the balance between the processed and dry signals.22.34.1 Vocoder TipsThis section explain

362 Live Audio Effect Reference1. Set the Carrier chooser to Modulator.2. Set the Depth to 100%.3. Enable Enhance.Now experiment with different settin

363 Live MIDI Effect ReferenceChapter 23Live MIDI Effect ReferenceLive comes with a selection of custom-designed, built-in MIDI effects. The Working w

364 Live MIDI Effect Reference23.1.1 Style and Rate SectionsArpeggiator’s Style chooser determines the sequence of notes in the rhythmical pattern.

365 Live MIDI Effect Reference“Pinky Up“ and “Pinky UpDown“.“Thumb Up“ and “Thumb UpDown“.Play Order places notes in the pattern according to the orde

366 Live MIDI Effect Referencechooser. Grooves in Arpeggiator behave similarly to grooves in clips, and the intensity of the groove is determined by t

367 Live MIDI Effect Referencea total of eight times, playing it in higher notes each time. (When Distance is set to a negative value, the sequence wi

368 Live MIDI Effect ReferenceThe order in which pitches are added to the chord is inconsequential: The effect of a +12 semi-tone shift added with the

369 Live MIDI Effect ReferenceOn/Off Balance — This determines the velocity of the output note. It is a balance between the incoming note’s Note On a

37 Managing Files and Sets5.1.3 Searching for FilesLive’s browser is equipped with a search field that filters the contents of the selected sidebar la-

370 Live MIDI Effect Reference23.5 RandomThe Random Effect.Random adds an element of the unknown to the otherwise commonplace pitch parameter. The Ch

371 Live MIDI Effect ReferenceFor example, with Chance set to 100 percent, Choices set to 12 and Scale set to 1, playing C3 once will trigger C3, and

372 Live MIDI Effect ReferenceThe Transpose slider can raise or lower the pitch of incoming MIDI notes by +/- 36 semitones. You could, for example, sh

373 Live MIDI Effect Referencenotes are being output quietly, and vice versa. If instead, Out Hi is set to zero and Out Low to 127, the slope of the l

374 Live MIDI Effect Reference

375 Live Instrument ReferenceChapter 24Live Instrument ReferenceLive comes with a selection of custom-designed, built-in instruments. The Working with

376 Live Instrument Reference24.1.1 Architecture and InterfaceAnalog’s signal flow is shown in the figure below:Diagram of Analog’s Signal Flow.The pri

377 Live Instrument Reference24.1.2 OscillatorsDisplay and Shell Parameters for the two Oscillators.Analog’s two oscillators use physical modelling t

378 Live Instrument Referenceof space between the notes on the keyboard. At 0%, the oscillator is not modulated by note pitch at all. To get a sense o

379 Live Instrument ReferenceThe Noise generator produces white noise and includes its own -6db/octave low-pass filter. The generator can be turned on

38 Managing Files and SetsThe Preview Switch.Hint: You can preview files even when the Preview switch is not activated by pressing [Shift][En-ter] or t

380 Live Instrument ReferenceBelow each mode chooser is an additional control which differs between the two filters. In Filter 1, the To F2 slider allo

381 Live Instrument ReferenceIn addition to the envelope controls, the displays for the amplifiers contain various modulation parameters. The Pan and L

382 Live Instrument ReferenceThe S.Time slider can cause the Sustain level to decrease even if a key remains depressed. Lower values cause the Sustain

383 Live Instrument Reference24.1.7 LFOsDisplay and Shell Parameters for the two LFOs.Analog’s two LFOs can be used as modulation sources for the osc

384 Live Instrument Reference24.1.8 Global ParametersDisplay and Shell Parameters for the Global Options.The Global shell and display parameters adju

385 Live Instrument ReferenceThe Gli switch turns the glide effect on or off. This is used to make the pitch slide between notes rather than changing

386 Live Instrument ReferenceNote that the Quick Routing options do not affect any changes you may have made to the oscil-lator level, tuning or wavef

387 Live Instrument ReferenceThe LFO tab contains two independent low-frequency oscillators (LFOs), which can each modu-late multiple parameters. Simi

388 Live Instrument ReferenceThe Stiffness knob adjusts the hardness of the mallet. At low levels, the mallet is soft, which results in fewer high fre

389 Live Instrument ReferenceThe attack time — how quickly Noise reaches full volume — is set with the A (Attack) slider, while the time it takes for

39 Managing Files and SetsThe Preview Volume Knob.If your audio hardware offers multiple audio outs, you can privately audition, or cue, files via head

390 Live Instrument Referenceadjusted with the linked control. Dragging the parameter to its absolute maximum or minimum value will make the settings

391 Live Instrument ReferencePhysical Properties SectionPhysical Properties of the Resonator.The type chooser allows you to select from seven types of

392 Live Instrument ReferenceThis is similar to how real-world mallet instruments such as a marimbas and glockenspiels be-have. At 100%, the resonance

393 Live Instrument ReferenceMixer SectionResonator Mixer.Each resonator has its own Volume and Pan controls. Pan can also be modulated by note pitch

394 Live Instrument ReferenceThe switch next to the waveform chooser toggles the LFO’s rate between frequency in Hertz and tempo-synced beat divisions

395 Live Instrument ReferenceThe Global SectionCollision’s Global Section.The global section contains the parameters that relate to the overall behavi

396 Live Instrument ReferenceResonators in 1 + 2 (Parallel) Configuration.The Voices chooser sets the available polyphony. Since each voice that’s used

