Ableton Live - 7.0 User Manual

Reference ManualAbleton Live 7Sampler - Operator - Analog - Tension - ElectricSession Drums - Drum MachinesOrchestral Strings - Orchestral BrassOrches

CHAPTER 2. FIRST STEPS 8Adjusting the MainWindow Split.

CHAPTER 8. CLIP VIEW 98The 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 998.1 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

CHAPTER 8. CLIP VIEW 100The Clip Color chooser allows choosing a clip color.8.1.3 Clip SignatureUsing the Clip Signature elds, you can specify the ti

CHAPTER 8. CLIP VIEW 101Groove can be applied to both MIDI clips and audio clips. Applying groove to audioclips does require that the Warp switch be a

CHAPTER 8. CLIP VIEW 102The 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 103To 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 104The Clip Overview.The Clip Overview provides additional zoom/scrolling functionality. It always shows thecomplete clip, from s

CHAPTER 8. CLIP VIEW 105and 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 106the 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 107Regardless of the position of the loop brace, clip play upon launch will begin at the positionmarked by the start marker, whic

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 1088.2.3 Clip Pitch and GainThe Clip Pitch and GainControls.The Transpose control shifts the clip pitch in semitones.The Detune 

CHAPTER 8. CLIP VIEW 1098.2.5 Saving Default Clip Settings with the SampleThe Save Default ClipButton.The Save Default Clip button saves the current c

CHAPTER 8. CLIP VIEW 110Live 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 111out. Live can handle disk overloads more gracefully than swapped-out audio arriving late:Disk overloads result in unwanted mut

CHAPTER 8. CLIP VIEW 1128.2.10 Cropping SamplesThe Sample Display's (PC) /Ctrl(Mac) context menu includes the Crop Samplecommand. This function c

CHAPTER 8. CLIP VIEW 1138.3 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 1148.3.3 MIDI Loop/RegionThese controls manage how the contents of a MIDI clip are played and shown in the MIDIEditor. They work

115Chapter 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 116point. 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 1179.1.3 Nudging the TempoThe Nudge Buttons.Although Live can be easily synchronized to external MIDI devices, yo

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 118When the Warp switch is off, Live plays the sample at its original, normal tempo, irre-spective of the curre

CHAPTER 9. TEMPO CONTROL AND WARPING 1199.2.2 Warp MarkersThink of a sample as a rubber-band that you want to pin to a (musical time) ruler. In Live,t

CHAPTER 9. TEMPO CONTROL AND WARPING 120Note that if a sample has a saved set of Warp Markers, Auto-Warp will have no effect. Whenthis is the case, yo

CHAPTER 9. TEMPO CONTROL AND WARPING 121Syncing Uncut LoopsWhen importing a loop that has not been edited into a well-cut loop, Live will play it out

CHAPTER 9. TEMPO CONTROL AND WARPING 122is because the loop is tied to the meter grid and therefore moves with the Warp Markers,which dene the meter

CHAPTER 9. TEMPO CONTROL AND WARPING 123Syncing Longer PiecesLive's Auto-Warp algorithm makes longer samples and entire songs readily available f

CHAPTER 9. TEMPO CONTROL AND WARPING 124It might happen that Auto-Warp guesses the tempo correctly but gets the downbeat wrong.To remedy this, you can

CHAPTER 9. TEMPO CONTROL AND WARPING 125Warp From Here runs the Auto-Warp algorithm on the material to the right of theselected marker.Warp From Here

CHAPTER 9. TEMPO CONTROL AND WARPING 126Three 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 127the sample (the grains). The warp modes differ in the selection of grains, as well as in thedetails of overl

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 9. TEMPO CONTROL AND WARPING 128The Grain Size control determines the grain size used, but unlike in Tones Mode, this is asetting that Live wi

CHAPTER 9. TEMPO CONTROL AND WARPING 129Although REX les are audio les, they can quickly be transformed into playable instrumentsvia the Slice to Ne

130Chapter 10Editing MIDI Notes and VelocitiesA MIDI clip in Live contains notes and controller data for playing a MIDI instrument. Thisinstrument can

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 13110.2 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 132Previewing MIDI Notes.Provided your MIDI track's device chain contains an instrument, activating

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 133a time ruler, which shows note position along a musical timeline. The vertical axis containsboth the

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 134in 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 135Enlarge the MIDI Editorby Dragging theWindow Split BetweenSession and Clip Views.10.4 Editing MIDI10.

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 136When 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 137or downward to enclose the notes in the dotted line that appears.You can use the modier to click and

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 138The Edit menu's Select Loop command selects all notes that begin within the loop brace.The Selec

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 13910.4.6 Changing Note LengthClicking and dragging on a note's left or right edges changes its len

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 140lines unless the grid is not shown, or theAlt(PC) / (Mac) modier is held whiledragging.If one marker

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 141modi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 142The Velocity EditorShowing Note-OffVelocities.Please note that note-off (or release) velocity is a

143Chapter 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 144Use 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 14511.3 Clip-Level QuantizationThe Clip QuantizationChooser.The Clip Quantization chooser lets you adjust an onset timing

CHAPTER 11. LAUNCHING CLIPS 146The 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 147same group after the clip plays. A group is dened by clips arranged in successive slots ofthe same track. Tracks can h

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 148in 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 14923Creating 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 150The default setting for Follow Action is actually a 1:0 chance that Nothing happens afterthe Follow Action Time, whic

CHAPTER 11. LAUNCHING CLIPS 15111.6.5 Mixing up Melodies and BeatsYou can let Follow Actions perform unpredictable remixes and solos for you: Use a cl

152Chapter 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 153The 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 154track'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 15512.2 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 156the 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 157the Impulse percussion sampler's sample slots. This means that you can play and recorddrum patterns right off the

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 1581. MIDI Clock and Timecode signals that are used for synchronizing Live with othersequencers. Note that this set of ind

CHAPTER 12. ROUTING AND I/O 1592. Then, start Reason and set up the Reason rack as desired.3. Select Reason from the MIDI track's Output Type c

CHAPTER 12. ROUTING AND I/O 16012.5 ResamplingLive's Master output can be routed into an individual audio track and recorded, or resampled.Resamp

CHAPTER 12. ROUTING AND I/O 161Two 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 162Tap Points for TrackRouting.Pre FX taps the signal that is coming directly from a track, before it has been passedon to

CHAPTER 12. ROUTING AND I/O 163Routing 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 16412.6.2 Making Use of Internal RoutingThis section presents several internal routing examples in more detail.Post-Effect

CHAPTER 12. ROUTING AND I/O 165Recording MIDI as AudioWhen working with MIDI and complex software instruments, it is sometimes more usefulto record th

CHAPTER 12. ROUTING AND I/O 166Creating SubmixesSubmixing the IndividualDrums of a Drum Kit.Suppose we have the individual drums of a drum kit coming

CHAPTER 12. ROUTING AND I/O 167Feeding an AdditionalMIDI Track Into anExisting MIDI Track toReuse its Instrument.This is accomplished by setting the n

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 12. ROUTING AND I/O 168switch) 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 169Notice that routing an individual output from Impulse into another track automatically takesthis signal out of Impulse&

CHAPTER 12. ROUTING AND I/O 170an additional audio track for each tapped output:1. Insert the multi-timbral instrument on a MIDI track.2. Insert an Ex

