Ableton live suite 10 manual free download.Ableton Live Reference Manual

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Live Sets, Racks, presets, Max for Live devices, and anything else you can download and use in Ableton Live. To download your free trial of Ableton Live visit Try Live for free. Downloads Download the Live Set of Merrin Karras’ New Track “Still Life”. Download Ableton Live Suite for Mac full version program setup free. Ableton Live Suite 10 for macOS is a complete software that empowers musicians and sound engineers to create ideal sounds and music without any replace.meted Reading Time: 2 mins. Jul 05,  · Download Ableton Live Suite (bit) for Windows PC. % Safe and Secure Free Download bit Latest Version Multimedia.

Without abandoning its minimalist and sharp look, the browser icons are more eye-catching and the transport controls record, play display a slightly larger size. The most noticeable visual improvement affects the view of arrangements. And there we see that the clips have a flatter and more minimalist look, being highlighted when you select them. In the case of audio clips and with the track enlarged, drag points appear to create cross-fades between clips.

Thus, in one stroke, the fade option in each audio track has disappeared from the automation mode. By taking a closer look at the editing aspects of Ableton Live 10 Suite, manipulation of audio clips is now more immediate and straightforward.

Dragging them at one end, while holding down the [Shift] key the old case , will stretch or shrink the audio sample. And the good thing is that you do timestretching at the same time, adapting to the bars you choose, all in sync with the tempo of your project.

This is only one example of what you can do with this new version. Select the MIDI clips you want in the Arrange View, and from their note editor you can arrange and retouch all of them at once. Another great new feature is the automation process, which is actually a new mode in Ableton Live 10 Suite. When you press the [A] key, the corresponding tabs on the track header appear, as well as the parameter automation lines.

This way you can switch between the Array View and editing in automation mode. This powerful music creation program comes with effects, instruments, sounds and all kinds of creative features everything you need to make any kind of music. It comes with a simple and clean interface that enables you to focus on your work and avoid other distractions while creating the music.

For next level music creation, it offers many glorious tools that help you to create awesome sounds and music. You can play MIDI and audio loops of different lengths in any combination, without ever stopping the music. Note that Live will not care if the sample you offer is really the sample that was missing.

To select the folder, click the associated Set Folder button. Page Live will then request that you choose a location for the new Project. As long as you’re working in a Project meaning that you’ve saved your current Live Set , every device in the Device Browser will show a Current Project sub-folder. You can organize your les any way you want within a Project, but you’ll need to use the File Manager to relink the les that you’ve moved around: 1 In Live’s Browser or via your operating system, reorganize the les and folders within your Project folder.

Page 75 Chapter 6 Arrangement View The Arrangement View displays the Arrangement, which contains music laid out along a song timeline, like a multitrack tape. A Piece of Music in the Arrangement View. The Arrangement View is a powerful editing tool that easily lets you combine and arrange MIDI, loops, sound effects, video and complete pieces of music. To smoothly change the zoom level, click and drag vertically in the beat-time ruler at the top of the Arrangement View you can also drag horizontally to scroll the display.

Note that you can also drag horizontally to scroll the display. Using this method, you can zoom and scroll to focus around any part of the Arrangement with just one mouse motion.

While the mouse is held down over the scrub area, a portion of the Arrangement the size of the chosen quantization setting will be repeatedly played.

With small quantization settings, or a setting of None, this allows you to scrub through the music. Locators can be set at any point in the Arrangement. This can be done in real time during playback or recording with the Set Locator button, and will be quantized according to the global quantization value set in the Control Bar.

The numbers must be separated by a delimiter such as a slash, comma, period, or any number of spaces. These marker values can also be set by adjusting the time signature elds in the Control Bar, either by typing in values or dragging the numerator and denominator sliders. If you import a MIDI le into the Arrangement, you’ll be given an option to import any time signature information that was saved with the le.

If you choose to do this, Live will automatically create time signature markers in the correct places. Additionally, adjacent clips on the same audio track can be crossfaded. To access the fades for an audio track’s clips: 1. Crossfaded Clips. In this case, pressing returns the fade handle to a default length of 4 ms.

With this option Delete enabled, new clips in the Arrangement View will have these short declicking fades by default. This editing method lends itself to an ef cient division of labor between the two hands: One hand operates the mouse or trackpad, while the other hand issues the keyboard shortcuts for the menu commands. You can also hold and use the arrow keys to manipulate the selection.

To split a clip in two halves, do the following: 1. Suppose you have, by editing or improvising, come up with a layout of clips that sound good in Arrangement Loop mode.

Selecting that part of the Arrangement, for instance by using the Edit menu’s Select Loop command, and then executing the Consolidate command creates a new clip that can be treated as a loop. Page 91 Chapter 7 Session View In Live’s Arrangement View, as in all traditional sequencing programs, everything happens along a xed song timeline. 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 any time, or pre-select a clip by clicking on its name, and launch it using the computer’s key.

Slots in Group Tracks show a shaded area to indicate that at least one of the contained tracks contains a clip at that location.

The color of the shading is the color of the left-most clip in the group. The horizontal rows are called scenes. The Scene Launch buttons are located in the rightmost column, which represents the Master track. To launch every clip in a row simultaneously, click on the associated Scene Launch button. This can be very useful in organizing the live performance of a song with multiple parts. Monitoring the Input A microphone icon appears in an audio track that is set to monitor its input.

A keyboard icon appears in a MIDI track under these same circumstances.. Playing the Arrangement. If the track is playing clips from the Arrangement, a miniature display representing the Arrangement clips being played appears. However, some power-users don’t want the current focus e. The Control Bar’s Record Button. The Stop All Clips Button. The Clip View.

Clip envelopes and their associated Clip View components are covered in detail in a separate manual chapter. This setting is relevant only for display; it does not affect playback. Please note that Clip Signature is completely separate from the project’s time signature, and can be set independently for each clip.

When the Warp switch is off, Live plays the sample at its original, normal tempo, irrespec- tive of the current Live Set tempo. This is useful for samples that have no inherent rhythmic structure: percussion hits, atmospheres, sound effects, spoken word and the like. Zooming and scrolling in the Sample Display work much like they do in the Arrangement View.

When Warp is disabled, zooming and scrolling can be done anywhere in the Sample Display. The Follow Switch. Playing and Scrubbing Clips The section of the sample that plays when a clip is launched is set with the clip’s region and loop controls. For warped clips, these elds display values as bars-beats- sixteenths; for unwarped clips, the display is in minutes-seconds-milliseconds.

Notice that you can use the Set buttons here to place the markers during playback. You can click and drag to change the position and length of the loop brace in the Sample Display, or you can type exact values into the Loop Length and Position elds to the left of the display. The Transpose control shifts the clip pitch in semitones. The Clip Gain slider, calibrated in dB, changes the clip gain. The Save Default Clip button saves the current clip’s settings with the sample.

With multiple clips selected, this button will save them all simultaneously. Once saved, Live will restore the current clip settings whenever you drop the sample into a Live Set.

Simply disable this option if you wish to use the new mode. If the RAM Mode switch is on, Live is loading the audio referenced by the clip into the computer’s memory rather than reading it from disk in real time. Until the Set is saved, new samples remain at the location speci ed by Temporary Folder. There are a few rules for the reversing process. First, any Warp Markers will remain xed to their positions in the sample. This means that a Warp Marker on the downbeat of the second bar of a clip will end up on the downbeat of the second-to-last bar after reversal.

The Warp Markers will be retained only if the new sample has the exact same length as the old sample. This opens the File Manager for the current Set with the sample referenced by the clip selected. Page Setting The Tempo Chapter 9 Tempo Control and Warping Unlike music stored on tape or in a traditional digital audio workstation, the music in Live remains elastic at all times.

Live is capable of time-warping samples while streaming them from disk so as to synchronize them to the current Live Set’s tempo. This happens without affecting the pitch, which can be changed independently. You can have an external sequencer or drum machine play along with Live or have Live play along with the sequencer.

As long as your Set’s tempo is basically the same as that of the unsynchronized material, you can use the Nudge buttons to temporarily speed up or slow down Live’s playback to match what you hear. If the Auto-Warp Long Samples preference is on, Live assumes that long samples contain music that should be played in sync with the Live Set’s tempo. If you would rather have Live default to playing long samples as they are, disengage this preference.

They can then be dragged or moved with the arrow keys to different points in time. Warp Markers can also be deleted by double-clicking them, or by pressing the computer keyboard’s key after selecting them.

As you mouse over transients, temporary pseudo Warp Markers appear. These have the same shape as regular Warp Markers, but they’re grey. Double-clicking or dragging a pseudo Warp Marker creates an actual Warp Marker or, if there are no Warp Markers later in the clip, changes the tempo for the clip segment. Warping is, of course, an optional property of clips.

Syncing Straight Loops When you import a sample that represents a well-cut musical loop of 1,2,4 or 8 bars in length, Live usually makes the correct assumptions to play the loop in sync with the chosen tempo. Syncing Odd-Length Loops If you import a sample that contains a seven-bar loop, Live initially assumes the loop is eight bars long or four, depending on its length and plays it out of sync.

You may want to pin the adjacent events as well, to avoid affecting neighboring regions in the sample. As long as Auto-Warp made the correct set of informed guesses, the clip will be ready to play in perfect sync with the Live Set’s tempo.

However, if Auto-Warp does not quite do what you want, you can control its results. Directing Auto-Warp is also relatively simple when you have imported a perfectly cut loop. You can tell Auto-Warp to work accordingly using the Warp As Live will propose a loop length that makes the most sense given the current Live Set’s tempo. These commands are also available from the start marker.