397 Live Instrument ReferenceOf course, to program unrealistic sounds, anything goes:•try using the Noise excitator, particularly with long envelope t

398 Live Instrument ReferenceThe full version of Electric is not included with the standard version of Live, but is a special fea-ture available for p

399 Live Instrument Reference24.3.3 Fork SectionThe Fork section is further divided into Tine and Tone subsections. This area is the heart of Elec-tr

4 Welcome to Live 1.2.2 Envelope Editing Improvements•Envelope breakpoints are now created by single-clicking on the envelope. When hover-ing over th

40 Managing Files and SetsHot-Swap ModeIn addition to the drag-and-drop method of loading files from the browser, Live offers a Hot-Swap Mode to reduce

400 Live Instrument Reference24.3.5 Pickup SectionThe Pickup section simulates the behavior of the magnetic coil pickup that amplifies the sound of th

401 Live Instrument ReferenceElectric will play in equal temperament, which means that two notes are an octave apart when the upper note’s fundamental

402 Live Instrument ReferenceReWire Options Shown in the Routing Choosers.If another track in your set contains a multitimbral plug-in, you can select

403 Live Instrument Referencesible latency. In this case, be sure to switch back to milliseconds before changing your sample rate. Any latency introdu

404 Live Instrument Referenceping samples (page 40). Loaded samples can be deleted with your computer keyboard’s [Backspace] or [Delete] key.Imported

405 Live Instrument Reference24.5.3 FilterThe Filter section offers a broad range of filter types, each of which can impart different sonic characteri

406 Live Instrument Reference24.5.7 Individual OutputsWhen a new instance of Impulse is dragged into a track, its signal will be mixed with those of

407 Live Instrument Referencesections. On the left side, you will find four oscillator sections, and on the right side from top to bottom, the LFO, the

408 Live Instrument ReferenceTypically, FM synthesis makes use of pure sine waves, creating more complex waveforms via modulation. However, in order t

409 Live Instrument ReferenceUser WaveformsThe “User“ entry in the Wave chooser allows you to create your own waveforms by drawing the amplitudes of t

41 Managing Files and Setscancelled with a press of the [ESC] key or by pressing the close button in the Hot-Swap bar at the top of the browser.When H

410 Live Instrument Referenceuseful, for example, in creating live drum sounds. Fixed Mode also allows producing very low frequencies down to 0.1 Hz.

411 Live Instrument Referencefilter, but this depends on the nature of the sound itself and cannot generally be predicted. If you want to familiarize y

412 Live Instrument ReferenceThe overall intensity of the LFO is set by the LFO Amount control in the shell. This parameter scales both the Dest. A an

413 Live Instrument Referenceplay a note a bit out of sync, it will repeat perfectly but stay out of sync. In Sync Mode however, the first repetition i

414 Live Instrument Reference24.6.5 Filter SectionOperator’s Filter Section.Operator’s filters can be very useful for modifying the sonically rich tim

415 Live Instrument ReferenceTip: The [right-click](PC) / [CTRL-click](Mac) context menu on the Frequency knob contains an entry called “Play by Key.“

416 Live Instrument Reference24.6.7 Glide and SpreadOperator’s Pitch Section.Operator includes a polyphonic glide function. When this function is act

417 Live Instrument ReferenceNote that turning off the oscillators will not save CPU power.24.6.9 Finally...Operator is the result of an intense preo

418 Live Instrument ReferenceVoices — This sets the maximum number of notes that can sound simultaneously. If more notes than available voices are req

419 Live Instrument ReferenceOSC Crossfade B/D — Crossfades the volumes of the B and D oscillators based on the value of the modulation source.OSC Fee

42 Managing Files and Setsthan the Maximum Cache Size setting, and it will always leave the Minimum Free Space on the hard disk. Pressing the nearby C

420 Live Instrument ReferencePitch Envelope Amount (Pitch Env) — This sets the overall intensity of the pitch envelope. A value of 100% means that the

4 21 Live Instrument ReferenceFilter Type — This chooser selects one of 14 filter types, including a variety of lowpass, high-pass, bandpass and notch

422 Live Instrument ReferenceLFO Waveform — Select from among several typical LFO waveforms. Sample and Hold (S&H) creates random steps, and Noise

423 Live Instrument ReferenceOscillators A-D Shell and DisplayOsc On — This turns the oscillator on and off.Osc Coarse Frequency (Coarse) — The relati

424 Live Instrument ReferenceRetrigger (R) — When enabled, the oscillator restarts at the same position in its phase each time a note is triggered. Wi

425 Live Instrument Referencesegment will begin at the value of the envelope at the moment the note-off message occurs, regardless of which segment is

426 Live Instrument ReferenceContext Menu ParametersCertain operations and parameters in Operator are only available via the [right-click](PC) / [CTRL

427 Live Instrument Reference24.7 SamplerThe Sampler Instrument.Sampler is a sleek yet formidable multisampling instrument that takes full advantage

428 Live Instrument Referenceon the simple transposition of a single recorded sample, multisampling captures an instrument at multiple points within i

429 Live Instrument ReferenceGroup — Selecting this will load Sampler into a new Instrument Rack.Fold — Folds Sampler so that only the device title ba

43 Managing Files and Setsthose clips refer to the same sample on disk. But if you drag a new version of the sample into a Live Set, Live will use the