CHAPTER 12. ROUTING AND I/O 171Routing a Speech SignalInto a Vocoder'sSidechain Input.Some vocoder plug-ins include a built-in synthesizer to gen

CHAPTER 12. ROUTING AND I/O 172Using an Auxiliary MIDITrack to LayerInstruments.Perhaps you wonder why this works, given that the string track's

173Chapter 13Mixing13.1 The Live MixerLive includes a mixer section that is accessible from two views:The Arrangement ViewMixer.In the Arrangement Vie

CHAPTER 13. MIXING 174its name, and adjust its height accordingly.The Session View Mixer.The Session View is a standard vertical mixer layout. You&apo

CHAPTER 13. MIXING 175The Mixer SectionSelectors.Let's look at the mixer controls:121365445 632The Mixer Controls.1. The Meter shows the track&ap

CHAPTER 13. MIXING 176option enabled, inserting an instrument into a new or empty MIDI track willautomatically arm the track.13.1.1 Session Mixer Feat

CHAPTER 13. MIXING 177Nevertheless, Live provides this optional visual feedback for signals that travel beyond 0 dBin any track.13.2 Audio and MIDI Tr

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 17813.3 Retur n Tracks and the Master TrackIn addition to tracks that play clips, a Live Set has a Master track and up to twelve re

CHAPTER 13. MIXING 179can 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 180Choose from SevenCrossfader Curves.The chart below details the power level and response of each crossfader curve.TransitionDippe

CHAPTER 13. MIXING 181right) will toggle the crossfader's absolute left and right positions.Mapping to two of the three elds allows for a snapp

CHAPTER 13. MIXING 18213.5 Soloing and CueingBy default, soloing a track simply mutes all other tracks (except in some cases where tracksare feeding o

CHAPTER 13. MIXING 1832. 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 13. MIXING 184Note that delay compensation for plug-ins and Live devices is a separate feature, and isautomatic by default. Unusually high Tra

185Chapter 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 186The Track In/Out Sectionin the Arrangement(Left) and Session View(Right).Audio tracks default to recording a stereo

CHAPTER 14. RECORDING NEW CLIPS 187behavior is called auto-monitoring and you can change it to t your needs.Clicking one track's Arm button un

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 1881. Recording commences when the Control Bar's Record button is activated andthe Play button is pressed.2. Reco

CHAPTER 14. RECORDING NEW CLIPS 18934 12Recording a New ClipInto the Session View.1. Set the Global Quantization chooser to any value other than None

CHAPTER 14. RECORDING NEW CLIPS 19014.3.3 Overdub Recording MIDI PatternsLive makes pattern-oriented recording of drums and the like quite easy. Using

CHAPTER 14. RECORDING NEW CLIPS 19114.4 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 19214.5 Recording Quantized MIDI NotesIf you will be recording MIDI, you have the option of automatically quantizing M

CHAPTER 14. RECORDING NEW CLIPS 19314.7 Setting up File TypesThe following Preferences from the Record/Warp/Launch tab are relevant to the sample les

CHAPTER 14. RECORDING NEW CLIPS 194The Scene Up/DownButtons.One key is used to jump to the next scene...A Track Launch Button... and another key to s

195Chapter 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 196Devices 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 19715.1 Using the Live DevicesThe Live Device Browser.Click on the Device Browser selector to access

Live Version 7.0.9 for Windows and Mac OSJuly, 2008Created by Bernd Roggendorf, Gerhard Behles, Robert Henke, Awi, Reiner Rudolph, Stefan Haller, Stef

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 198MIDI and Audio TrackArm ButtonsThis is how you would play live instruments through effects on a tr

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 199A MIDI Track's DeviceChain Can Contain AllThree Device Types.To remove a device from the chai

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 200The Level MetersBetween Devices in aChain.Note that no clipping can occur between devices because

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 201Presets in the DeviceBrowser.You can browse and load presets quickly with the computer keyboard:Sc

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 202Saving PresetsYou can create and save any number of your own presets in the Device Browser.The Sav

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 203(Mac) context menu on the device's header and select Save as Default Preset. This worksfor

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 204will receive MIDI and output audio signals. Plug-in audio effects can only be placed in audiotrack

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 205program. Use the Rescan button in the File/Folder Preferences to rescan your plug-ins whileLive is

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 206The X-Y control eld can be used to control two plug-in parameters at once and is thereforeespecia

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 207Using the Auto-Hide Plug-In Windows preference, you can choose to have Live displayonly those plug

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

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 20815.3 VST Plug-Ins15.3.1 The VST Plug-In FolderWhen you start Live for the rst time, you will need

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 209Setting up VST Plug-InSources for Mac OS X.Set up your VST Plug-ins under Mac OS X by doing the fo

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 210making the problematic plug-in unavailable. If you choose to rescan and they crash theprogram a se

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 211Windows only: Please select from the File Type menu whether you want to locate VSTDevice Program 

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 212Activating Audio UnitsPlug-Ins.Audio Units Plug-ins sometimes have a feature that allows choosing

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 213device delay compensation. To manually turn latency compensation on (or off), use theDelay Compens

214Chapter 16Instrument, Drum and Effect RacksAn Audio Effect Rack.A Rack is a exible tool for working with effects, plug-ins and instruments in a tr

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 21516.1 An Overview of Racks16.1.1 Signal Flow and Parallel Device ChainsIn any of Live's tracks, d

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 216One unique property of Racks are their Macro Controls.The Macro Controls are a bank of eight knobs, e

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 217If a track already has one or more devices that you would like to group into a Rack, thensimply selec

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 16. INSTRUMENT, DRUM AND EFFECT RACKS 218every Rack has a view column on its far left side that holds the correspondingview selectors. The act

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 219Navigate Racks QuicklyVia a Context Menu.16.4 Chain ListThe Chain List in anAudio Effect Rack.As sign

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 220or Arrangement View track will give that track focus; its Track View will open, allowing youto drop y

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 221Auto Select in a DrumRack.When the Auto Select switch is activated, every chain that is currently pro

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 22216.5.1 Signal Flow through ZonesTo understand how zones work, let's examine the signal ow in a

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 22316.5.2 Key ZonesThe Key Zone Editor.When the Key button is selected, the Key Zone Editor appears to t

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 224spans the top of the editor. Otherwise, the functionality here is identical to that of the KeyZone Ed

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 225is not attenuated, allowing the chain's effects (like long reverb tails or delays) to fade outac

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 226Crossfading Preset Banks Using Fade RangesCrossfading BetweenEffects Presets UsingChain Select Zones.