But it is also possible to automatically snap the entire sample to the grid at once by using the Quantize command. Granular resyn- thesis achieves time compression and expansion by repeating and skipping over parts of the sample the grains. The warp modes differ in the selection of grains, as well as in the details of overlapping and crossfading between grains. At , there is no fade. At 0, each segment decays very quickly. Long envelope times can help to smooth clicks at the end of segments, while short times can be used to apply rhythmic gating effects.

This instrument can be a virtual instrument in a MIDI track’s device chain or an external synth fed via the track’s output routing. You can use the Clip View Box selector to make sure the Notes box is showing, then click in the title bar of the Notes box to bring up the MIDI Editor on the right-hand side of the screen. If the MIDI track is armed, activating Preview also allows you to step record new notes into the clip.

Along the horizontal axis lies a time ruler, which shows note position along a musical timeline. The vertical axis contains the note ruler, displaying octaves C0 C10, and a representation of a piano keyboard the piano roll.

The black rectangular outline represents the part of the clip that is currently displayed in the Editor above. To scroll, click within the outline and drag left or right; to zoom in and out, drag up and down. To select all of the notes that begin during the timespan, press Return After placing the insert mark, you can manipulate it using your computer keyboard.

Using the options presented here, you can select either the current grid size or a speci c meter value for quantization and set either the note start or end or both to be quantized. Quantizing the note end will stretch the note so that it ends at the chosen meter subdivision. Tip: To set a group of notes so that they all have the same velocity, select their markers in the Velocity Editor, drag them up or down to either maximum or minimum velocity, and then adjust velocity to the desired value.

Please note that note-off or release velocity is a somewhat esoteric parameter, and is only supported by certain devices. Ableton’s Sampler instrument, for example, provides note-off velocity as a controller for a variety of parameters. Note Stretch Ctrl markers will then appear in the Note Editor, allowing notes to be scaled proportionally in time.

Page Chapter 11 Using Grooves The timing and feel of each clip in your Set can be modi ed through the use of grooves. Live’s Library includes a large selection of grooves, which appear as. Groove Files in the Browser. The Hot-Swap Groove Button. Grooves can be applied to both audio and MIDI clips. In audio clips, grooves work by adjusting the clip’s warping behavior, and thus only works on clips with Warp enabled. You can also save and hot-swap grooves via the buttons next to the Groove’s name.

You can then convert the edited clip back into a groove, via the process below. In this example, we’d extract the snare chain, creating a new clip and track that contained only the snare notes. Then we could apply a different groove to this new clip. Page Chapter 12 Launching Clips The Live Session View is set apart by the fact that it gives you, the musician, a spontaneous environment that encourages performance and improvisation.

An important part of how you take advantage of the Session View lies within how you con gure your various Session View clips. Note that you can edit the launch settings of more than one clip at the same time by rst selecting the clips and then opening the Clip View.

The Clip Quantization chooser lets you adjust an onset timing correction for clip triggering. To disable clip quantization, choose None. For more on playing clips via MIDI, see the respective section. A group is de ned by clips arranged in successive slots of the same track. Tracks can have an unlimited number of groups, separated by empty slots. The Follow Action Controls. Play Last Clip launches the last bottom clip in a group. Play Any Clip plays any clip in the group.

Play Other Clip is similar to Play Any Clip, but as long as the current clip is not alone in the group, no clip will play consecutively. Set up Follow Actions for the rst clip.

You will want to make Follow Action Time equal to the clip’s length. But now, imagine a group consisting of one single clip.

Return tracks receive their input from the respective sends. This setting effectively turns the track into what is called an Aux on some systems: the track is not used for recording but for bringing in a signal from elsewhere for instance, a ReWire slave program.

Note that the Audio Preferences also provide access to the Channel Con guration dialogs, which determine which inputs and outputs are used, and whether they are available to Live as mono or stereo pairs.

All available input and output ports are listed here. To prevent this, you can turn the computer MIDI keyboard off when it is not needed.

MIDI messages that are used for remote-controlling Live’s user-interface ele- ments; 3. MIDI messages that are mapped to remote-control Live’s user-interface elements are eaten up by the remote control assignment and will not be passed on to the MIDI tracks. The Output Channel chooser presents you with a list of the instruments that you currently have in your Reason rack; select the instrument you want to address.

Select Reason from the audio track’s Input Type chooser. Resampling can be a fun and useful tool, as it lets you create samples from what is currently happening in a Live Set that can then be immediately integrated.

Both approaches result in Track A’s output being fed into Track B. Therefore, changes that are made to the tapped track’s devices or mixer have no effect on the tapped signal. If a track contains one or more Drum Racks, internal routing points will be available for any Post-Effects Recording Let’s say that you are feeding a guitar into Live, building up a song track by track, overlaying take onto take.

A single MIDI note can prompt, for example, Native Instruments’ Absynth to produce something that sounds more like a piece of music than a single tone. Suppose we have the individual drums of a drum kit coming in on separate tracks for multitrack recording.

In the mix, we can easily change the volumes of the individual drums, but adjusting the volume of the entire drum kit against the rest of the music is less convenient.

Note that the Output Channel chooser now offers a selection of destinations: We can either feed the new track’s output into the input of the pad track, or we can directly address the Simpler.

This can be easily remedied by cutting the clips from the pad track and pasting them into a third track that can be independently muted and that can hold its own MIDI effects. Soloing a track that taps one of Impulse’s sample slots will still allow you to hear the output of that slot.

A multi-timbral instrument is like several instruments in one, with each component part or whatever term the manufacturer uses receiving MIDI on a separate MIDI channel. Page Some vocoder plug-ins include a built-in synthesizer to generate the carrier signal. In this case, the only difference from the above procedure is that the vocoder instrument is dragged into a MIDI track.

Feeding the side-chain audio input works as described above. Please note that Ableton’s Auto Filter, Compressor, Perhaps you wonder why this works, given that the string track’s output is audio and not MIDI. Page Chapter 14 Mixing In the Arrangement View, the mixer appears as a horizontal strip to the right of the track area.

To display all mixer controls for a track, unfold the track using the button next to its name, and adjust its height accordingly. The Session View is a standard vertical mixer layout. You’ll likely nd the Session View mixer more intuitive than the Arrangement mixer, which comes in handy when you work with automation.

Note that the Tab key toggles between the Arrangement and Session Views. The View menu options listed below show or hide mixer components. The Meter shows the track’s RMS average and peak output level. While moni- toring, however, it shows the input level. The Volume control adjusts the track’s output level.

With multiple tracks selected, adjusting the volume of one of them will adjust the others as well. The Mixer section of the Session Mixer has several additional features that are not visible by default.

The mixer is resizable, and dragging upwards on the top of the mixer will extend the height of the track meters, adding tick marks, a numeric volume eld and resettable peak level indicators. MIXING particular knob or slider parameter volume, for example , this difference will be maintained as you adjust the parameter.

If you drag a track’s title bar to the Browser it will be saved as a new Set. If a track contains audio clips, Live will manage the copying of the referenced sampled into this new location based on the selection in the Collect Samples on Export You can also use a Group Track purely as a folder track by rerouting the outputs of the contained tracks to some other destination..

Once a Group Track has been created, tracks can be dragged into or out of the group. Deleting a Group Track deletes all of its contents, but a group can be dissolved back into individual tracks by executing the Edit Menu’s Ungroup Tracks command. A clip or group track’s Send control regulates how much of the track’s output feeds the associated return track’s input. The crossfader is accessed via the Session View’s mixer selectors.

It features seven different crossfade curves so that you can choose the one that ts your style the best. The crossfader can be mapped to any continuous MIDI controller absolute or incremental. In addition to the crossfader’s central slider, its absolute left and right positions are separately available for MIDI or keyboard mapping.

MIXING In order to set Live up for cueing, you must be using an audio interface with at least four dedicated outputs or two dedicated stereo outputs.

The respective settings are accessible in the Session View mixer. The control allows delaying or pre- delaying the output of tracks in milliseconds in order to compensate for human, acoustic, hardware and other real-world delays.

This section of the interface can be shown or hidden using its respective Mixer Section selector. Note that this is a different kind of recording than the capturing of Session clips into the Arrangement. For successful audio recording, please make sure the audio preferences are set up properly. For more on this, please see the built-in program lesson on setting up Audio Preferences.

Recording commences when the Control Bar’s Record button is activated and the Play button is pressed. Recording creates new clips in all tracks that have their Arm button on. When the Overdub switch is on, the new clips contain a mix of the signal already in the track and the new input signal. Set the Global Quantization chooser to any value other than None to obtain correctly cut clips.

Activate the Arm button for the tracks onto which you want to record. Clip Record buttons will appear in the empty slots of the armed tracks. Using Live’s Impulse instrument and the following technique, you can successively build up drum patterns while listening to the result.

Or, using an instrument such as Simpler, which allows for chromatic playing, you can build up melodies or harmonies, note by note. This process, known as step recording, allows you to enter notes at your own pace, without needing to listen to a metronome or guide track.

In fact, Live allows you to change the tempo at any time before, after and even during recording. The Record Quantization chooser in the Edit menu allows selecting the meter subdivisions with which your recorded notes will align. When recording into Session slots into the One key is used to jump to the next scene A Track Launch Button..

You can also map the step recording navigators. Ctrl Devices Can Be Folded. Click on the Device Browser selector to access the palette of Live’s built-in devices. You will notice that MIDI effects, audio effects and instruments each have their own folders in the Browser.