430 Live Instrument Reference24.7.5 The Zone TabThe Zone Tab.Clicking on the Zone tab toggles the display of Sampler‘s Zone Editor, which offers a ha

4 31 Live Instrument Referenceto play an incoming note will become selected in the sample layer list for the duration of that note.Zone Fade Mode (Lin

432 Live Instrument Referenceing over a layer in the list or a zone in the zone editors will display relevant information about the corresponding samp

433 Live Instrument ReferenceSmall/Medium/Large — Adjusts the zoom level of the Zone Editor.Show in Browser — Navigates to the selected sample in the

434 Live Instrument ReferenceKey ZonesThe Key Zone Editor.Key zones define the range of MIDI notes over which each sample will play. Samples are only t

435 Live Instrument ReferenceVelocity ZonesThe Velocity Zone Editor.Velocity zones determine the range of MIDI Note On velocities (1-127) that each sa

436 Live Instrument ReferenceThe Sample Select Editor, when toggled, appears alongside the sample layer list. The editor has a scale of 0-127, similar

437 Live Instrument Referenceplayback begins from the Sample End point, proceeds backwards through the Sustain Loop (if active), and arrives at the Sa

438 Live Instrument ReferenceEnvelope Decay Time (Decay) — This sets the time it takes for an envelope to reach the sustain level from the peak level.

439 Live Instrument Referencefaster at the end. A slope of zero is linear; the envelope will move at the same rate throughout the segment.All time-bas

44 Managing Files and SetsThe Export dialog’s Rendered Track chooser offers several options for which audio signal to render:•Master — the post-fader

440 Live Instrument Reference — The volume envelope’s release stage is active, but will occur within the Sustain Loop, with playback never proceeding

441 Live Instrument ReferenceSustain- and Release-Loop Crossfade (Crossfade) — Loop crossfades help remove clicks from loop transitions. By default, S

442 Live Instrument ReferenceRAM Mode (RAM) — This is also a global control that loads the entire multisample into RAM. This mode can give better perf

443 Live Instrument ReferenceThe Sample Tab’s Vertical Zoom slider, and Channel Buttons.24.7.7 The Pitch/Osc TabThe Pitch/Osc Tab.The Modulation Osci

444 Live Instrument ReferenceThe modulation oscillator is controlled via Initial, Peak, Sustain, End, Loop, Attack and Time<Velocities parameters.

445 Live Instrument ReferenceThe right-hand side of this section contains five sliders and one chooser that are unrelated to the Pitch Envelope, but ca

446 Live Instrument ReferenceThe Filter/Global Tab.The FilterSampler features a polyphonic filter with an optional integrated waveshaper. The Morph (M1

447 Live Instrument ReferenceThe Volume EnvelopeThe Global Volume Envelope.The volume envelope is global, and defines the articulation of Sampler’s sou

448 Live Instrument Referencethan generating an additional voice. Turning Retrigger on can save CPU power, especially if a note with a long release ti

449 Live Instrument ReferenceRate — With Hz selected, the speed of the LFO is determined by the Freq slider to the right. With the note head selected,

45 Managing Files and SetsAudio Rendering OptionsAudio Rendering Options.The Export dialog offers several audio rendering options:•Normalize — If this

450 Live Instrument ReferenceLFO 1.LFO Stereo Mode (Stereo) — LFOs 2 and 3 can produce two types of stereo modulation: Phase or Spin. In phase mode, t

4 51 Live Instrument Reference24.7.10 The MIDI TabThe MIDI Tab.The MIDI tab’s parameters turn Sampler into a dynamic performance instrument. The MIDI

452 Live Instrument ReferenceFor all multisample formats except Apple EXS24/GarageBand and Kontakt, Live will import the actual audio data and create

453 Live Instrument Reference24.8.1 Sample ViewThe Sample View displays the sample waveform. Samples can be dragged into Simpler either directly from

454 Live Instrument ReferenceLoops“ in the [right-click](PC) / [CTRL-click](Mac) context menu, you can enable linear cross-fades.24.8.3 ZoomQuite oft

455 Live Instrument Reference24.8.6 LFOThe LFO (low-frequency oscillator) section offers sine, square, triangle, sawtooth down, saw-tooth up and rand

456 Live Instrument Referencesensitivity of +/- 5 semitones. You can also modulate the Transpose parameter with clip enve-lopes and external controlle

457 Live Instrument Reference24.9 TensionThe Tension Instrument.Tension is a synthesizer dedicated to the emulation of string instruments, and develo

458 Live Instrument Referenceple, when felt is applied to the strings by releasing the keys and sustain pedal. The vibration from the string is then t

459 Live Instrument Referencefriction, causing the string to alternate between sticking to the hair and breaking free. The fre-quency of this alternat

46 Managing Files and Sets•File Type, Bit Depth, Sample Rate — These options specify the type of sample to be cre-ated.•Dither Options — If you are re

460 Live Instrument Referencewhere the picking position is always basically the same regardless of the notes being played. On a piano, the excitator p

461 Live Instrument ReferenceThe Decay slider determines how long it takes for the resonating string to decay to silence. Higher values increase the d

462 Live Instrument ReferenceThe Damper SectionTension’s Damper Section.All string instruments employ some type of damping mechanism that mutes the re

463 Live Instrument ReferenceThe Mass, Stiffness and Velocity parameters can be further modulated by note pitch, via the sliders below.The stiffness o

464 Live Instrument ReferenceThe Pickup SectionTension’s Pickup Section.The Pickup section models an electromagnetic pickup, similar to the type found