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 2272 314The Chain List in a DrumRack.1. In addition to the standard selectors found on all Racks, Drum R

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

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 228Drum Racks that are nested within other Drum Racks, both drum chains and return chainscan route upwa

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 229alone).Alt(PC) /Alt(Mac)-dragging a multi-selection layers all of the samples toa single pad, by crea

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 230pads that are visible on your screen. If you scroll the pad overview to show a different set ofpads,

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 2311. A new MIDI track will be created, containing a MIDI clip. The clip will containone note for each s

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 232By default, your sliced MIDI data will form a chromatically-ascending staircase pattern inorder to

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 233With the potential for developing complex device chains, Macro Controls keep things man-ageable by ta

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 23416.8 Mixing With RacksAny Instrument or Drum Rack that contains more than one chain can be viewed and

CHAPTER 16. INSTRUMENT, DRUM AND EFFECT RACKS 23516.8.1 Extracting ChainsAll chains can be dragged from their parent Racks and placed into other track

236Chapter 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 237Volume, Pan and theTrack Activator SwitchHave Been Automated.17.2 Deleting AutomationTo delete automat

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 17. AUTOMATION AND EDITING ENVELOPES 2382. 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 239which devices actually have automation by showing an LED next to their labels.You can make things clea

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 240Drawing an Envelope.Drawing creates steps as wide as the visible grid, which you can modify using a nu

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 241the modier while dragging, which will eliminate breakpoints as you wipe overthem. Holding down theCtr

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 24217.4.4 Edit Menu CommandsWhen working with automation data, the Edit menu commands behave differently

243Chapter 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 24418.1 The Clip Envelope EditorUse the Clip View BoxSelector to Bring up theEnvelopes Box.To work with clip envelopes, bri

CHAPTER 18. CLIP ENVELOPES 245The bottom menu, the Control chooser, selects among the controls of the item chosen inthe top menu. In both choosers, pa

CHAPTER 18. CLIP ENVELOPES 246clips, you can create an abundance of interesting variations from the same clip in real time anything from subtle corre

CHAPTER 18. CLIP ENVELOPES 247The TranspositionEnvelope with Steps(Top) and Ramps(Bottom).Note that the warp settings determine how accurately Live&ap

CHAPTER 4. LIVE CONCEPTS 23each track makes to the input of any return tracks. Return tracks only host effects, and notclips. Via their sends, all tra

CHAPTER 18. CLIP ENVELOPES 24818.2.3 Muting or Attenuating Notes in a SampleClick on the Volume quick-chooser to access an audio clip's volume en

CHAPTER 18. CLIP ENVELOPES 249than centimeters: A vertical grid line is worth a sixteenth note of offset and the modulationcan reach from plus eight s

CHAPTER 18. CLIP ENVELOPES 25018.3 Mixer and Device Clip EnvelopesClip envelopes can be used to modulate mixer and device controls. Since mixer anddev

CHAPTER 18. CLIP ENVELOPES 251percentage: The clip envelope cannot open the send further than the Send knob, but it canreduce the actual send value to

CHAPTER 18. CLIP ENVELOPES 252while recording new clips: Names of controllers that already have clip envelopes appearwith an adjacent LED in the Contr

CHAPTER 18. CLIP ENVELOPES 2531342Using a Clip Envelope toCreate a Fade-Out OverSeveral Repetitions of aLoop.1. Choose the Clip Volume envelope, and u

CHAPTER 18. CLIP ENVELOPES 25418.5.2 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 25518.5.3 Imposing Rhythm Patterns onto SamplesSo far, we have been talking about imposing long envelopes onto small loops.

256Chapter 19Working with VideoLive's exible architecture makes it the perfect choice for scoring to video. You can trimvideo clips to select pa

CHAPTER 19. WORKING WITH VIDEO 25719.2 The Appearance of Video in Live19.2.1 Video Clips in the Arrangement ViewA video clip in the Arrangement View l

CHAPTER 4. LIVE CONCEPTS 24The Mixer for a MIDITrack without anInstrument.4.8 Presets and RacksEvery Live device can store and retrieve particular set

CHAPTER 19. WORKING WITH VIDEO 25819.2.2 The Video WindowThe Video Window is a separate, oating window that always remains above Live's mainwind

CHAPTER 19. WORKING WITH VIDEO 25919.2.3 Clip ViewSoundtrack composers will want to note the Tempo Master option in Live's Clip View. Whenscoring

CHAPTER 19. WORKING WITH VIDEO 26019.3 Matching Sound to VideoIn Live, it takes just a few steps to get started with video. Let's look at a commo

CHAPTER 19. WORKING WITH VIDEO 26119.4 Video Trimming TricksCommonly, composers receive movie les with a few seconds of blank space before thereal

CHAPTER 19. WORKING WITH VIDEO 262In the Arrangement View, we select all materials (Edit menu/Select All), then drag the entirecomposition a few secon

263Chapter 20Live Audio Effect ReferenceLive comes with a selection of custom-designed, built-in audio effects. The Working withInstruments and Effec

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 264track either the ltered signal or an external sidechain source.There are four different lter types: lowpa

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 265envelope follower and is never actually heard.The Auto Filter also contains a Low Frequency Oscillator to m

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 26620.2 Auto PanThe Auto Pan Effect.Auto Pan offers LFO-driven manipulation of amplitude and panning for creat

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 26720.3 Beat RepeatThe Beat Repeat Effect.Beat Repeat allows for the creation of controlled or randomized repe

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 20. LIVE AUDIO EFFECT REFERENCE 268create sonic artifacts. The No Triplets button sets grid division as binary.Grid size can be changed random

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 26920.4 ChorusThe Chorus Effect.The Chorus effect uses two parallel time-modulated delays to create chorus (th

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 270while the Polarity switch sets (surprise!) the polarity. Polarity changes have the most effectwith high amo

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 271Ratio:The Threshold slider sets where compression begins. Signals above the threshold areattenuated by an a

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 272operation after the signal falls below the threshold.A slight amount of attack time (1050 ms) allows peaks

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 273model, which analyzes the output of the device and then self-adjusts its compression be-havior. Because fee

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 274With Dry/Wet at 100%, the compressor is triggered entirely by the sidechain source. At0%, the sidechain is

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 275Sidechaining in Dance MusicSidechaining/ducking is a dance music producer's secret weapon because it c

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 276Three tube models, A, B and C, provide a range of distortion characteristics known fromreal amplier tubes.

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 27720.7 EQ EightThe EQ Eight Effect.The EQ Eight effect is an equalizer featuring up to eight parametric lter

CHAPTER 4. LIVE CONCEPTS 26It is also possible to record into Session View slots on the y. This technique is veryuseful for the jamming musician, as

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 278Each lter band can be turned on or off independently. Turn off bands that are not in useto save CPU power.

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 279If you have ever used a good DJ mixer you will know what this is: An EQ that allows you toadjust the level

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 28020.9 ErosionThe Erosion Effect.The Erosion effect degrades the input signal by modulating a short delay wit

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 28120.10 Exter nal Audio EffectThe External AudioEffect.The External Audio Effect is a bit different than Live

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 282latency settings in samples, which ensures that the number of samples you specify will beretained even when

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 283delay 3 to the right channel. The Pan controls at the right can override the delay channels'outputs; o

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 28420.12 FlangerThe Flanger Effect.Flanger uses two parallel time-modulated delays to create anging effects.F

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 285Adjusting the HiPass control will cut low frequencies from the delayed signal.The Dry/Wet control adjusts t

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 286sharp clicking sounds, while long times soften the sound's attack.When the signal goes from above to b

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 28720.14 Grain DelayThe Grain Delay Effect.The Grain Delay effect slices the input signal into tiny particles

CHAPTER 4. LIVE CONCEPTS 27favor of the new control setting). The control will stop tracking its automation and restwith the new value until the Back

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 288ears and speakers if you decide to check out extreme feedback settings!You can transpose the grain pitch wi

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 289The Poles control creates notches in the frequency spectrum. The Feedback control canthen be used to invert