Note that you can easily move from this setup into recording new clips for further use in Live. To remove a device from the chain, click on its title bar and press your computer’s key, or select Delete from the Edit menu. To change the order of devices, drag a Delete device by its title bar and drop it next to any of the other devices in the Track View.

These meters are helpful in nding problematic devices in the device chain: Low or absent signals will be revealed by the level meters, and relevant device settings can then be adjusted, or the device can be turned off or removed. The Save Preset Button. Click the Save Preset button to save a device’s current settings including any custom info text as a new preset. If you have already saved a default preset for a particular device, Live will ask you before overwriting it.

Please see the previous section, Using the Live Devices, for details. The Plug-In Device Browser. You can also rescan if you believe that your plug-in database has somehow become cor- rupted. To assign any two plug-in parameters to the Live panel X-Y eld, use the drop-down menus directly beneath it. Con gure Mode allows you to customize Live’s panel to show only the plug-in parameters that you need to access.

These entries are removed when you adjust another param- eter. Here you can set the number of samples processed at any one time by the plug-in. Note that, on Windows, Live may have found a path in the registry without the need for browsing.

The alias can point to a different partition or hard drive on your computer. Live will scan the set VST Plug-in folder as well as any alias folders contained therein. VST programs and banks can be imported from les. Clicking the VST Program Load button brings up a standard le-open dialog for locating the desired le. Note that you can always turn this option off later if you decide not to use Audio Units.

Activating Audio Units Plug-Ins. However, Live Sets that were created with Live 4 or earlier will open without device delay compensation. To manually turn latency compensation on or off , use the Delay Compensation option in the Options menu. A Rack is a exible tool for working with effects, plug-ins and instruments in a track’s device chain. Racks can be used to build complex signal processors, dynamic performance instruments, stacked synthesizers and more.

By default, the Track View displays only a single chain, but there is actually no limit to the number of chains contained within a track. How you use them is up to you whether it be for convenience, by making an important device parameter more accessible; Note that if you repeat one of these commands again on the same device, you will create a Rack within a Rack. Macro Controls 3. Chain List. In Drum Racks, this view can include both drum chains and return chains. Devices 5. Racks are also identi able by their round corners, which bracket and enclose their content.

As signals enter a Rack, they are rst greeted by the Chain List. We will therefore also choose this point for our own introduction. Since the Track View can show only one device chain at a time, the Chain List also serves as a navigational aid: The list selection determines what will be shown in the adjacent Devices view when enabled.

When the Auto Select switch is activated, every chain that is currently processing signals becomes selected in the Chain List.

Chains will only respond to MIDI notes that lie within their key zone. Otherwise, the functionality here is identical to that of the Key Zone Editor. Velocity zone fade ranges attenuate the velocities of notes entering a chain. Taking the previous example one step further, we can tweak our chain select zones to produce a smooth transition between our presets.

To accomplish this, we will make use of our zones’ fade ranges. In addition to the standard selectors found on all Racks, Drum Racks have four additional controls in the view column.

Page Although Pad View is designed for easy editing and sound design, it also excels as a performance interface, particularly when triggered by a hardware control surface with pads.

Page The Slicing Preset chooser contains a few Ableton-supplied slicing templates, as well as any of your own that you may have placed in your Library’s default presets folder. The Drum Rack’s Macro Controls will be pre-assigned to useful parameters for the Simplers, as determined by the settings in the selected slicing preset.

In the factory Slicing presets, these include basic envelope controls and parameters to adjust the loop and crossfade properties of each slice. To process several slices with the same set of effects, multi-select their chains in the Drum Rack’s chain list and press -G to group them to Ctrl The following steps will get you started mapping: 1.

Live Lite serial numbers are included with various hardware devices and apps — find out more here. Check out this article if you need help with installing Live. Once installed, you need to authorize your Live Lite copy using a valid serial and an Ableton account.

Note: Live 10 is bit only and is not supported on Linux. Record at least one pass of material into Looper. Create another audio track. When we use the term compression, we’re typically talking about lowering the level of signals that exceed a threshold. Each band has activator and solo buttons.

For the Above thresholds, Attack de nes how long it takes to reach maximum compression or expansion once a signal exceeds the threshold, while Release sets how long it takes for the device to return to normal operation after the signal falls below the threshold. Adjust the crossover points to suit your audio material, then apply down- ward compression by dragging down in the upper blocks in the display or by setting the numerical ratios to values greater than 1.

De-essing To remove harshness caused by overly loud high frequency content, try enabling only the Overdrive is a distortion effect that pays homage to some classic pedal devices commonly used by guitarists.

Unlike many distortion units, it can be driven extremely hard without sacri cing dynamic range. The distortion stage is preceded by a bandpass lter that can be controlled with an X-Y controller. Phaser uses a series of all-pass lters to create a phase shift in the frequency spectrum of a sound. The Poles control creates notches in the frequency spectrum. The Feedback control can then be used to invert the waveform and convert these notches into peaks or poles.

Spin detunes the two LFO speeds relative to each other. Each lter frequency is then modulated using a different LFO frequency, as determined by the Spin amount. The Feedback parameter controls how much of the right channel output signal returns to the delay line input. Redux returns us to the Dark Ages of digital by reducing a signal’s sample rate and bit resolution. The Downsample section has two parameters: Downsample and a downsample Mode switch.

This device consists of ve parallel resonators that superimpose a tonal character on the input source. It can produce sounds resembling anything from plucked strings to vocoder- like effects.

Mode A provides a more realistic sounding resonation, while Mode B offers an effect that is especially interesting when Resonator I’s Note parameter is set to lower pitches. The brightness of the resulting sound can be adjusted using the Color control.

This delays the reverberation relative to the input signal. One’s impression of the size of a real room depends partly on this delay. Typical values for natural sounds range from 1ms to 25ms. The lowest setting mixes the output signal to mono. Saturator is a waveshaping effect that can add that missing dirt, punch or warmth to your sound.

It can coat input signals with a soft saturation or drive them into many different avors of distortion. Setting Drive to zero will negate the effect entirely. The Simple Delay provides two independent delay lines, one for each channel left and right.

To refer delay time to the song tempo, activate the Sync switch, which allows using the Delay Time beat division chooser. This sounds similar to time stretching if the delay time is gradually changed. Fade mode is the default option. Note that this will cause an audible click if the delay time is changed while delays are sounding. With a setting of one, each block is shown.

This results in much more activity in the display, which can be useful for nding the spectrum of short peaks. Utility can perform some very useful tasks, especially in combination with other devices. The Mute button simply silences the incoming signal when enabled.

However, since you can place Utility anywhere in a signal chain, you can use its mute function to cut the input of a delay line or reverb without turning off the output of these devices.

The Vinyl Distortion effect emulates some of the typical distortions that occur on vinyl records during playback. These distortions are caused by the geometric relationships between the needle and the recorded groove. A vocoder is an effect that combines the frequency information of one audio signal called the carrier with the amplitude contour of another audio signal called the modulator. The modulator source is generally something with a clear rhythmic character such as speech or drums, while the carrier is typically a harmonically-rich synthesizer sound such as a string or pad.

This is the option you’ll want for classic robot voice applications. This essentially outputs a resynthe- sized version of the modulator signal, but allows you to use Vocoder’s sound-shaping controls to adjust the sound. In Precise mode, all lters have the same gain and bandwidth. Insert Vocoder in the track that contains your vocal material. You can either use a clip that contains a prerecorded voice clip or, to process a live vocal signal, connect a microphone to a channel on your audio hardware and choose this as input source for the track.

Live’s Arpeggiator effect takes the individual MIDI notes from a held chord or single note , and plays them as a rhythmical pattern. Arpeggiators are a classic element in Eighties synth music. The name originates with the musical concept of the arpeggio, in which the notes comprising a chord are played as a series rather than in unison.

Thumb Up and Thumb UpDown. Play Order places notes in the pattern according to the order in which they are played. This is therefore only recognizable when more than one chord or note has been played. Notes can also be removed from the pattern in this scenario by playing them a second time, allowing the gradual buildup and rearrangement of the pattern over time.

Tip: If you want the pattern to stop playing, momentarily deactivate Hold. With Velocity set to On and Target set to 0, for example, the sequence will gradually fade out, eventually reaching 0 velocity.

The Decay control sets the amount of time Arpeggiator takes to reach the Target velocity. Key Scale The pitch of incoming notes can be used to alter the length of the output notes. Random adds an element of the unknown to the otherwise commonplace pitch parameter. The Chance control de nes the likelihood that an incoming note’s pitch will be changed by a random value.

But with Chance set to percent, Choices set to 2 and Scale set to 2, incoming C3s will alternate between C3 and D3.

Outside of the range de ned by these controls, the Scale effect will be inapplicable, and the LED light will ash to indicate that some notes are not being processed by the effect, but are playing at their unaltered pitch.

Page Chapter 23 Live Instrument Reference Live comes with a selection of custom-designed, built-in instruments. The Working with Instruments and Effects chapter explains the basics of using instruments in Live. The boxed version of Live 8 ships with the Essential Instrument Collection, a multi-gigabyte library of meticulously sampled and selected instruments ready for use in either Simpler or Sampler.

With this instrument, we have not attempted to emulate a speci c vintage analog synthesizer but rather to combine different features of legendary vintage synthesizers into a modern instrument. Furthermore, the signal ow can be run through the lters in series or in parallel. Analog also features two low-frequency oscillators LFOs which can modulate the oscillators, lters and ampli ers.

The choices are sine, sawtooth, rectan- gular and white noise. When rectangular is selected, the Pulse Width parameter is enabled in the display, which allows you to change the pulse width of the waveform.