465 Live Instrument ReferenceThe body type chooser allows you to select from different body types modelled after physical instruments.The body size ch

466 Live Instrument ReferenceTension’s Filter section features a highly configurable multi-mode filter that sits between the String and Body sections. I

467 Live Instrument ReferenceThe LFO’s speed is set with the Rate knob. The switches below this knob toggle the Rate between frequency in Hertz and te

468 Live Instrument Referencecreasing the Stretch amount raises the pitch of upper notes while lowering the pitch of lower ones. The result is a more

469 Live Instrument ReferenceWhen programming Tension, it may help to think about the various sections as if they really are attached to a single, phy

47 Managing Files and SetsWaiting for External Devices to Become Silent.•Skip — By default, Live will wait for ten seconds before starting a real-time

470 Live Instrument Reference

4 71 Max for LiveChapter 25Max for LiveMax for Live, an add-on product co-developed with Cycling ’74, allows users to extend and customize Live by cre

472 Max for LiveThe Path to the Max Installation.Once authorization is complete and Live has found the Max application, Max for Live should be ready f

473 Max for LiveA Max Device and its Presets in the Browser.25.3 Editing Max for Live DevicesMax devices (or “patches“) are constructed of objects th

4 74 Max for LiveWhat a Max device actually does depends on the objects that it contains, and the way in which they’re connected together. The area wh

475 Max for LiveNote: unlike Live’s native devices, Max devices are not saved inside Live Sets, but rather as separate files.25.4 Max DependenciesAs m

476 Max for Live

477 MIDI and Key Remote ControlChapter 26MIDI and Key Remote ControlTo liberate the musician from the mouse, most of Live’s controls can be remote-con

478 MIDI and Key Remote Controlour MIDI tracks. Let’s suppose that you are using a MIDI keyboard to play an instrument in one of Live’s MIDI tracks. I

479 MIDI and Key Remote ControlInstant MappingsIn most cases, Live uses a standard method for mapping its functions and parameters to physical control

48 Managing Files and Setsapplications to allow more processing power for rendering. Please see the chapter on computer audio resources (page 567) for

480 MIDI and Key Remote ControlGetting Hands-On: Control Surfaces Can Be Locked to Devices.A hand icon in the title bar of locked devices serves as a

481 MIDI and Key Remote ControlYou can use any number of MIDI ports for remote mapping; Live will merge their incoming MIDI signals.When working with

482 MIDI and Key Remote ControlValue Scaling — This option ensures smooth value transitions. It compares the physical control’s value to the destinati

483 MIDI and Key Remote ControlOnce your remote control setup has been defined in the MIDI/Sync Preferences, giving MIDI controllers and notes remote c

484 MIDI and Key Remote Control26.2.3 Mapping to Absolute MIDI ControllersAbsolute MIDI controllers send messages to Live in the form of absolute val

485 MIDI and Key Remote Controlthis, since its incremental message to Live would simply say, ”Pan slightly to the left of your cur-rent position.”Ther

486 MIDI and Key Remote ControlThe Relative Session Mapping Strip.1. Assign these buttons to keys, notes or controllers to move the highlighted scene

487 MIDI and Key Remote Control26.2.5 Computer Keyboard Remote ControlThe Key Map Mode Switch.Creating control surface assignments for your computer

488 MIDI and Key Remote Control

489 Using PushChapter 27Using PushAbleton Push is an instrument for song creation that provides hands-on control of melody and harmony, beats, sounds,

49 Managing Files and Setsdepending on the encoder used, video rendering may occur in more than one pass. Live will display a progress bar that will i

490 Using PushThere are also a number of videos that will help you get started with Push. These are available at https://www.ableton.com/learn-push/27

4 91 Using PushLoading Devices or Device Presets in Browse Mode.You can scroll quickly through folders and subfolders via Encoders 1, 3, and 5.What yo

492 Using PushThen 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, Pus

493 Using PushWhen working with Drum Racks that contain a larger number of pads, use Push’s touch strip or the Octave Up and Octave Down keys to move

494 Using PushSelecting an Individual Pad in a Drum Rack.Now, entering Browse Mode again will allow you to load or replace the sound of only the se-le

495 Using PushScene/Grid Buttons.As the clip plays, the currently playing step is indicated by the moving green pad in the step sequencer section. (Wh

496 Using PushPress and hold a step to adjust the velocity and length of the step, and to nudge it backwards or forwards in time. Hold a Step to Adjus

497 Using Push27.3.3 Real-time RecordingDrum patterns can also be recorded in real-time by playing the Drum Rack pads. Follow these steps to record i

498 Using PushPressing New stops playback of the currently selected clip and prepares Live to record a new clip on the currently selected track. This

499 Using PushFixed Length Button.Press and hold Fixed Length to set the recording length.Fixed Length Recording Options.When Fixed Length is disabled

5 Welcome to Live brace is selected, pressing [Enter] will switch the selection to the time within the loop brace.•[Q] toggles Hot-Swap mode (page 40)

50 Managing Files and Sets5.4 Live ClipsIndividual audio or MIDI clips can be exported to disk in the Live Clip format for easy retrieval and reuse i

500 Using Pushchange the loop length to two bars. Each pad in the Loop Length Controls area corresponds to one of 16 possible bars.Each Loop Length Pa

501 Using PushRepeat Button.The repeat rate is set with the Scene/Grid buttons.Tip: if you press and release Repeat quickly, the button will stay on.