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 29020.16 Ping Pong DelayThe Ping Pong DelayEffect.The Ping Pong Delay effect uses a single tapped delay line t

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 291The Dry/Wet control adjusts the balance between the processed and dry signals. Set it to100 percent if usin

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 292(8 bit resolution). If set to 1, the result is pretty brutal: Each sample contains either a fullpositive or

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 293adjust the amount of time it takes for the resonators to be silent after getting an input signal.The longer

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 29420.19.1 Input ProcessingThe input signal passes rst through high and low cut lters, whose X-Y controller

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 295The Size parameter controls the room's volume. At one extreme, a very large size willlend a shifting

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 29620.19.5 OutputAt the reverb output, you can adjust the effect's overall Dry/Wet mix, and vary the ampl

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 297Soft Sine, Medium Curve and Hard Curve modes soften signal clipping to varying degrees.Sinoid Fold mode can

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 28control box). Your assignments take effect immediately after you leave MIDI Map Mode.Session clips can be mapped to a MIDI

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 29820.21 Simple DelayThe Simple Delay Effect.The Simple Delay provides two independent delay lines, one for ea

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 29920.22 SpectrumThe Spectrum Device.Spectrum performs realtime frequency analysis of incoming audio signals.

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 300scaling, but switch the legending at the top of the display between Hertz and note names.Linear scaling is

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 301appears on both outputs. This is especially useful if you have a stereo le that containsdifferent informat

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 302Alt(Mac) modier while dragging vertically in the X-Y display changes the frequencyband's Q (bandwidth

303Chapter 21Live MIDI Effect ReferenceLive comes with a selection of custom-designed, built-in MIDI effects. The Working withInstruments and Effects

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 304controlled by the device, which also provides a full complement of both classic and originalarpeggiator feat

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 305Con & Diverge.Pinky Up and PinkyUpDown.Thumb Up andThumb UpDown.Play Order places notes in the

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 306pressed. When Hold is active and any of the original keys also remain physically held, notescan be added to

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 307The dynamics of Arpeggiator are controlled using the velocity section. With Velocity setto On and Target s

CHAPTER 4. LIVE CONCEPTS 29Browsers, and thereby exported to disk as Live Clips.A Live Clip in the FileBrowser.Live Clips are a very powerful way of s

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 308semitone shift added with the Shift 6 control.Note that no two notes of the same pitch can contribute to the

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 309On/Off Balance  This determines the velocity of the output note. It is a balance betweenthe incoming note&a

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 31021.5 RandomThe Random Effect.Random adds an element of the unknown to the otherwise commonplace pitch parame

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 311For example, with Chance set to 100 percent, Choices set to 12 and Scale set to 1, playingC3 once will trigg

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 312The Range and Lowest controls work together to dene the note range within which scalemapping will take effe

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 313LED below the X-Y display ash when a note is blocked by gating. In Fixed Mode, the OutHi velocity denes al

314Chapter 22Live Instrument ReferenceLive comes with a selection of custom-designed, built-in instruments. The Working withInstruments and Effects

CHAPTER 22. LIVE INSTRUMENT REFERENCE 31522.1 AnalogAnalog is a virtual analog synthesizer, created in collaboration with Applied Acoustics Sys-tems.

CHAPTER 22. LIVE INSTRUMENT REFERENCE 316LFO 2LFO 1RLRPre Filter MixLFO 1LFO 2NoiseFilter 1Amp 1Amp Env 1Filter Env 1Filter 2Amp 2Amp Env 2Filter Env

CHAPTER 22. LIVE INSTRUMENT REFERENCE 31722.1.2 OscillatorsDisplay and ShellParameters for the twoOscillators.Analog's two oscillators use physic

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

CHAPTER 22. LIVE INSTRUMENT REFERENCE 318parameters in the display. The LFO slider sets the amount that the LFO modulates pitch.Again, this parameter

CHAPTER 22. LIVE INSTRUMENT REFERENCE 31922.1.3 Noise GeneratorAnalog's NoiseGenerator.The Noise generator produces white noise and includes its

CHAPTER 22. LIVE INSTRUMENT REFERENCE 32022.1.4 FiltersDisplay and ShellParameters for the twoFilters.Analog's two multi-mode lters come equippe

CHAPTER 22. LIVE INSTRUMENT REFERENCE 321The three Sym options apply symmetrical distortion, which means that the saturation be-havior is the same for

CHAPTER 22. LIVE INSTRUMENT REFERENCE 32222.1.6 EnvelopesAnalog's EnvelopeParameters.In addition to the pitch envelopes in the oscillator section

CHAPTER 22. LIVE INSTRUMENT REFERENCE 323Normally, each new note triggers its own envelope from the beginning of the attack phase.With Legato enabled,

CHAPTER 22. LIVE INSTRUMENT REFERENCE 324Analog's two LFOs can be used as modulation sources for the oscillators, lters and ampli-ers. As with

CHAPTER 22. LIVE INSTRUMENT REFERENCE 325as controls for performance parameters such as vibrato and glide.The Volume control in the shell adjusts the

CHAPTER 22. LIVE INSTRUMENT REFERENCE 326new notes that are higher than currently sustained notes will have priority, and notes will becut off startin

CHAPTER 22. LIVE INSTRUMENT REFERENCE 327editing and performance possibilities.The full version of Drum Machines is not included with the standard ver

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 22. LIVE INSTRUMENT REFERENCE 32822.3 ElectricThe Electric Instrument.Electric is a software electric piano based on the classic instruments o

CHAPTER 22. LIVE INSTRUMENT REFERENCE 329releasing the key applies a damper to the fork, which mutes it more quickly.The Electric interface is divided

CHAPTER 22. LIVE INSTRUMENT REFERENCE 330higher harmonics. The amplitude of the tine is adjusted with the Level knob. This level canbe further modulat

CHAPTER 22. LIVE INSTRUMENT REFERENCE 331The Input knob is used to adjust the amount of the fork's signal that is fed to the pickup,which in turn

CHAPTER 22. LIVE INSTRUMENT REFERENCE 332of lower ones. The result is a more brilliant sound. Negative values simulate negativestretch tuning; upper

CHAPTER 22. LIVE INSTRUMENT REFERENCE 333ReWire Options Shownin the Routing Choosers.If another track in your set contains a multitimbral plug-in, you

CHAPTER 22. LIVE INSTRUMENT REFERENCE 334working with analog devices, you may want to ne tune your latency in samples in orderto achieve the lowest

CHAPTER 22. LIVE INSTRUMENT REFERENCE 33522.5.1 Sample SlotsDrag and drop samples into any of Impulse's sample slots from the Browser or the Sess

CHAPTER 22. LIVE INSTRUMENT REFERENCE 336The Stretch control has values from -100 to 100 percent. Negative values will shorten thesample, and positive

CHAPTER 22. LIVE INSTRUMENT REFERENCE 33722.5.6 Global ControlsThe parameters located to the right of the sample slots are global controls that apply

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 22. LIVE INSTRUMENT REFERENCE 338The full version of Operator is not included with the standard version of Live, but is a specialfeature avail

CHAPTER 22. LIVE INSTRUMENT REFERENCE 339Operator's GlobalDisplay.Typically, FM synthesis makes use of pure sine waves, creating more complex wav