Low Width values result in a very narrow waveform, which tends to sound tinny or pinched. As you increase the Ratio, the internal oscillator’s rate increases, which changes the harmonic content of the audible oscillator. Analog’s two multi-mode lters come equipped with a exible routing architecture, multiple saturation options and a variety of modulation possibilities. As with the oscillators, all parameters can be set independently for each lter. The Asym modes result in asymmetrical saturation.

For both mode types, higher numbers result in more distortion. Drive can be switched off entirely by selecting Off in the chooser. In addition to the pitch envelopes in the oscillator sections, Analog is equipped with inde- pendent envelopes for each lter and ampli er. All four of these envelopes have identical controls, which are housed entirely within the display. With Legato enabled, a new note that is played while another note is already depressed will use the rst note’s envelope, at its current position.

Enabling the Free switch causes the envelope to bypass its sustain phase and move directly from the decay phase to the release phase. As with the other sections, each LFO has independent parameters. This is the instrument’s master level, and can boost or attenuate the output of the ampli er sections. The Vib switch turns the vibrato effect on or off, while the percentage slider next to it adjusts the amplitude of the vibrato.

The Octave, Semi and Tuning controls function as coarse and ne tuners. Octave transposes the entire instrument by octaves, while Semi transposes up or down in semitone increments. The Tuning slider adjusts in increments of one cent up to a maximum of 50 cents up or down. Collision is a synthesizer that simulates the characteristics of mallet percussion instruments. Created in collaboration with Applied Acoustics Systems, Collision uses physical modeling technology to model the various sound generating and resonant components of real or imagined objects.

Disabling unused sections can save CPU. These model the behavior of a mallet striking a surface, and provide Collision’s fundamental sound.

At higher values, there are less low frequencies in the noise. This parameter has no effect if Noise is set to 0. The Mallet section can be toggled on or off via the switch next to its name.

When this slider is set to 0, there is no sustain phase. With it set to , there is no decay phase. Finally, the release time is set with the R Release slider.

This is the time it takes for the envelope to reach zero after the key is released. The Tune and Fine knobs function as coarse and ne tuning controls. Tune moves up or down in semitone increments, while Fine adjusts in increments of one cent up to a maximum of one quarter tone 50 cents up or down. As the radius increases, the decay time and high frequency sustain both increase. At very large sizes, the fundamental pitch of the resonator also changes.

Each resonator has its own Volume and Pan controls. Pan can also be modulated by note pitch via the K Key slider below the knob. The Bleed control mixes a portion of the original oscillator signal with the resonated signal. At higher values, more of the original signal is applied.

The rst noise type steps between random values while the second uses smooth ramps. The switch next to the waveform chooser toggles the LFO’s rate between frequency in Hertz and tempo-synced beat divisions. The global section contains the parameters that relate to the overall behavior and perfor- mance of Collision. The Volume knob acts as Collision’s master output control. Collision contains a built-in limiter that automatically activates when the audio level is too high.

The Voices chooser sets the available polyphony. Since each voice that’s used requires additional CPU, you may need to experiment with this chooser to nd a good balance between playability and performance, particularly on older machines. After you have installed the Drum Machines Live Pack, you will need to authorize it. You will nd them as categorized presets within the Drum Rack folder. Drum Machines presets are therefore loaded just like any other device, by dragging a preset from the Browser into an empty MIDI track.

The full version of Electric is not included with the standard version of Live, but is a special feature available for purchase separately. The Decay knob adjusts how long it takes for this noise to fade to silence, while the Pitch control sets the center frequency.

Level adjusts the overall volume of the noise component. An additional Key scaling control adjusts how much the noise volume is determined by note pitch.

The overall amount of damper noise is adjusted with the Level control. It sends MIDI out and returns audio. The top chooser selects either a physical MIDI port, a If your external device connects to Live via a digital connection, you will want to adjust your latency settings in samples, which ensures that the number of samples you specify will be retained even when changing the sample rate.

Both controls can be modulated: Pan by velocity and a random value, and Volume by velocity only. Page Live’s Browser. After you have installed Latin Percussion, you will need to authorize it. Further details can be found at the Ableton website Then drag the entire folder to the Drum Rack’s pad view. This will replace all of the currently loaded conga components, leaving all other pads alone.

You can also unfold these preset folders to access individual instruments within. The shell offers the most important parameters in a single view and is divided into eight sections. Typically, FM synthesis makes use of pure sine waves, creating more complex waveforms via modulation. However, in order to simplify sound design and to create a wider range of possible sounds, we designed Operator to produce a variety of other waveforms, including two types of noise.

The rst of these waveforms is a pure, mathematical sine wave, which is usually the rst choice for many FM timbres. When enabled, the oscillator’s overall output level is maintained as you draw additional harmonics.

When disabled, additional harmonics add additional level. Note that the volume can become extremely loud if Normalize is off. You can export your waveform in. With the R Retrigger button enabled, the waveform restarts at the same position in its phase each time a note is triggered. With R disabled, the oscillator is free-running. As explained earlier oscillators can modulate each other when set up to do so with the The LFO in Operator can practically be thought of as a fth oscillator.

It runs at audio rates, and it modulates the frequency of the other oscillators. It is possible to switch LFO modulation on or off for each individual oscillator and the lter using the Dest.

The LFO’s intensity is also affected by its envelope. All envelopes feature some special looping modes. Addition- ally, the lter and pitch envelopes have adjustable slopes. In Beat Mode, the repeat time is de ned in fractions of song time, but notes are not quantized. If you play a note a bit out of sync, it will repeat perfectly but stay out of sync.

In Sync Mode however, the rst repetition is quantized to the nearest 16th note and, as a result, all following repetitions are synced to the song tempo. Operator’s lters can be very useful for modifying the sonically rich timbres created by the oscillators. And, since the oscillators also provide you with the classic waveforms of analog synthesizers, you can very easily build a subtractive synthesizer with them.

Additionally, the global display area provides a comprehensive set of modulation routing controls. The maximum number of Operator voices notes playing simultaneously can be adjusted with the Voices parameter in the global display.

Operator includes a polyphonic glide function. When this function is activated, new notes will start with the pitch of the last note played and then slide gradually to their own played pitch. Note that turning off the oscillators will not save CPU power. The algorithm de nes the connections between the oscillators and therefore has a signi cant impact on the sound that is created.

Voices This sets the maximum number of notes that can sound simultaneously. Spread is a very CPU-intensive effect. Transpose This is the global transposition setting for the instrument.

Changing this pa- rameter will affect notes that are already playing. The 24 dB lter modes attenuate the ltered frequencies to a much greater degree than the 12 dB modes. The Ladder and SVF lters provide additional lter architectures. Filter Frequency Freq This de nes the center or cutoff frequency of the lter. Sample and Hold creates random steps, and Noise supplies bandpass- ltered noise. All waveforms are band- limited to avoid unwanted clicks. Coarse sets the ratio in whole numbers, creating a harmonic relationship.

Osc Fine Frequency Fine The relationship between oscillator frequency and note pitch is de ned by the Coarse and Fine parameters. With Repeat off, partials above the 16th, 32nd or 64th harmonic are truncated. Envelope Peak Level Peak This is the peak level at the end of the note attack. Envelope Sustain Level Sustain This is the sustain level at the end of the note decay.

The envelope will stay at this level until note release unless it is in Loop, Sync or Beat Mode. Page After you have installed the libraries of your choice, you will need to authorize them. Sampler is a sleek yet formidable multisampling instrument that takes full advantage of Live’s agile audio engine. It has been designed from the start to handle multi-gigabyte instrument libraries with ease, and it imports most common library formats.

But with Sampler, playback is only the beginning; Page Sampler is designed to let you approach multisampling on whatever level you like: You can load and play multisample presets, like those from Ableton’s Essential Instrument Collection, import multisamples from third-party vendors, or create your own multisamples from scratch.

Here are the steps: 1. Clicking on the Zone tab toggles the display of Sampler’s Zone Editor, which offers a hands- on interface for mapping any number of samples across three types of ranges. The Zone Editor opens in its own dedicated view, directly above the Track View.

The Sample Layer List All samples contained in the currently loaded multisample are listed here, with each sample given its own layer. The timbre of most musical instruments changes greatly with playing intensity.

Therefore, the best multisamples capture not only individual notes, but also each of those notes at different velocities. The Sample Select Editor, when toggled, appears alongside the sample layer list.

The editor has a scale of , similar to the Velocity Zone Editor. As with Simpler, this snap is based on the left channel of stereo samples, so a small Crossfade value may be necessary in some cases to completely eliminate clicks. Sustain Loop Enabled Playback proceeds linearly until Loop End is reached, when it jumps immediately to Loop Start and continues looping. With Detune, the pitch of these regions can be matched to the rest of the sample. Interpolation Interpol This is a global setting that determines the accuracy of transposed samples.

This is a multi-stage envelope with Initial, Peak, Sustain and End levels. In addition, the signal ow direction can be adjusted with the button above the waveshaper area.

With the triangle pointing up, the signal passes from the shaper to the lter. After you have installed Session Drums, you will need to authorize it. Session Drums presets are therefore loaded just like any other device, by dragging a preset from the Browser into an empty MIDI track. Page Then drag the entire folder to the Drum Rack’s pad view.

Ableton Live Suite 10 for macOS is a professional program for creating professional sounds and glorious music. This impressive program has excellent ability to fulfill the needs of various users without installing any 3 rd party program.

Musicians, producers, sound engineers, filmmakers and many other users use it for creating highly quality music and sound for their projects.