502 Using PushQuantize Button.Press and hold Quantize to change the quantization options:Quantization Options.Swing Amount determines the amount of sw

503 Using Push27.5 Playing Melodies and HarmoniesAfter working on a beat, you’ll want to create a new track so that you can work on a bassline, harmo

504 Using PushC Major Scale.The pad colors help you to stay oriented as you play:•Blue — this note is the root note of the key (C.)•White — this note

505 Using Push27.5.1 Playing in Other KeysPress Push’s Scales button to change the selected key and/or scale.Scales Button.Using the display and the

506 Using PushIn Key/Chromatic: With In Key selected, the pad grid is effectively “folded” so that only notes within the key are available. In Chromat

507 Using PushArrow Keys.The Left/Right Arrows move between tracks. Note that selecting a MIDI track on Push automati-cally arms it, so it can be play

508 Using PushDevice Button.In Device Mode, the Selection Control buttons select devices in the currently selected track, while the State Control butt

509 Using PushUse these buttons to access:•additional banks of parameters (for effects that have more than one bank of parameters).•additional device

51 Managing Files and Setsa number of variations from the same audio clip by using different warp, pitch, envelope and effect settings, and store them

510 Using PushIn Track Mode, the encoders control track volume, pan and the first six sends of the selected track. Press the Selection Control buttons

511 Using Pushpress the Automation button again to turn it off. To delete the changes you’ve recorded for a particular parameter, press and hold the D

512 Using PushIn Session Mode, the 8x8 pad grid will now launch clips and the Scene/Grid Buttons will launch scenes. Pressing a pad triggers the clip

513 Using Pushview of your Session View. In the Session Overview, each pad represents an eight-scene-by-eight-track block of clips, giving you a matri

514 Using PushUser SettingsPad Threshold sets the softest playing force that will trigger notes. More force is required at high-er settings. Note that

515 Using PushDiagram of Push’s Velocity CurvesThe Workflow option determines how Push behaves when the Duplicate, New, or Up/Down arrow buttons are pr

516 Using Pushtrack.•the Up/Down Arrows move up or down by a single scene. Playback of the clips in the new scene begins seamlessly.In Clip Workflow:•D

517 Using PushNote Mode — when selected, the Pad Section changes its functionality based on the type of track that is currently selected:•MIDI track c

518 Using PushAdd Track — creates a new MIDI track to the right of the currently selected track. Press and hold Add Track to select a different type o

519 Using PushRepeat — when Repeat is enabled, holding down a pad will retrigger the note. The Scene/Grid buttons change the rhythmic value of the rep

52 Managing Files and SetsSession View Drop Area for Importing Live Sets.Arrangement View Drop Area for Importing Live Sets.If you prefer to import in

520 Using PushDisplay/Encoder SectionDisplay/Encoder Section.The six buttons to the right of the display determine the editing mode of the encoders. I

521 Using PushIn Track Mode, the encoders control track volume, pan and the first six sends of the selected track. Select which clip track to control v

522 Using Push•Transpose•GainDevice — The encoders control parameters for the selected device.Browse — The encoders scroll through the available devic

523 Using PushThe right encoder sets the amount of swing applied when Quantizing, Record Quantizing or when Repeat is pressed.Edit SectionEdit Section

524 Using PushTransport SectionTransport Section.Fixed Length — when enabled, all newly created clips will be a fixed number of bars. When disabled, n

525 Using PushPlay/Stop — toggles the play button in Live’s transport bar. Hold Shift while pressing Play/Stop return Live’s transport to 1.1.1 withou

526 Using PushPad SectionPad Section.The functionality of the Pad Section is determined by the Note and Session Mode buttons. When Session Mode is on,

527 Using PushScene/Grid SectionScene/Grid Section.These buttons also change their functionality depending on whether Session Mode or Note Mode is sel

528 Using Push

529 Using the APC40Chapter 28Using the APC40The APC40 (Ableton Performance Controller) is a dedicated controller for Ableton Live, co-designed by Able

53 Managing Files and SetsIn addition to unfolding Sets, you can further unfold the tracks within the Sets to access the indi-vidual Session View clip

530 Using the APC40Setting Up The APC40.28.2 Clip Launch MatrixThe APC40’s matrix of buttons gives you physical access to the clips in your Session V

5 31 Using the APC40Session View Clip and Navigation Controls.Pressing a Clip Launch button triggers the clip in the corresponding clip slot in Live.

532 Using the APC40The directional arrows and Shift button increase the scope of the eight-by-five grid:•Pressing Up or Down moves you up or down one s

533 Using the APC40ume (page 202), so you can pre-listen to a clip or the metronome without your audience hear-ing it.Mixer Controls.You can shift the

534 Using the APC40Device Controls.The Track Selection buttons route the eight endless encoders to the first device or Rack on that track, with LED rin

535 Using the APC4028.6 Transport and Global ButtonsLive’s Play, Stop and Arrangement Record buttons are all easily accessible, and four global butto

536 Using the APC4028.7 Track ControlThe Track Control section covers pan settings or send levels for whichever eight tracks are cur-rently selected.