CHAPTER 22. LIVE INSTRUMENT REFERENCE 34022.6.2 Oscillator Section and AliasingOscillator D's Displayand Shell Parameters.The oscillators can bas

CHAPTER 22. LIVE INSTRUMENT REFERENCE 341with lots of high harmonics. This also means that more complex oscillator waveforms, suchas Saw 32, tend to

CHAPTER 22. LIVE INSTRUMENT REFERENCE 342The phase of each oscillator can be adjusted using the Phase control in its display.As explained earlier osci

CHAPTER 22. LIVE INSTRUMENT REFERENCE 343note pitch, be xed or be set to something in between. This is dened by the Rate<Keyparameter in the LFO&

CHAPTER 22. LIVE INSTRUMENT REFERENCE 344If you play a note a bit out of sync, it will repeat perfectly but stay out of sync. In SyncMode however, the

CHAPTER 22. LIVE INSTRUMENT REFERENCE 34522.6.5 Filter SectionOperator's Filter Section.As mentioned earlier, the lters are not the main focus o

CHAPTER 22. LIVE INSTRUMENT REFERENCE 346means that the envelopes will not be retriggered from voice to voice, and only pitch willchange.Global Volume

CHAPTER 22. LIVE INSTRUMENT REFERENCE 34722.6.8 Strategies for Saving CPU PowerIf you want to save CPU power, turn off features that you do not need o

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

CHAPTER 22. LIVE INSTRUMENT REFERENCE 348Global Shell and DisplayTime  This is a global control for all envelope rates.Tone  Operator is capable of

CHAPTER 22. LIVE INSTRUMENT REFERENCE 349Spread  If Spread is turned up, the synthesizer uses two detuned voices per note, oneeach on the left and ri

CHAPTER 22. LIVE INSTRUMENT REFERENCE 350Filter Frequency<Velocity (Freq<Vel)  Filter frequency is modulated by note velocity ac-cording to thi

CHAPTER 22. LIVE INSTRUMENT REFERENCE 351LFO Rate<Key (Rate<Key)  The LFO's frequency can be a function of note pitch. If this is setto 10

CHAPTER 22. LIVE INSTRUMENT REFERENCE 352Osc Frequency<Velocity (Osc<Vel)  The frequency of an oscillator can be modulated bynote velocity. Pos

CHAPTER 22. LIVE INSTRUMENT REFERENCE 353Envelope Sustain Level (Sustain)  This is the sustain level at the end of the note decay. Theenvelope will s

CHAPTER 22. LIVE INSTRUMENT REFERENCE 35422.7 Orchestral Strings, Brass, Woodwinds and PercussionOrchestral Strings, Brass, Woodwinds and Percussion a

CHAPTER 22. LIVE INSTRUMENT REFERENCE 355There are also LE Packs available for each library which contain very efcient versions of theinstruments sui

CHAPTER 22. LIVE INSTRUMENT REFERENCE 356imported from third-party sample libraries are listed here, too, in the Imports folder.Once you have loaded a

CHAPTER 22. LIVE INSTRUMENT REFERENCE 357Samples/Imported). This means the new Sampler presets will work regardless of whetherthe original multisample

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

CHAPTER 22. LIVE INSTRUMENT REFERENCE 358Sampler's Tabs in theTitle Bar.22.8.3 The Zone TabThe Key Zone Editor.Clicking on the Zone tab toggles t

CHAPTER 22. LIVE INSTRUMENT REFERENCE 359The rest of the view is occupied by one of three editors that correspond to the sample layers:the Key Zone Ed

CHAPTER 22. LIVE INSTRUMENT REFERENCE 360By default, the key zones of newly imported samples cover the full MIDI note range. Zonescan be moved and res

CHAPTER 22. LIVE INSTRUMENT REFERENCE 361Sample Select ZonesThe Sample SelectEditor.Each sample also has a Sample Select zone, which is a data lter t

CHAPTER 22. LIVE INSTRUMENT REFERENCE 362The playback characteristics of individual samples are set within the Sample tab. Most ofthis tab is dedicate

CHAPTER 22. LIVE INSTRUMENT REFERENCE 363All time-based values in this tab are displayed in either samples or hours:seconds:millise-conds, which can b

CHAPTER 22. LIVE INSTRUMENT REFERENCE 364proceed linearly towards Sample End.Release Loop Enabled  When the volume envelope reaches its release stage

CHAPTER 22. LIVE INSTRUMENT REFERENCE 36522.8.5 The Pitch/Osc TabThe Pitch/Osc Tab.The Modulation OscillatorSampler features one dedicated modulation

CHAPTER 22. LIVE INSTRUMENT REFERENCE 36622.8.6 The Filter/Global TabThe Filter/Global Tab.The FilterSampler features a polyphonic lter with an optio

CHAPTER 22. LIVE INSTRUMENT REFERENCE 367The Filter/Shaper OrderButton.The Volume EnvelopeThe volume envelope is global, and denes the articulation o

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 22. LIVE INSTRUMENT REFERENCE 368LFO Retrigger (Retrig)  Enabling Retrigger for an LFO will cause it to reset to its startingpoint, or initia

CHAPTER 22. LIVE INSTRUMENT REFERENCE 36922.9 Session DrumsSession Drums is a multisampled library of acoustic drumkits recorded by Chocolate Audio.Th

CHAPTER 22. LIVE INSTRUMENT REFERENCE 37022.9.2 Accessing the Session Drums PresetsAfter installation, the Session Drums presets are accessed through

CHAPTER 22. LIVE INSTRUMENT REFERENCE 371Velocity Sensitivity  this Macro adjusts the dynamic range of the drumkit. As you turnup this control, the k

CHAPTER 22. LIVE INSTRUMENT REFERENCE 37222.10 SimplerThe Simpler Instrument.Simpler is an instrument that integrates the basic elements of a sampler

CHAPTER 22. LIVE INSTRUMENT REFERENCE 37322.10.2 Sample ControlsSimpler plays a specic region or loop of the sample, as determined by a group of samp

CHAPTER 22. LIVE INSTRUMENT REFERENCE 374vertically to zoom, and drag horizontally to pan different areas of the sample into view.22.10.4 EnvelopeSimp

CHAPTER 22. LIVE INSTRUMENT REFERENCE 37530 Hz, or sync to divisions of the Set's tempo. LFOs are applied individually to each voice,or played no

CHAPTER 22. LIVE INSTRUMENT REFERENCE 376The Voices parameter sets the maximum number of voices that Simpler can play simultane-ously. If more voices

CHAPTER 22. LIVE INSTRUMENT REFERENCE 37722.11 TensionThe Tension Instrument.Tension is a synthesizer dedicated to the emulation of string instruments

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

CHAPTER 22. LIVE INSTRUMENT REFERENCE 378a hammer, a pick or a bow. The frequency of the oscillation is determined by the effectivelength of the strin

CHAPTER 22. LIVE INSTRUMENT REFERENCE 379The modelled string can be played using different types of excitators in order to reproducedifferent types of

CHAPTER 22. LIVE INSTRUMENT REFERENCE 380string into motion.The Prot knob (for protrusion) adjusts how much of the plectrum's surface area is p

CHAPTER 22. LIVE INSTRUMENT REFERENCE 381The String SectionTension's String Section.The vibration of the string is the main component of a string

CHAPTER 22. LIVE INSTRUMENT REFERENCE 382The Vibrato SectionTension's VibratoSection.The Vibrato section uses an LFO to modulate the string'

CHAPTER 22. LIVE INSTRUMENT REFERENCE 383The Damper SectionTension's DamperSection.All string instruments employ some type of damping mechanism t

CHAPTER 22. LIVE INSTRUMENT REFERENCE 384Velocity control has no effect.The Mass, Stiffness and Velocity parameters can be further modulated by note p

CHAPTER 22. LIVE INSTRUMENT REFERENCE 385a physical instrument, this interaction is used to change the effective length of the string,which in turn se

CHAPTER 22. LIVE INSTRUMENT REFERENCE 386The Body SectionTension's Body Section.The role of the body or soundboard of a string instrument is to r

CHAPTER 22. LIVE INSTRUMENT REFERENCE 38722.11.3 Filter/Global TabThe Filter/Global tab contains the lter parameters for the instrument, as well as g

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 22. LIVE INSTRUMENT REFERENCE 388The time it takes for the envelope to reach the sustain level after the attack phase is set bythe Decay knob.