One of the best attributes of Ableton Live Suite, which improves version after version, is the speed and flexibility with which it allows you to capture a musical idea in just a few minutes or seconds. The Berlin company has earned its popularity among the great DAW software because of how simple and satisfying it is to produce a song, create beats, or improvise in a live session -among many other actions that you surely know.

Being a software that has been with us for several years now, what can we expect in the new version of Ableton Live Suite? Without abandoning its minimalist and sharp look, the browser icons are more eye-catching and the transport controls record, play display a slightly larger size.

The most noticeable visual improvement affects the view of arrangements. And there we see that the clips have a flatter and more minimalist look, being highlighted when you select them. In the case of audio clips and with the track enlarged, drag points appear to create cross-fades between clips.

Thus, in one stroke, the fade option in each audio track has disappeared from the automation mode. By taking a closer look at the editing aspects of Ableton Live 10 Suite, manipulation of audio clips is now more immediate and straightforward. Dragging them at one end, while holding down the [Shift] key the old case , will stretch or shrink the audio sample.

Ableton Live is an amazing software that provides many functions related to music. New audios can be recorded, customized and then played on stage. Usually it is used by DJs for equalizing or making the music compatible with the environment.

Ableton Live 10 Suite, the popular digital audio workstation, is back, and is better, much better. Always in favor of immediacy and a fluid working method, Ableton Live 10 Suite brings new tools, as well as improving other known ones. One of the best attributes of Ableton Live Suite, which improves version after version, is the speed and flexibility with which it allows you to capture a musical idea in just a few minutes or seconds.

The Berlin company has earned its popularity among the great DAW software because of how simple and satisfying it is to produce a song, create beats, or improvise in a live session -among many other actions that you surely know.

Being a software that has been with us for several years now, what can we expect in the new version of Ableton Live Suite? Without abandoning its minimalist and sharp look, the browser icons are more eye-catching and the transport controls record, play display a slightly larger size.

The most noticeable visual improvement affects the view of arrangements. And there we see that the clips have a flatter and more minimalist look, being highlighted when you select them. In the case of audio clips and with the track enlarged, drag points appear to create cross-fades between clips. Thus, in one stroke, the fade option in each audio track has disappeared from the automation mode. By taking a closer look at the editing aspects of Ableton Live 10 Suite, manipulation of audio clips is now more immediate and straightforward.

Dragging them at one end, while holding down the [Shift] key the old case , will stretch or shrink the audio sample. And the good thing is that you do timestretching at the same time, adapting to the bars you choose, all in sync with the tempo of your project. This is only one example of what you can do with this new version.

Select the MIDI clips you want in the Arrange View, and from their note editor you can arrange and retouch all of them at once. Another great new feature is the automation process, which is actually a new mode in Ableton Live 10 Suite. When you press the [A] key, the corresponding tabs on the track header appear, as well as the parameter automation lines.

This way you can switch between the Array View and editing in automation mode. Even from the latter, you can still cut, stretch and invert your audio clips. Also now the change points in the automation curves adapt to the bar grid, and if you drag them to the next point, they disappear and reappear if you go backwards.

If you also double-click on a blank space in the track, you will create a new automation point. As in previous versions, holding down the [Alt] key while dragging an automation line will allow you to shape it and create smoother or more abrupt changes. Simply excellent. We do not miss the obvious reference of the new devices in Ableton Live 10 Suite.

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Download Ableton Live Suite Ableton Live Suite 10 for macOS is a complete software that empowers musicians and sound engineers to create ideal sounds and music without any hurdle.

Ableton Zbleton Suite 10 for macOS is a professional program for creating professional sounds activation code 2017 free download glorious music.

This impressive program has excellent ability to fulfill the needs of various users without installing any 3 rd party program. Musicians, producers, sound engineers, filmmakers ableton live suite 10 manual free download many other users use it for creating highly quality music and sound for their projects. Ableton live suite 10 manual free download powerful music ssuite program comes with effects, instruments, sounds and all kinds of creative features everything you need to make any kind of music.

It comes with a simple and clean interface that enables you to focus on your work and avoid other distractions while creating the music. For next level music creation, it offers many fred tools that help you to create awesome sounds and music. You can play MIDI and audio loops of different lengths in any combination, without ever stopping the music.

The Arrangement View is where ablston can organize music along a timeline. You can put musical parts in place and build sections of your song and manuxl into the details without losing sight of your musical goals whether you are developing an initial idea or arranging a full track.

Similarly, you can use warping to mix and match loops ableton live suite 10 manual free download a variety of tempos, fix timing errors in recorded performances, or radically reshape any audio into new sound design directions. Put simply, Ableton Live Suite 10 for Mac is a must-have program if you really want to create high quality sounds downlpad music without any hurdle.

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Ableton live suite 10 manual free download.Live Manual

 

Included with a number of apps and hardware products, Live 10 Lite is a lightweight version of Ableton Live Watch: What is Live Lite? Both for writing solo or recording a band, Live Lite is fast and flexible software. And all the instruments, sounds and effects you need are there to start songs, shape your sound and finish off your music. Learn Live Setting up an audio interface.

Take your sketches from music-making apps further in Live Lite. Save your project as a Live Set, then transfer onto your laptop and arrange and mix your songs. Check out the latest Export-enabled applications. Live Lite serial numbers are included with various hardware devices and apps — find out more here.

The mixer is resizable, and dragging upwards on the top of the mixer will extend the height of the track meters, adding tick marks, a numeric volume eld and resettable peak level indicators.

MIXING particular knob or slider parameter volume, for example , this difference will be maintained as you adjust the parameter. If you drag a track’s title bar to the Browser it will be saved as a new Set. If a track contains audio clips, Live will manage the copying of the referenced sampled into this new location based on the selection in the Collect Samples on Export You can also use a Group Track purely as a folder track by rerouting the outputs of the contained tracks to some other destination..

Once a Group Track has been created, tracks can be dragged into or out of the group. Deleting a Group Track deletes all of its contents, but a group can be dissolved back into individual tracks by executing the Edit Menu’s Ungroup Tracks command.

A clip or group track’s Send control regulates how much of the track’s output feeds the associated return track’s input. The crossfader is accessed via the Session View’s mixer selectors. It features seven different crossfade curves so that you can choose the one that ts your style the best. The crossfader can be mapped to any continuous MIDI controller absolute or incremental. In addition to the crossfader’s central slider, its absolute left and right positions are separately available for MIDI or keyboard mapping.

MIXING In order to set Live up for cueing, you must be using an audio interface with at least four dedicated outputs or two dedicated stereo outputs.

The respective settings are accessible in the Session View mixer. The control allows delaying or pre- delaying the output of tracks in milliseconds in order to compensate for human, acoustic, hardware and other real-world delays.

This section of the interface can be shown or hidden using its respective Mixer Section selector. Note that this is a different kind of recording than the capturing of Session clips into the Arrangement. For successful audio recording, please make sure the audio preferences are set up properly. For more on this, please see the built-in program lesson on setting up Audio Preferences.

Recording commences when the Control Bar’s Record button is activated and the Play button is pressed. Recording creates new clips in all tracks that have their Arm button on.

When the Overdub switch is on, the new clips contain a mix of the signal already in the track and the new input signal. Set the Global Quantization chooser to any value other than None to obtain correctly cut clips. Activate the Arm button for the tracks onto which you want to record. Clip Record buttons will appear in the empty slots of the armed tracks.

Using Live’s Impulse instrument and the following technique, you can successively build up drum patterns while listening to the result. Or, using an instrument such as Simpler, which allows for chromatic playing, you can build up melodies or harmonies, note by note.

This process, known as step recording, allows you to enter notes at your own pace, without needing to listen to a metronome or guide track. In fact, Live allows you to change the tempo at any time before, after and even during recording. The Record Quantization chooser in the Edit menu allows selecting the meter subdivisions with which your recorded notes will align. When recording into Session slots into the One key is used to jump to the next scene A Track Launch Button..

You can also map the step recording navigators. Ctrl Devices Can Be Folded. Click on the Device Browser selector to access the palette of Live’s built-in devices. You will notice that MIDI effects, audio effects and instruments each have their own folders in the Browser. Note that you can easily move from this setup into recording new clips for further use in Live. To remove a device from the chain, click on its title bar and press your computer’s key, or select Delete from the Edit menu.

To change the order of devices, drag a Delete device by its title bar and drop it next to any of the other devices in the Track View. These meters are helpful in nding problematic devices in the device chain: Low or absent signals will be revealed by the level meters, and relevant device settings can then be adjusted, or the device can be turned off or removed. The Save Preset Button. Click the Save Preset button to save a device’s current settings including any custom info text as a new preset.

If you have already saved a default preset for a particular device, Live will ask you before overwriting it. Please see the previous section, Using the Live Devices, for details. The Plug-In Device Browser. You can also rescan if you believe that your plug-in database has somehow become cor- rupted.

To assign any two plug-in parameters to the Live panel X-Y eld, use the drop-down menus directly beneath it. Con gure Mode allows you to customize Live’s panel to show only the plug-in parameters that you need to access. These entries are removed when you adjust another param- eter. Here you can set the number of samples processed at any one time by the plug-in. Note that, on Windows, Live may have found a path in the registry without the need for browsing.

The alias can point to a different partition or hard drive on your computer. Live will scan the set VST Plug-in folder as well as any alias folders contained therein. VST programs and banks can be imported from les.

Clicking the VST Program Load button brings up a standard le-open dialog for locating the desired le. Note that you can always turn this option off later if you decide not to use Audio Units. Activating Audio Units Plug-Ins. However, Live Sets that were created with Live 4 or earlier will open without device delay compensation.