537 Using the APC40Tempo Control.As you hit the Tap Tempo (page 118) button once every beat, the tempo of the Live Set will follow your tapping.You ca

538 Using the APC4028.9 CrossfaderThe APC40’s replaceable crossfader is an essential DJ control, and is also handy for controlling effect, volume and

539 Using the APC4028.10 Customizing the APC40 ControlsYou can change the assignment of all of the knobs, faders and buttons on the APC40 by en-ablin

54 Managing Files and Sets•Computer key mappings (page 487).•MIDI mappings (page 477).The template Live Set, “Template.als,“ is located in Live’s Pref

540 Using the APC40

541 Using the APC20Chapter 29Using the APC20The APC20 (Ableton Performance Controller) is a dedicated controller for Ableton Live, co-designed by Able

542 Using the APC20Setting Up The APC20.29.2 Clip Launch MatrixThe APC20’s matrix of buttons gives you direct access to the clips in your Session Vie

543 Using the APC20Session View Clip and Navigation Controls.Pressing a Clip Launch button triggers the clip in the corresponding clip slot in Live. I

544 Using the APC20The controller tells you what’s going on in the software, but, importantly, the software also re-flects what’s happening on the cont

545 Using the APC20Transport and Global Controls.29.5 MixerThe Mixer section gives you control of your mix, as well as all soloing, pre-cueing, mutin

546 Using the APC20Mixer Controls.The Vol, Pan, Send A, Send B, Send C, User 1, User 2 and User 3 buttons provide additional control possibilities, by

547 Using the APC2029.6 Note ModePressing the Note Mode button changes the functionality of the clip launch matrix. When Note Mode is on (i.e., when

548 Using the APC20selected will control tracks 9-16, and so on. When an APC40 and an APC20 are connected at the same time, the APC20’s buttons will d

549 Using the LaunchpadChapter 30Using the LaunchpadThe Launchpad is a dedicated controller for Ableton Live, co-designed by Ableton and Nova-tion10.

55 Managing Files and SetsThe File Reference List’s Hot-Swap Button.•Edit a referenced sample — using an external application (which can be chosen in

550 Using the LaunchpadSetting Up The Launchpad.30.2 Launchpad’s Four ModesLaunchpad’s Mode Buttons.The row of buttons on the top of Launchpad includ

551 Using the LaunchpadLaunchpad Session Mode Button.30.3.1 Launching ClipsSession Mode.When Launchpad is chosen as an active control surface, a ring

552 Using the Launchpad•The Left and Right arrow keys move you left or right one track at a time. Hold the Session button while hitting Left or Right

553 Using the LaunchpadThe Launchpad’s Session Overview lets you navigate through large Live Sets quickly without looking at your computer screen. Hol

554 Using the Launchpad30.4.1 Customizing the Launchpad ControlsYou can change the assignment of all of the Launchpad’s controls by enabling the Remo

555 Using the Launchpad30.5 Mixer ModeLaunchpad Mixer Buttons.Launchpad’s Mixer mode gives you access to essential mixing controls in Live: volume, p

556 Using the Launchpad30.5.1 Mixer OverviewLaunchpad Mixer Overview.This is the view displayed when pressing the Mixer button. It provides an overvi

557 Using the Launchpad•pads in the ”arm” row will arm this trackThe bottom four buttons on the right provide additional control for each track:•the ”

558 Using the Launchpad30.5.3 The Pan PageLaunchpad Pan Page.Press the ”pan” button to enter the Pan page.In the Pan page, all eight pads of a column

559 Using the Launchpad30.5.4 The Send PagesLaunchpad Send Page.Press the ”snd A” or ”snd B” button to enter a Send page.In the two Send pages (for S

56 Managing Files and SetsLive Project will maintain all the files related to this piece of music — and Live’s File Manager will provide the tools you

560 Using the Launchpad

561 Synchronization and ReWireChapter 31Synchronization and ReWire31.1 Synchronizing via MIDIThe MIDI protocol defines two ways to synchronize sequenc

562 Synchronization and ReWireChoosing a MIDI Slave for Live.The lower indicator LED next to the Control Bar’s EXT button will flash when Live is sendi

563 Synchronization and ReWireLoop switch is activated, playback will be looped, and song position pointers will simply be “wrapped“ into the length o

564 Synchronization and ReWire31.2 Connecting via ReWireLive supports the ReWire interface for connecting with another ReWire-compatible audio pro-gr

565 Synchronization and ReWireMIDI signals, and all of its audio tracks and MIDI tracks containing instruments are accessible as audio sources.If you

566 Synchronization and ReWire

567 Computer Audio Resources and StrategiesChapter 32Computer Audio Resources and StrategiesReal-time audio processing is a demanding task for general

568 Computer Audio Resources and StrategiesThe CPU Load Meter.The Control Bar’s CPU meter displays how much of the computer’s computational potential

569 Computer Audio Resources and Strategieseffect produces a “tail,“ like reverbs and delays, deactivation occurs only after all calculations are comp

57 Managing Files and SetsA Second Version of the Live Set Has Been Added to the Project.The Tango Project now contains two Live Sets, and its Samples

570 Computer Audio Resources and Strategies•Record Session View clip launches into the Arrangement View;•Create, move and duplicate Session View scene

571 Computer Audio Resources and StrategiesBesides providing an opportunity to conserve CPU resources on tracks containing a large num-ber of devices,

572 Computer Audio Resources and Strategies

573 Audio Fact SheetChapter 33Audio Fact SheetPrior to the release of Live 7, much of Ableton‘s development effort was focused on carefully and object

574 Audio Fact Sheetfiles imported into Live ensures that the imported audio will be identical to the files saved on disk. Applying neutral operations t

575 Audio Fact Sheet33.2.2 Matching sample rate/no transpositionPlayback of an unstretched audio file in Live is a neutral operation, provided that th