CHAPTER 22. LIVE INSTRUMENT REFERENCE 389Global and Keyboard ParametersTension's Global andKeyboard Parameters.The remaining section contain all

CHAPTER 22. LIVE INSTRUMENT REFERENCE 390The Error slider increases the amount of random tuning error applied to each note. Try veryhigh values if you

CHAPTER 22. LIVE INSTRUMENT REFERENCE 391perhaps excite an undamped string. But if that string is constricted by an enormous damper,the bow will need

CHAPTER 22. LIVE INSTRUMENT REFERENCE 392within the Instrument Rack folder. EIC instruments are therefore loaded just like any otherdevice, by draggin

CHAPTER 22. LIVE INSTRUMENT REFERENCE 393Acoustic Drum Kit  one stereo multisampled drum kit, selected from the SessionDrums add-on productSpecial Fe

394Chapter 23MIDI and Key Remote ControlTo liberate the musician from the mouse, most of Live's controls can be remote-controlledwith an exter na

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 39523.1 MIDI Remote ControlLive can be controlled remotely by external MIDI control surfaces, such as MIDI key

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 396listed here, don't fret  it can still be enabled manually in the next section, Manual ControlSurface

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 397Control Surfaces CanFollow Device Selection.In addition to following device selection, natively supported c

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 23. MIDI AND KEY REMOTE CONTROL 39823.1.2 Manual Control Surface SetupIf your MIDI control surface is not listed in the MIDI/Sync Preferences&

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 39923.1.3 Takeover ModeMIDI ControllerTakeover Mode.When MIDI controls that send absolute values (such as fade

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 40023.2 The Mapping BrowserThe Mapping Browserand Selector.All manual MIDI, computer keyboard and Macro Contro

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 40123.2.1 Assigning MIDI Remote ControlThe MIDI Map ModeSwitch.Once your remote control setup has been dened

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 402note is assigned a discrete value, equally spaced over the parameter's range of values.Hint: Session V

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 40323.2.4 Mapping to Relative MIDI ControllersSome MIDI controllers can send value increment and value decr

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 404available option. Decrement messages make it jump backward.Continuous Controls  Each type of relative MIDI

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 405Relative Session mapping is useful for navigating a large Live Set, as Live always keeps thehighlighted sce

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 406Keyboard assignments can produce the following effects in Live:Clips in Session View slots will be affected

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 40723.3.1 Channel StripsThe Eight Channel Stripsand the Master Strip.The Mackie Control's eight channel s

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 23. MIDI AND KEY REMOTE CONTROL 4081. Arm  By default, this arms the track for recording in exclusion of all other tracks.To arm the track no

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 40923.3.2 V-Pots and Assignment SwitchesThe V-Pots andAssignment Switches.The Mackie Control's V-Pots hav

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 410switch) pressing a V-Pot toggles the options.There are six assignment switches to the right of the channel

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 41123.3.3 Bank/Channel and Flip/ReturnBank, Channel, Flip andReturn Buttons.1. Bank  If more than eight track

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 412button while pressing these.2. Channel  You can use the channel + and - buttons to scroll through thea

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 41323.3.4 TransportThe Transport Controls.1. Previous/Next Locator  Using these buttons, you can skip forward

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 4142. Loop On/Off  Toggles the Arrangement Loop switch on/off.3. Punch-In/Punch-Out  Toggles Live's Pun

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 415Control's Options button while pressing this.12. Jog Wheel  In the Session View, the jog wheel scroll

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 41623.3.5 Software-Specic ControlsThe Software-SpecicControls.1. Shift, Option, Control, Alt  Used to acces

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 417meters appear only when pan assignment mode is active.4. F-Keys  These keys can be mapped freely to contro

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

418Chapter 24Synchronization and ReWire24.1 Synchronizing via MIDIThe MIDI protocol denes two ways to synchronize sequencers, both of which are suppo

CHAPTER 24. SYNCHRONIZATION AND REWIRE 419are explained later in this chapter. W ith respect to MIDI Timecode, Live can only actas a MIDI sync slave,

CHAPTER 24. SYNCHRONIZATION AND REWIRE 420The External SyncSwitch.When Live is synced to an external MIDI device, it can accept song position pointers

CHAPTER 24. SYNCHRONIZATION AND REWIRE 421pronounced percussive sounds. While listening to the output from both, adjust the SyncDelay control until bo

CHAPTER 24. SYNCHRONIZATION AND REWIRE 422resources than running a single program.24.2.1 Running Live in ReWire Master ModeThe step-by-step procedure

CHAPTER 24. SYNCHRONIZATION AND REWIRE 423Time signature and tempo will be determined by the settings in the ReWire masterapplication. If your Live Se

424Chapter 25Computer Audio Resources andStrategiesReal-time audio processing is a demanding task for general-purpose computers, which areusually desi

CHAPTER 25. COMPUTER AUDIO RESOURCES AND STRATEGIES 425Fortunately, Live supports multicore and multiprocessor systems, allowing the processingload fr

CHAPTER 25. COMPUTER AUDIO RESOURCES AND STRATEGIES 42625.1.2 CPU Load from Tracks and DevicesGenerally, every track and device being used in Live inc

CHAPTER 25. COMPUTER AUDIO RESOURCES AND STRATEGIES 427device or clip settings. On slower machines, you can unfreeze processor-intensive tracksone at

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 25. COMPUTER AUDIO RESOURCES AND STRATEGIES 428For frozen Session clips, only two loop cycles are included in the frozen clip, which meansthat

CHAPTER 25. COMPUTER AUDIO RESOURCES AND STRATEGIES 429Do the following to avoid disk overload:Reduce the amount of audio channels being written by ch

430Chapter 26Live 7 Audio Fact SheetMuch of Ableton's recent development effort has been focused on carefully and objectivelytesting Live's

CHAPTER 26. LIVE 7 AUDIO FACT SHEET 431we will never release an update unless it passes every test.26.2 Neutral OperationsProcedures in Live that will

CHAPTER 26. LIVE 7 AUDIO FACT SHEET 432rendering to a le with the same bit depth as the original results in complete phasecancellation.rendering to a

CHAPTER 26. LIVE 7 AUDIO FACT SHEET 43326.2.4 Summing at Single Mix PointsLive 7 uses double precision (64-bit) summing at all points where signals ar