To manually turn latency compensation on or off , use the Delay Compensation option in the Options menu. A Rack is a exible tool for working with effects, plug-ins and instruments in a track’s device chain. Racks can be used to build complex signal processors, dynamic performance instruments, stacked synthesizers and more.

By default, the Track View displays only a single chain, but there is actually no limit to the number of chains contained within a track. How you use them is up to you whether it be for convenience, by making an important device parameter more accessible; Note that if you repeat one of these commands again on the same device, you will create a Rack within a Rack.

Macro Controls 3. Chain List. In Drum Racks, this view can include both drum chains and return chains. Devices 5. Racks are also identi able by their round corners, which bracket and enclose their content. As signals enter a Rack, they are rst greeted by the Chain List. We will therefore also choose this point for our own introduction. Since the Track View can show only one device chain at a time, the Chain List also serves as a navigational aid: The list selection determines what will be shown in the adjacent Devices view when enabled.

When the Auto Select switch is activated, every chain that is currently processing signals becomes selected in the Chain List. Chains will only respond to MIDI notes that lie within their key zone. Otherwise, the functionality here is identical to that of the Key Zone Editor.

Velocity zone fade ranges attenuate the velocities of notes entering a chain. Taking the previous example one step further, we can tweak our chain select zones to produce a smooth transition between our presets. To accomplish this, we will make use of our zones’ fade ranges. In addition to the standard selectors found on all Racks, Drum Racks have four additional controls in the view column.

Page Although Pad View is designed for easy editing and sound design, it also excels as a performance interface, particularly when triggered by a hardware control surface with pads. Page The Slicing Preset chooser contains a few Ableton-supplied slicing templates, as well as any of your own that you may have placed in your Library’s default presets folder.

The Drum Rack’s Macro Controls will be pre-assigned to useful parameters for the Simplers, as determined by the settings in the selected slicing preset. In the factory Slicing presets, these include basic envelope controls and parameters to adjust the loop and crossfade properties of each slice.

To process several slices with the same set of effects, multi-select their chains in the Drum Rack’s chain list and press -G to group them to Ctrl The following steps will get you started mapping: 1.

Likewise, any nested chains within the Rack will also have this button. This makes it easy to get an overview of your Rack’s hierarchy or hide it when you just want to work on your mix. A Drum Rack’s return chains can also be extracted, and will create new return tracks if dragged to the mixer. Page Chapter 18 Automation and Editing Envelopes Often, when working with Live’s mixer and devices, you will want the controls’ movements to become part of the music.

The movement of a control across the song timeline is called automation; a control whose value changes in the course of this timeline is automated. Practically all mixer and device controls in Live can be automated, including the song tempo. The automation LED disappears, and the control’s value stays constant across the entire song. You can click on it to reactivate all automation and thereby return to the automa- tion state as it is written on tape. It also provides you with an overview of which devices actually have automation by showing an LED next to their labels.

You can make things clearer still by selecting Show Automated Parameters Only from the bottom of the chooser. Drawing creates steps as wide as the visible grid, which you can modify using a number of handy shortcuts. If the line segment is in the current selection, the envelope is moved vertically across the selected timespan. Any edit commands applied to an envelope selection within a single lane will only apply to this envelope. The clip itself will be unaffected. The aspects of a clip that are in uenced by clip envelopes change depending upon clip type and setup; clip envelopes can do anything from representing MIDI controller data to modulating device parameters.

In this chapter, we will rst look at how all clip envelopes are drawn and edited, and then get into the details of their various applications. The Envelopes box contains two choosers for selecting an envelope to view and edit. The Clip View’s Envelopes Box. Enclose the desired selection in the loop brace, and click the brace so that it is selected. This will execute the Edit menu’s Select Loop command, which selects all material in the loop.

Click on the Transpose quick- chooser button. You can now alter the pitch transposition of individual notes in the sample as you listen to it. Pitch is modulated in an additive way. The output of the transposition envelope is simply added to the Transpose control’s value. The result of the modulation is clipped to stay in the available range The Envelope Editor appears with a vertical grid overlay. In envelope Draw Mode, set steps to non-zero values to hear the loop scrambled.

What is going on? Imagine the audio is read out by a tape head, the position of which is modulated by the envelope. All clip settings, including the envelopes, will remain unaltered; only the sample will be replaced. Since mixer and device controls can also be controlled by the Arrangement’s automation envelopes, this is Modulating the track’s Send controls is just as easy. Again, the modulation is a relative percentage: The clip envelope cannot open the send further than the Send knob, but it can Modulating a Send.

You can create new clip envelopes for any of the listed controllers by drawing steps or using breakpoints. You can also edit clip envelope representations of controller data that is imported as part of your MIDI les or is created while recording new clips: Names of controllers that already have clip envelopes appear with an adjacent LED in the Control chooser.

Suppose you are setting up a Live Set and wish to program a fade-out over eight bars to occur when a speci c clip is launched but all you have is a one-bar loop. To return to the previous state, please use the Edit menu’s Undo command. For a different part of your set, you would like to use the same one-bar loop because it sounds great but its repetition bores you.

You can also think of interesting applications that work the other way around. Page Working With Video Chapter 20 Working with Video Live’s exible architecture makes it the perfect choice for scoring to video.

You can trim video clips to select parts of them and use Warp Markers to visually align music in the Arrangement View with the video.

You can then render your edited video le along with your audio. It can be dragged to any location you like, and it will never get covered up by Live. When scoring to video, video clips are usually set as tempo masters, while audio clips are left as tempo slaves.

Let’s look at a common scenario matching a piece of music to edits or hit points in a video: 1. This pre-roll two-beep serves as a sync reference for the mixing engineer, who expects that the composer’s audio les will also include the same pre-roll. Now, we click on the video clip’s title bar to deselect everything else , then drag the video clip’s left edge to the left as far as possible to reveal the pre-roll again. Page Chapter 21 Live Audio Effect Reference Live comes with a selection of custom-designed, built-in audio effects.

The Working with Instruments and Effects chapter explains the basics of using effects in Live. The Auto Filter effect provides classic analog lter emulation. For each type, the X-Y controller adjusts frequency to adjust, click and drag on the X-axis and Q also called resonance; to adjust, click and drag on the Y-axis.

You can also click on the Freq and Q numeric displays and type in exact values. The respective Amount control sets how much the LFO affects the lter. This can be used in conjunction with or instead of the envelope follower. The Rate control speci es the LFO speed. It can be set in terms of hertz, or synced to the song tempo, allowing for controlled rhythmic ltering. Auto Pan’s LFOs modulate the amplitude of the left and right stereo channels with sine, triangle, sawtooth down or random waveforms.

The Offset control shifts the point de ned by Interval forward in time. You can turn the lter on and off, and set the center frequency and width of the passed frequency band, using the respective controls.

The original signal which was received at Beat Repeat’s input is mixed with Beat Repeat’s repetitions according to one of three mix modes: Mix allows the original signal to pass through the device and have repetitions added to it; This is especially useful if you want to change both delays with a single gesture. The Modulation X-Y controller can impart motion to the sounds. To change the modula- tion rate for the delay times, click and drag along the horizontal axis.

Compression re- duces the levels of peaks, opening up more headroom and allowing the overall signal level to be turned up. This gives the signal a higher average level, resulting in a sound that is subjectively louder and punchier than an uncompressed signal.

Less is often more here. Because compression reduces the volume of loud signals and opens up headroom, you can use the Output slider so that the peaks once again hit the maximum available headroom.

The Output meter shows the output signal’s level. Page Note that, for reasons of quantum physics, Lookahead and external sidechaining are disabled when using the FB model; Ableton’s engineers are hard at work developing code that will allow our software to predict the future, but we don’t anticipate having this available until at least the next major release.

But by using sidechaining, it is possible to compress a signal based on the level of another signal or a speci c frequency component. To access the Sidechain parameters, unfold the Compressor window by toggling the button in its title bar. For example, imagine that you have one track containing a voiceover and another track containing background music. Since you want the voiceover to always be the loudest source in the mix, the background music must get out of the way every time the narrator is speaking.

Corpus is an effect that simulates the acoustic characteristics of seven types of resonant objects. Developed in collaboration with Applied Acoustics Systems, Corpus uses physical modelling technology to provide a wide range of parameters and modulation options.

The full version of Corpus is not included with the standard version of Live, but is bundled with the Collision You can hide or show the Sidechain parameters by toggling the button in Corpus’s title bar. Inharmonics adjusts the pitch of the resonator’s harmonics.

At negative values, frequencies are compressed, increasing the amount of lower partials. At positive values, frequencies are stretched, increasing the amount of upper partials. This parameter is not used with the Pipe or Tube resonators. The Dynamic Tube effect infuses sounds with the peculiarities of tube saturation. An in- tegrated envelope follower generates dynamic tonal variations related to the level of the input signal.

Together, they shape the dynamic nature of the distortions. Note that if Envelope is set to zero, they will have no effect. Cut or boost the device’s nal signal level with the Output dial. If you have ever used a good DJ mixer you will know what this is: An EQ that allows you to adjust the level of low, mid and high frequencies independently. This is typical behavior for this kind of lter, and is part of EQ Three’s unique sound.

The External Audio Effect is a bit different than Live’s other effects devices. Instead of processing audio itself, it allows you to use external hardware effects processors within a track’s device chain. If your external device connects to Live via an analog connection, you will want to adjust your latency settings in milliseconds, which ensures that the amount of time you specify will be retained when changing the sample rate.