576 Audio Fact Sheetming within a 32-bit architecture strikes an ideal balance between audio quality and CPU/memory consumption.33.2.5 Recording exte

577 Audio Fact Sheetranger‘s 1.1.1 position and retain them for the duration of the frozen clip. This is analogous to the behavior with unfrozen clips

578 Audio Fact Sheetflexible routing architecture allows for a variety of scenarios, including routing from before or after any track‘s effects or mixe

579 Audio Fact SheetPitch modes. Although the Complex modes may sound better, particularly when used with mixed sound files containing many different k

58 Managing Files and SetsLet’s suppose that, in the course of our work on “Tango with Piano.als,“ we get sidetracked: The piece evolves towards somet

580 Audio Fact Sheet33.3.4 DitheringWhenever rendering audio to a lower bit depth, it is a good idea to apply dithering in order to minimize artifact

581 Audio Fact Sheet33.3.8 Clip fadesWhen Create Fades on Clip Edges is enabled in the Record/Warp/Launch Preferences, a short (up to 4 ms) fade is a

582 Audio Fact Sheet•For all audio clips, disable both the Warp and Fade options in the Clip View.•Do not adjust the Transpose and Detune controls for

583 MIDI Fact SheetChapter 34MIDI Fact SheetIn conjunction with our work on the audio engine, Ableton has spent additional effort analyzing Live‘s MID

584 MIDI Fact Sheet3. Playthrough involves sending MIDI note and controller information from a hardware de-vice (such as a MIDI keyboard) into the DAW

585 MIDI Fact Sheet2. If you are using playthrough while recording, you will want to record what you hear — even if, because of latency, this occurs s

586 MIDI Fact Sheetto a schedule. Additionally, MIDI cables are serial, meaning they can only send one piece of information at a time. In practice, th

587 MIDI Fact Sheetconverter‘s output is then recorded into a new audio clip in Live. In an ideal system, each event in the MIDI clip would occur simu

588 MIDI Fact SheetMIDI Output Test Configuration.In all cases, the output tests showed comparable results to the input tests.34.5 Tips for Achieving

589 MIDI Fact SheetSelecting the MIDI Port Type (Windows).34.6 Summary and ConclusionsAbleton wrote this paper in order to help users understand a va

59 Managing Files and Sets5.6.2 Projects and PresetsBy default, new instrument and effect presets are stored in your current Project. At times how-ev

590 MIDI Fact Sheet

591 Live Keyboard ShortcutsChapter 35Live Keyboard Shortcuts35.1 Showing and Hiding ViewsWindows MacintoshToggle Full Screen Mode [F11] [C T R L ] [

592 Live Keyboard Shortcuts35.2 Accessing MenusUnder Windows, you can access each menu by pressing [ALT] and the first letter of the menu ([ALT][F] fo

593 Live Keyboard ShortcutsLoad Selected Item from Browser [Enter] [Enter]Preview Selected File [Shift][Enter] [Shift][Enter]Search in Browser [CTRL][

594 Live Keyboard ShortcutsBy holding down an additional modifier key, some of the above commands can also be applied to:Windows MacintoshClips and Slo

595 Live Keyboard ShortcutsSelect Neighboring Clip/Slot arrow keys arrow keysSelect all Clips/Slots [CTRL][A] [CMD][A]Copy Clips [CTRL]drag [CMD]dragA

596 Live Keyboard ShortcutsWindows MacintoshInsert Audio Track [CTRL][T] [CMD][T]Insert MIDI Track [CTRL][Shift][T] [CMD][Shift][T]Insert Return Track

597 Live Keyboard ShortcutsComputer MIDI Keyboard [CTRL][Shift][K] [CMD][Shift][K]35.13 Zooming, Display and SelectionsWindows MacintoshZoom In [+] [

598 Live Keyboard Shortcuts35.15 Clip View MIDI EditorThe shortcuts for zooming, snapping/drawing and loop/region settings also work in the MIDI Edit

599 Live Keyboard Shortcuts35.17 Global QuantizationWindows MacintoshSixteenth-Note Quantization [CTRL][6] [CMD][6]Eighth-Note Quantization [CTRL][7]

6 Welcome to Live 1.2.9 Default Presets for MIDI and Audio TracksNewly-created MIDI and Audio tracks can now come with devices already loaded (page 2

60 Managing Files and SetsFiles section.) The File Manager will present you with a list of the missing files and associated controls.The File Manager’s

600 Live Keyboard ShortcutsGroup/Ungroup Devices [CTRL][G] [CMD][G]Activate/Deactivate All Devices in Group [ALT] device activator [ALT] device activa

601IndexIndexAAdaptive Grid options ... 82Add/Remove Stop Button command ... 93Amp effect ...

602Indexin audio/MIDI tracks ...20Clip Activator Switch ...100Clip box ...

603IndexConvert Melody to MIDI command ... 152Corpus effect ...305count-in for recording ...

604Indexwith scenes ... 93Electric ...397architectur

605Indexsample slots and controls ...403saturator and envelope ...405Start, Transpose and Stretch ...

606IndexMaster track ...198Max for Live ... 471Maximum Cac

607IndexPing Pong Delay effect ...345Pitch effect ...369Play button ...

608IndexRe-Pitch Mode ...131resampling ... 178Rescan Plug-

609Indexrecording an Arrangement ... 94recording audio in ...208selector ...