CHAPTER 26. LIVE 7 AUDIO FACT SHEET 43426.2.7 Freeze, FlattenWhen tracks are frozen, the audio les that are created are 32 bit, which ensures that th

CHAPTER 26. LIVE 7 AUDIO FACT SHEET 43526.2.8 Bypassed EffectsBypassed effects in Live are removed from the signal ow. This is true for both Live&apo

CHAPTER 26. LIVE 7 AUDIO FACT SHEET 436splitting warped but unstretched clips with loop on and off;In all cases, output is rendered and compared with

CHAPTER 26. LIVE 7 AUDIO FACT SHEET 437To minimize potential negative results, it is recommended to do sample rate conversion asan ofine process in a

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

CHAPTER 26. LIVE 7 AUDIO FACT SHEET 438mastering and nalizing in Live, it is best to always render at 32-bit and avoid ditheringaltogether.26.3.5 Rec

CHAPTER 26. LIVE 7 AUDIO FACT SHEET 43926.3.9 PanningLive uses constant power panning with sinusoidal gain curves. Output is 0 dB at thecenter positio

CHAPTER 26. LIVE 7 AUDIO FACT SHEET 440convert your rendered les in an ofine application that is optimized for these tasks,rather than in Live.Pleas

441Chapter 27Live 7 MIDI Fact SheetIn conjunction with our work on the audio engine, Ableton has spent additional effort an-alyzing Live's MIDI t

CHAPTER 27. LIVE 7 MIDI FACT SHEET 442ware device (such as a MIDI keyboard) into a DAW for storage. An ideal recordingenvironment would capture this i

CHAPTER 27. LIVE 7 MIDI FACT SHEET 443needs to be moved from one such process to another  when converting MIDIdata into a plug-in's playback, fo

CHAPTER 27. LIVE 7 MIDI FACT SHEET 444makes it possible to record events to the clip at the time you hear them  not the time youplay them.For playbac

CHAPTER 27. LIVE 7 MIDI FACT SHEET 445timestamps attached to incoming MIDI events are accurate, and that outgoing events willbe dealt with appropriate

CHAPTER 27. LIVE 7 MIDI FACT SHEET 446Windows:Interface A: The maximum jitter was +/- 4 ms, with the majority of the jitter occurringat +/- 1 ms.Inter

CHAPTER 27. LIVE 7 MIDI FACT SHEET 447Audio Recording(another instance of Live)MIDI-to-AudioConverterLiveMIDI ClipAudio ClipMIDI Output TestCongurati

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 27. LIVE 7 MIDI FACT SHEET 448you experience timing issues, we recommend switching to the other mode. This is setin the MIDI Ports list in the

449Chapter 28Live Keyboard Shortcuts28.1 Showing and Hiding ViewsWindows MacintoshToggle Full Screen ModeF11CtrlF11Toggle Session/Arrangement ViewTogg

CHAPTER 28. LIVE KEYBOARD SHORTCUTS 450Windows MacintoshHide/Show CrossfaderCtrlAltFAltFOpen the PreferencesCtrl,,Close Window/DialogEscEsc28.2 Access

CHAPTER 28. LIVE KEYBOARD SHORTCUTS 45128.4 BrowsingIn addition to the shortcuts shown here, editing shortcuts can also be used in the Browser.Windows

CHAPTER 28. LIVE KEYBOARD SHORTCUTS 45228.6 EditingWindows MacintoshCutCtrlXXCopyCtrlCCPasteCtrlVVDuplicateCtrlDDDeleteDeleteUndoCtrlZZRedoCtrlYZRenam

CHAPTER 28. LIVE KEYBOARD SHORTCUTS 45328.7 Loop Brace and Start/End MarkersThe loop brace and start/end markers must rst be selected before any of t

CHAPTER 28. LIVE KEYBOARD SHORTCUTS 45428.9 Arrangement View CommandsThe shortcuts for zooming, snapping/drawing and loop/region settings also work in

CHAPTER 28. LIVE KEYBOARD SHORTCUTS 45528.11 Commands for Breakpoint EnvelopesThe shortcuts for zooming, snapping/drawing and loop/region settings als

CHAPTER 28. LIVE KEYBOARD SHORTCUTS 45628.14 Clip View Sample DisplayThe shortcuts for zooming and loop/region settings also work in the Sample Displa

CHAPTER 28. LIVE KEYBOARD SHORTCUTS 45728.16 Grid Snapping and DrawingWindows MacintoshToggle Draw ModeCtrlBBNarrow GridCtrl1 1 Widen GridCtrl2

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

CHAPTER 28. LIVE KEYBOARD SHORTCUTS 45828.18 Working with Sets and the ProgramWindows MacintoshNew Live SetCtrlNNOpen Live SetCtrlOOClose Live SetCtrl

CHAPTER 28. LIVE KEYBOARD SHORTCUTS 45928.20 Using the Context MenuA context menu is available in Live for quick access to many commonly used menu ite

460IndexAAbletone-mail addressessales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13technical support . . . . . . . . . . . . . . . . .

INDEX 461tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .439audio les . . . . . . . . . . . . . . . . . . . . . see samplesaudio

INDEX 462Clip Gain slider . . . . . . . . . . . . . . . . . . . . . . . . 108Clip Groove chooser . . . . . . . . . . . . . . . . . . . 100Clip Launch

INDEX 463cueing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182Cut Time command . . . . . . . . . . . . . . . . . . . . . 83DDec

INDEX 464Envelope Editor . . . . . . . . . . . . . . . . . . . . 97, 244envelopes . . . . . . . . .see automation, see clipenvelopesEnvelopes box . .

INDEX 465and device presets . . . . . . . . . . . . . . . . 201and Impulse . . . . . . . . . . . . . . . . . . . . . . . 335and Simpler . . . . . . .

INDEX 466in the Arrangement . . . . . . . . . . . . . . . . . 79with clips . . . . . . . . . . . . . . . . . . . . . . . . . . 106Loop Selection comma

INDEX 467modulation . . . . . . . . . . . . . see clip envelopesmonitor mix . . . . . . . . . . . . . . . . . . . . . . . . . . . .178monitoring . . .

CHAPTER 5. MANAGING FILES AND SETS 45where you can type in the desired length. Live will capture audio starting at the current playstart position for

INDEX 468and recording clips . . . . . . . . . . . . . . . . 193presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200Defaults .

INDEX 469Reverse button . . . . . . . . . . . . . . . . . . . . . . . . 111ReWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .421

INDEX 470Search In Path option . . . . . . . . . . . . . . . . . . . 35searching in the File Browser . . . . . . . . . . . . 34rescan . . . . . . . .

INDEX 471tempoand scene names . . . . . . . . . . . . . . . 89, 92automating . . . . . . . . . . . . . . . . . . . . . . . . 242MIDI mapping ranges .

INDEX 472unlocking Live . . . . . . . . . . . . . . . . . . . . . . . . . . .10more than once . . . . . . . . . . . . . . . . . . . . .12ofine . . .