The Pan controls at the right can override the delay channels’ outputs; otherwise each delay outputs on the channel from which it derives its input. Each delay channel’s lter has an associated On switch, located to the left of each X-Y controller. Flanger uses two parallel time-modulated delays to create anging effects. Flanger’s delays can be adjusted with the Delay Time control. Set it to percent if using Flanger in a return track.

Drive is only available in Ring mode. Enabling the Wide button creates a stereo effect by inverting the polarity of the Spread value for the right channel. Here are some tips for using the Frequency Shifter device. Drum tuning Tuning sampled acoustic drums can be tricky. Using a sampler’s transposition controls often changes the character of the sounds in unrealistic ways, resulting in pinched or tubby samples. The Gate effect passes only signals whose level exceeds a user-speci ed threshold.

A gate can eliminate low-level noise that occurs between sounds e. But by using sidechaining, it is possible to gate a signal based on the level of another signal. Randomizing pitch and delay time can create complex masses of sound and rhythm that seem to bear little relationship to the source. This can be very useful in creating new sounds and textures, as well as getting rid of unwelcome house guests, or terrifying small pets just kidding!

The Limiter effect is a mastering-quality dynamic range processor that ensures that the output does not exceed a speci ed level. The meter gives a visual indication of how much gain reduction is being applied to the signal. Note that any devices or channel faders that appear after Limiter may add gain. To ensure that your nal output will never clip, place Limiter as the last device in the Master track’s device chain and keep your Master fader below 0 dB.

The Play button plays back the current state of Looper’s buffer without recording any new material. The Stop button stops playback. The behavior of the transport controls changes depending on whether or not Live’s playback is running. Engaging the Reverse button is subject to the Quantization chooser setting. Feedback sets the amount of previously recorded signal that is fed back into Looper when overdubbing. Record at least one pass of material into Looper. Create another audio track.

When we use the term compression, we’re typically talking about lowering the level of signals that exceed a threshold. Each band has activator and solo buttons. For the Above thresholds, Attack de nes how long it takes to reach maximum compression or expansion once a signal exceeds the threshold, while Release sets how long it takes for the device to return to normal operation after the signal falls below the threshold.

Adjust the crossover points to suit your audio material, then apply down- ward compression by dragging down in the upper blocks in the display or by setting the numerical ratios to values greater than 1. De-essing To remove harshness caused by overly loud high frequency content, try enabling only the Overdrive is a distortion effect that pays homage to some classic pedal devices commonly used by guitarists. Unlike many distortion units, it can be driven extremely hard without sacri cing dynamic range.

The distortion stage is preceded by a bandpass lter that can be controlled with an X-Y controller. Phaser uses a series of all-pass lters to create a phase shift in the frequency spectrum of a sound. The Poles control creates notches in the frequency spectrum. The Feedback control can then be used to invert the waveform and convert these notches into peaks or poles. Spin detunes the two LFO speeds relative to each other.

Each lter frequency is then modulated using a different LFO frequency, as determined by the Spin amount. The Feedback parameter controls how much of the right channel output signal returns to the delay line input. Redux returns us to the Dark Ages of digital by reducing a signal’s sample rate and bit resolution. The Downsample section has two parameters: Downsample and a downsample Mode switch.

This device consists of ve parallel resonators that superimpose a tonal character on the input source. It can produce sounds resembling anything from plucked strings to vocoder- like effects.

Mode A provides a more realistic sounding resonation, while Mode B offers an effect that is especially interesting when Resonator I’s Note parameter is set to lower pitches. The brightness of the resulting sound can be adjusted using the Color control.

This delays the reverberation relative to the input signal. One’s impression of the size of a real room depends partly on this delay. Typical values for natural sounds range from 1ms to 25ms. The lowest setting mixes the output signal to mono. Saturator is a waveshaping effect that can add that missing dirt, punch or warmth to your sound. It can coat input signals with a soft saturation or drive them into many different avors of distortion.

Setting Drive to zero will negate the effect entirely. The Simple Delay provides two independent delay lines, one for each channel left and right. To refer delay time to the song tempo, activate the Sync switch, which allows using the Delay Time beat division chooser.

This sounds similar to time stretching if the delay time is gradually changed. Fade mode is the default option. Note that this will cause an audible click if the delay time is changed while delays are sounding. With a setting of one, each block is shown. This results in much more activity in the display, which can be useful for nding the spectrum of short peaks.

Utility can perform some very useful tasks, especially in combination with other devices. The Mute button simply silences the incoming signal when enabled. However, since you can place Utility anywhere in a signal chain, you can use its mute function to cut the input of a delay line or reverb without turning off the output of these devices.

The Vinyl Distortion effect emulates some of the typical distortions that occur on vinyl records during playback. These distortions are caused by the geometric relationships between the needle and the recorded groove. A vocoder is an effect that combines the frequency information of one audio signal called the carrier with the amplitude contour of another audio signal called the modulator. The modulator source is generally something with a clear rhythmic character such as speech or drums, while the carrier is typically a harmonically-rich synthesizer sound such as a string or pad.

This is the option you’ll want for classic robot voice applications. This essentially outputs a resynthe- sized version of the modulator signal, but allows you to use Vocoder’s sound-shaping controls to adjust the sound.

In Precise mode, all lters have the same gain and bandwidth. Insert Vocoder in the track that contains your vocal material. You can either use a clip that contains a prerecorded voice clip or, to process a live vocal signal, connect a microphone to a channel on your audio hardware and choose this as input source for the track. Live’s Arpeggiator effect takes the individual MIDI notes from a held chord or single note , and plays them as a rhythmical pattern.

Arpeggiators are a classic element in Eighties synth music. The name originates with the musical concept of the arpeggio, in which the notes comprising a chord are played as a series rather than in unison.

Thumb Up and Thumb UpDown. Play Order places notes in the pattern according to the order in which they are played. This is therefore only recognizable when more than one chord or note has been played. Notes can also be removed from the pattern in this scenario by playing them a second time, allowing the gradual buildup and rearrangement of the pattern over time.

Tip: If you want the pattern to stop playing, momentarily deactivate Hold. With Velocity set to On and Target set to 0, for example, the sequence will gradually fade out, eventually reaching 0 velocity. The Decay control sets the amount of time Arpeggiator takes to reach the Target velocity.

Key Scale The pitch of incoming notes can be used to alter the length of the output notes. Random adds an element of the unknown to the otherwise commonplace pitch parameter. The Chance control de nes the likelihood that an incoming note’s pitch will be changed by a random value. But with Chance set to percent, Choices set to 2 and Scale set to 2, incoming C3s will alternate between C3 and D3. Outside of the range de ned by these controls, the Scale effect will be inapplicable, and the LED light will ash to indicate that some notes are not being processed by the effect, but are playing at their unaltered pitch.

Page Chapter 23 Live Instrument Reference Live comes with a selection of custom-designed, built-in instruments. The Working with Instruments and Effects chapter explains the basics of using instruments in Live. The boxed version of Live 8 ships with the Essential Instrument Collection, a multi-gigabyte library of meticulously sampled and selected instruments ready for use in either Simpler or Sampler.

With this instrument, we have not attempted to emulate a speci c vintage analog synthesizer but rather to combine different features of legendary vintage synthesizers into a modern instrument. Furthermore, the signal ow can be run through the lters in series or in parallel.

Analog also features two low-frequency oscillators LFOs which can modulate the oscillators, lters and ampli ers. The choices are sine, sawtooth, rectan- gular and white noise.

When rectangular is selected, the Pulse Width parameter is enabled in the display, which allows you to change the pulse width of the waveform. Low Width values result in a very narrow waveform, which tends to sound tinny or pinched.

As you increase the Ratio, the internal oscillator’s rate increases, which changes the harmonic content of the audible oscillator. Analog’s two multi-mode lters come equipped with a exible routing architecture, multiple saturation options and a variety of modulation possibilities.

As with the oscillators, all parameters can be set independently for each lter. The Asym modes result in asymmetrical saturation. For both mode types, higher numbers result in more distortion. Drive can be switched off entirely by selecting Off in the chooser. In addition to the pitch envelopes in the oscillator sections, Analog is equipped with inde- pendent envelopes for each lter and ampli er. All four of these envelopes have identical controls, which are housed entirely within the display.

With Legato enabled, a new note that is played while another note is already depressed will use the rst note’s envelope, at its current position. Enabling the Free switch causes the envelope to bypass its sustain phase and move directly from the decay phase to the release phase.

As with the other sections, each LFO has independent parameters. This is the instrument’s master level, and can boost or attenuate the output of the ampli er sections. The Vib switch turns the vibrato effect on or off, while the percentage slider next to it adjusts the amplitude of the vibrato. The Octave, Semi and Tuning controls function as coarse and ne tuners. Octave transposes the entire instrument by octaves, while Semi transposes up or down in semitone increments.

The Tuning slider adjusts in increments of one cent up to a maximum of 50 cents up or down. Collision is a synthesizer that simulates the characteristics of mallet percussion instruments. Created in collaboration with Applied Acoustics Systems, Collision uses physical modeling technology to model the various sound generating and resonant components of real or imagined objects.

Disabling unused sections can save CPU. These model the behavior of a mallet striking a surface, and provide Collision’s fundamental sound. At higher values, there are less low frequencies in the noise. This parameter has no effect if Noise is set to 0.

The Mallet section can be toggled on or off via the switch next to its name. When this slider is set to 0, there is no sustain phase. With it set to , there is no decay phase. Finally, the release time is set with the R Release slider.