61 Managing Files and SetsAutomatic Repair Options in the File Manager.•Search Folder — includes a user-defined folder, as well as any sub-folders, in

610Indexaudio and MIDI in ... 20automation in ... 261compensating for device delay

611IndexWarp modes ... 129Warp switch ...103Widen Grid comm

62 Managing Files and Sets5.8 Collecting External FilesTo prevent a Live Set from containing broken file references, Live provides the option of colle

63 Managing Files and Sets•A file count and the associated disk space used;•A Show button that will list the files in the browser;•A Yes/No toggle for e

64 Managing Files and SetsFile Manager, you can find missing files and collect external files not only for the current Live Set but also for:•The User Li

65 Managing Files and SetsLast but not least, you can find the unused files for all Projects found in a specific folder (and its sub-folders): [right-cli

66 Managing Files and Sets5.12.2 How Can I Save Presets Into My Current Project?You can save presets directly to the current project by dragging from

67 Managing Files and SetsThen enable the Search Project and Fully Rescan Folders options. Finally, click Go to initi-ate the search.5. When searching

68 Managing Files and Sets

69 Arrangement ViewChapter 6Arrangement ViewThe Arrangement View displays the Arrangement, which contains music laid out along a song timeline, like a

7 First StepsChapter 2First Steps2.1 Learn About LiveLive comes with a set of interactive lessons to take you step by step through the key features o

70 Arrangement ViewNavigating the Arrangement View.1. To smoothly change the zoom level, click and drag vertically in the beat-time ruler at the top o

71 Arrangement View6.2 TransportThere are a number of ways to control Live’s transport with the computer keyboard and mouse:1. You can start Arrangem

72 Arrangement Viewanywhere in the scrub area or in the beat time ruler.Scrubbing Arrangement Playback.4. The song position can be adjusted numericall

73 Arrangement View6.3 Launching the Arrangement with LocatorsUsing Locators to Launch Play in the Arrangement.Locators can be set at any point in th

74 Arrangement ViewTo name a locator, select it by clicking its triangular marker, and choose the Rename Edit menu command (or use the [CTRL][R](PC) /

75 Arrangement ViewAny time signature with a one- or two-digit numerator and a denominator of 1, 2, 4, 8 or 16 can be used as a time signature marker

76 Arrangement ViewIf you import a MIDI file (page 49) into the Arrangement, you’ll be given an option to import any time signature information that wa

77 Arrangement ViewThe loop brace can be selected with the mouse and manipulated with commands from the com-puter keyboard:• the right and left arrow

78 Arrangement ViewChanging a Clip’s Length.Dragging a clip’s left or right edge changes the clip’s length.Clips snap to the editing grid, as well as

79 Arrangement ViewFades in the Arrangement View.You can also set the length of a fade by selecting a range of time within the clip (page 80) that inc

8 First StepsThe Info View and its Show/Hide Button.If you require more information on a specific user interface element or topic, please consult this

80 Arrangement View[Delete] returns the fade handle to a default length of 4 ms. With this option enabled, new clips in the Arrangement View will have

81 Arrangement View•Clicking a clip selects the clip.•Clicking into the Arrangement background selects a point in time, represented by a flash-ing inse

82 Arrangement ViewClicking the Loop Brace to Select the Loop for Editing.6.9 Using the Editing GridTo ease editing, the cursor will snap to grid lin

83 Arrangement ViewThe current spacing between adjacent grid lines is displayed in the lower right corner of the Ar-rangement View or Clip View.You ca

84 Arrangement View•Insert Silence inserts as much empty time as is currently selected into the Arrangement, before the selection.6.11 Splitting Clip

85 Arrangement ViewConsolidating Several Clips Into a New Clip.Suppose you have, by editing or improvising, come up with a layout of clips that sound

86 Arrangement View

87 Session ViewChapter 7Session ViewIn Live’s Arrangement View (page 69), as in all traditional sequencing programs, everything happens along a fixed s

88 Session View1. Each clip in the Session View has a triangular button at the left edge. Click the button with the mouse to “launch“ clip playback at

89 Session ViewGroup Slots and Group Launch Buttons.7.2 Tracks and ScenesEach vertical column, or track, can play only one clip at a time. It therefo

9 First Stepsthe settings for any given system. To access the lesson, use the Help View command from the Help menu.•The MIDI/Sync Preferences are used

90 Session ViewThe horizontal rows are called scenes. The Scene Launch buttons are located in the rightmost column, which represents the Master track

91 Session ViewThese Scenes Will Change the Tempo and Time Signature.Scenes with tempo and/or time signature changes in their names will have a colore

92 Session View... Monitoring the Input...A microphone icon appears in an audio track that is set to monitor its input (page 172). A key-board icon ap

93 Session ViewClips can be moved around the Session grid by drag-and-drop. To move several clips at once, select them by using the [Shift] or [CTRL]

94 Session Viewthe clips that are currently running in the new scene and launches the new scene immedi-ately with no audible interruption. This comman

95 Session Viewand the correct song positions. Notice that your recording has not created new audio data, only clips.The Session clips and the Arrange

96 Session ViewThe Stop All Clips Button.Furthermore, you can move clips not only within the Session grid, but also from the Session View to the Arran

97 Clip ViewChapter 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

98 Clip ViewClicking a Session View Track Status Field Opens the Clip View.The properties of more than one clip can be edited collectively in the Clip

99 Clip Viewclips. Setting Session View clip launch properties is covered in detail in a separate manual chapter (page 161).Audio clips have these add