CHAPTER 5. MANAGING FILES AND SETS 46normalized (i.e., the le will be amplied so that the highest peak attains the maximumavailable headroom).Render

CHAPTER 5. MANAGING FILES AND SETS 47in real time. If you render individual tracks, all tracks that don't route to an external deviceanywhere in

CHAPTER 1. WELCOME TO LIVE 31.2.6 Ableton Effects and InstrumentsDrum Racks expand the Rack family with integrated return chains, choke groups, andoth

CHAPTER 5. MANAGING FILES AND SETS 48The number of rendering attempts (if there has been more than one) will also be listed inthe dialog box. If you 

CHAPTER 5. MANAGING FILES AND SETS 49Note that, depending on the encoder used, video rendering may occur in more than onepass. Live will display a pro

CHAPTER 5. MANAGING FILES AND SETS 505.3.1 Exporting MIDI FilesLive MIDI clips can be exported as Standard MIDI les. To export a MIDI clip, use the F

CHAPTER 5. MANAGING FILES AND SETS 51instance, drop a bassline Live Clip on an existing track that drives a bass instrument, ratherthan creating a new

CHAPTER 5. MANAGING FILES AND SETS 525.5.2 Merging SetsLive makes it easy to merge Sets, which can come in handy when combining work fromdifferent ver

CHAPTER 5. MANAGING FILES AND SETS 53You can now drag the individual tracks and drop them as described at the beginning of thissection.Of the three tr

CHAPTER 5. MANAGING FILES AND SETS 54Computer key mappings.MIDI mappings.The template Live Set, Template.als, is located in Live's Preferences

CHAPTER 5. MANAGING FILES AND SETS 55Edit a referenced sample  using an external application (which can be chosen in thePreferences' File/Folder

CHAPTER 5. MANAGING FILES AND SETS 56We have recorded some audio into a new Live Set. We now save the Live Set under thename Tango on the Desktop. H

CHAPTER 5. MANAGING FILES AND SETS 57And now for something completely different: We choose the File menu's New commandand record a samba tune. As

4Chapter 2First StepsWhen you install Live and run it for the rst time, you will be presented with a dialog askingfor your Live serial number. Please

CHAPTER 5. MANAGING FILES AND SETS 58A 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 595.6.2 Projects and PresetsBy default, new instrument and effect presets are stored in the Live Library, making th

CHAPTER 5. MANAGING FILES AND SETS 60listing unused samples in the Project;packing a Project in Live Pack format;exporting the Project's contents

CHAPTER 5. MANAGING FILES AND SETS 61By default, the Live 7 Library contains the following sub-folders:Ableton Project Info  contains les that Live

CHAPTER 5. MANAGING FILES AND SETS 62The Library LocationChooser.If any of these previous Library locations are now unavailable (perhaps because of an

CHAPTER 5. MANAGING FILES AND SETS 63contents.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 64The File Manager's Listof Missing Samples.5.8.1 Manual RepairTo manually x a broken sample reference, locat

CHAPTER 5. MANAGING FILES AND SETS 65Automatic RepairOptions in the FileManager.Search Folder  includes a user-dened folder, as well as any sub-fold

CHAPTER 5. MANAGING FILES AND SETS 665.9 Collecting Exter nal SamplesTo prevent a Live Set from containing broken sample references, Live provides the

CHAPTER 5. MANAGING FILES AND SETS 67Separated by location (the Library, installed by factory Live Packs, other Projects and else-where  sample colle

CHAPTER 2. FIRST STEPS 5experienced users. The remaining chapters of this manual serve as in-depth reference forthe material introduced in Live Concep

CHAPTER 5. MANAGING FILES AND SETS 68Any selection of Live Sets, Live Clips, Live Presets  (PC) /Ctrl(Mac) on therespective items in the File Browser

CHAPTER 5. MANAGING FILES AND SETS 695.12 Packing Projects into Live PacksLive's File Manager provides the option of packing a Live Project in Li

CHAPTER 5. MANAGING FILES AND SETS 70the device's title bar and dropping into the Current Project. You can then use the FileManagement tools, col

CHAPTER 5. MANAGING FILES AND SETS 712) Navigate to the Project folder in the Browser and choose Manage Project via the(PC) /Ctrl(Mac) context menu.3)

72Chapter 6Arrangement ViewThe Arrangement V iew displays the Arrangement, which contains music laid out along asong timeline, like a multitrack tape.

CHAPTER 6. ARRANGEMENT VIEW 736.1 NavigationLive offers several fast methods for zooming and scrolling the Arrangement display:134562Navigating theArr

CHAPTER 6. ARRANGEMENT VIEW 74horizontally to scroll the display. Using this method, you can zoom and scroll tofocus around any part of the Arrangemen

CHAPTER 6. ARRANGEMENT VIEW 75the Arrangement the size of the chosen quantization setting will be repeatedlyplayed. With small quantization settings,

CHAPTER 6. ARRANGEMENT VIEW 766.3 Launching the Arrangement with LocatorsUsing Locators toLaunch Play in theArrangement.Locators can be set at any poi

CHAPTER 6. ARRANGEMENT VIEW 77To name a locator, select it by clicking its triangular marker, and choose the Rename Editmenu command (or use theCtrlR(

CHAPTER 2. FIRST STEPS 6is available in the Live menu. Preferences can also be accessed with theCtrl,(PC) /,(Mac) shortcut.Live's Preferences are

CHAPTER 6. ARRANGEMENT VIEW 78select 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 79Please note that these resolution options affect all tracks - deleting and inserting timechanges the length of the entir

CHAPTER 6. ARRANGEMENT VIEW 80and 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 816.7 Selecting Clips and TimeWith the exception of moving and resizing clips, Arrangement editing in Live is selection-ba

CHAPTER 6. ARRANGEMENT VIEW 82Clicking the Loop Braceto Select the Loop forEditing.6.8 Using the Editing GridTo ease editing, the cursor will snap to

CHAPTER 6. ARRANGEMENT VIEW 836.9 Using the ...Time CommandsWhereas the standard commands like Cut, Copy and Paste only affect the current selection,t

CHAPTER 6. ARRANGEMENT VIEW 846.10 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 85Consolidating SeveralClips Into a New Clip.Suppose you have, by editing or improvising, come up with a layout of clips t

86Chapter 7Session ViewIn Live's Arrangement View, as in all traditional sequencing programs, everything happensalong a xed song timeline. For a

CHAPTER 7. SESSION VIEW 877.1 Session View ClipsThe Controls for aSession View Clip.1. Each clip in the Session View has a triangular button at the le

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 88The ArrangementPosition Fields and theStop Button.7.2 Tracks and ScenesEach vertical column, or track, can play only one cli

CHAPTER 7. SESSION VIEW 89The scene below a launched scene will automatically be selected as the next to be launchedunless the Select Next Scene on La

CHAPTER 7. SESSION VIEW 907.3 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 917.4 Setting Up the Session View GridClips arrive in the Session View by being imported from the File Browsers or throughreco

CHAPTER 7. SESSION VIEW 927.4.2 Removing Clip Stop ButtonsSlots Without Clip StopButtons.You can add and remove Clip Stop buttons from the grid using

CHAPTER 7. SESSION VIEW 93When the Record button is on, Live logs all of your actions into the Arrangement:the clips launched;changes of those clips&a

CHAPTER 7. SESSION VIEW 94The Stop All ClipsButton.To disable all Arrangement clips simultaneously, click on the Stop All Clips button in theMaster Tr

95Chapter 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 96Clicking 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 97in common:The Clip box contains basic clip settings.The Envelopes box and the Envelope Editor manage the clip's envelopes,