This is the time it takes for the envelope to reach zero after the key is released. The Tune and Fine knobs function as coarse and ne tuning controls. Tune moves up or down in semitone increments, while Fine adjusts in increments of one cent up to a maximum of one quarter tone 50 cents up or down.

As the radius increases, the decay time and high frequency sustain both increase. At very large sizes, the fundamental pitch of the resonator also changes.

Each resonator has its own Volume and Pan controls. Pan can also be modulated by note pitch via the K Key slider below the knob.

The Bleed control mixes a portion of the original oscillator signal with the resonated signal. At higher values, more of the original signal is applied. The rst noise type steps between random values while the second uses smooth ramps. The switch next to the waveform chooser toggles the LFO’s rate between frequency in Hertz and tempo-synced beat divisions.

The global section contains the parameters that relate to the overall behavior and perfor- mance of Collision.

The Volume knob acts as Collision’s master output control. Collision contains a built-in limiter that automatically activates when the audio level is too high. The Voices chooser sets the available polyphony.

Since each voice that’s used requires additional CPU, you may need to experiment with this chooser to nd a good balance between playability and performance, particularly on older machines. After you have installed the Drum Machines Live Pack, you will need to authorize it. You will nd them as categorized presets within the Drum Rack folder.

Drum Machines presets are therefore loaded just like any other device, by dragging a preset from the Browser into an empty MIDI track. The full version of Electric is not included with the standard version of Live, but is a special feature available for purchase separately.

The Decay knob adjusts how long it takes for this noise to fade to silence, while the Pitch control sets the center frequency. Level adjusts the overall volume of the noise component.

An additional Key scaling control adjusts how much the noise volume is determined by note pitch. The overall amount of damper noise is adjusted with the Level control. It sends MIDI out and returns audio. The top chooser selects either a physical MIDI port, a If your external device connects to Live via a digital connection, you will want to adjust your latency settings in samples, which ensures that the number of samples you specify will be retained even when changing the sample rate.

Both controls can be modulated: Pan by velocity and a random value, and Volume by velocity only. Page Live’s Browser. After you have installed Latin Percussion, you will need to authorize it. Further details can be found at the Ableton website Then drag the entire folder to the Drum Rack’s pad view. This will replace all of the currently loaded conga components, leaving all other pads alone.

You can also unfold these preset folders to access individual instruments within. The shell offers the most important parameters in a single view and is divided into eight sections.

Typically, FM synthesis makes use of pure sine waves, creating more complex waveforms via modulation. However, in order to simplify sound design and to create a wider range of possible sounds, we designed Operator to produce a variety of other waveforms, including two types of noise.

The rst of these waveforms is a pure, mathematical sine wave, which is usually the rst choice for many FM timbres. When enabled, the oscillator’s overall output level is maintained as you draw additional harmonics. When disabled, additional harmonics add additional level. Note that the volume can become extremely loud if Normalize is off. You can export your waveform in. With the R Retrigger button enabled, the waveform restarts at the same position in its phase each time a note is triggered.

With R disabled, the oscillator is free-running. As explained earlier oscillators can modulate each other when set up to do so with the The LFO in Operator can practically be thought of as a fth oscillator. It runs at audio rates, and it modulates the frequency of the other oscillators. It is possible to switch LFO modulation on or off for each individual oscillator and the lter using the Dest.

The LFO’s intensity is also affected by its envelope. All envelopes feature some special looping modes. Addition- ally, the lter and pitch envelopes have adjustable slopes.

In Beat Mode, the repeat time is de ned in fractions of song time, but notes are not quantized. If you play a note a bit out of sync, it will repeat perfectly but stay out of sync.

In Sync Mode however, the rst repetition is quantized to the nearest 16th note and, as a result, all following repetitions are synced to the song tempo. Operator’s lters can be very useful for modifying the sonically rich timbres created by the oscillators.

And, since the oscillators also provide you with the classic waveforms of analog synthesizers, you can very easily build a subtractive synthesizer with them. Additionally, the global display area provides a comprehensive set of modulation routing controls. The maximum number of Operator voices notes playing simultaneously can be adjusted with the Voices parameter in the global display.

Operator includes a polyphonic glide function. When this function is activated, new notes will start with the pitch of the last note played and then slide gradually to their own played pitch. Note that turning off the oscillators will not save CPU power. The algorithm de nes the connections between the oscillators and therefore has a signi cant impact on the sound that is created.

Voices This sets the maximum number of notes that can sound simultaneously. Spread is a very CPU-intensive effect. Transpose This is the global transposition setting for the instrument. Changing this pa- rameter will affect notes that are already playing.

The 24 dB lter modes attenuate the ltered frequencies to a much greater degree than the 12 dB modes. The Ladder and SVF lters provide additional lter architectures. Filter Frequency Freq This de nes the center or cutoff frequency of the lter. Sample and Hold creates random steps, and Noise supplies bandpass- ltered noise. All waveforms are band- limited to avoid unwanted clicks. Coarse sets the ratio in whole numbers, creating a harmonic relationship. Osc Fine Frequency Fine The relationship between oscillator frequency and note pitch is de ned by the Coarse and Fine parameters.

With Repeat off, partials above the 16th, 32nd or 64th harmonic are truncated. Envelope Peak Level Peak This is the peak level at the end of the note attack.

Envelope Sustain Level Sustain This is the sustain level at the end of the note decay. The envelope will stay at this level until note release unless it is in Loop, Sync or Beat Mode. Page After you have installed the libraries of your choice, you will need to authorize them.

Sampler is a sleek yet formidable multisampling instrument that takes full advantage of Live’s agile audio engine. It has been designed from the start to handle multi-gigabyte instrument libraries with ease, and it imports most common library formats.

But with Sampler, playback is only the beginning; Page Sampler is designed to let you approach multisampling on whatever level you like: You can load and play multisample presets, like those from Ableton’s Essential Instrument Collection, import multisamples from third-party vendors, or create your own multisamples from scratch.

Here are the steps: 1. Clicking on the Zone tab toggles the display of Sampler’s Zone Editor, which offers a hands- on interface for mapping any number of samples across three types of ranges. The Zone Editor opens in its own dedicated view, directly above the Track View. The Sample Layer List All samples contained in the currently loaded multisample are listed here, with each sample given its own layer. The timbre of most musical instruments changes greatly with playing intensity.

Therefore, the best multisamples capture not only individual notes, but also each of those notes at different velocities. The Sample Select Editor, when toggled, appears alongside the sample layer list.

The editor has a scale of , similar to the Velocity Zone Editor. As with Simpler, this snap is based on the left channel of stereo samples, so a small Crossfade value may be necessary in some cases to completely eliminate clicks.

Sustain Loop Enabled Playback proceeds linearly until Loop End is reached, when it jumps immediately to Loop Start and continues looping. With Detune, the pitch of these regions can be matched to the rest of the sample. Interpolation Interpol This is a global setting that determines the accuracy of transposed samples.

This is a multi-stage envelope with Initial, Peak, Sustain and End levels. In addition, the signal ow direction can be adjusted with the button above the waveshaper area. With the triangle pointing up, the signal passes from the shaper to the lter. After you have installed Session Drums, you will need to authorize it.

If you disable this cookie, we will not be able to save your preferences. This means that every time you visit this website you will need to enable or disable cookies again. Ableton Live Suite Download. Developer :. Free Download. Download For Mac. Privacy Overview This website uses cookies so that we can provide you with the best user experience possible.

Strictly Necessary Cookies Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings. Enable or Disable Cookies. Enable All Save Settings. Musicians, producers, sound engineers, filmmakers and many other users use it for creating highly quality music and sound for their projects. This powerful music creation program comes with effects, instruments, sounds and all kinds of creative features everything you need to make any kind of music.

It comes with a simple and clean interface that enables you to focus on your work and avoid other distractions while creating the music. Enabling the Wide button creates a stereo effect by inverting the polarity of the Spread value for the right channel. Here are some tips for using the Frequency Shifter device.

Drum tuning Tuning sampled acoustic drums can be tricky. Using a sampler’s transposition controls often changes the character of the sounds in unrealistic ways, resulting in pinched or tubby samples.

The Gate effect passes only signals whose level exceeds a user-speci ed threshold. A gate can eliminate low-level noise that occurs between sounds e. But by using sidechaining, it is possible to gate a signal based on the level of another signal. Randomizing pitch and delay time can create complex masses of sound and rhythm that seem to bear little relationship to the source.

This can be very useful in creating new sounds and textures, as well as getting rid of unwelcome house guests, or terrifying small pets just kidding! The Limiter effect is a mastering-quality dynamic range processor that ensures that the output does not exceed a speci ed level.

The meter gives a visual indication of how much gain reduction is being applied to the signal. Note that any devices or channel faders that appear after Limiter may add gain.

To ensure that your nal output will never clip, place Limiter as the last device in the Master track’s device chain and keep your Master fader below 0 dB.

The Play button plays back the current state of Looper’s buffer without recording any new material. The Stop button stops playback. The behavior of the transport controls changes depending on whether or not Live’s playback is running. Engaging the Reverse button is subject to the Quantization chooser setting.

Feedback sets the amount of previously recorded signal that is fed back into Looper when overdubbing. Record at least one pass of material into Looper. Create another audio track. When we use the term compression, we’re typically talking about lowering the level of signals that exceed a threshold. Each band has activator and solo buttons. For the Above thresholds, Attack de nes how long it takes to reach maximum compression or expansion once a signal exceeds the threshold, while Release sets how long it takes for the device to return to normal operation after the signal falls below the threshold.

Adjust the crossover points to suit your audio material, then apply down- ward compression by dragging down in the upper blocks in the display or by setting the numerical ratios to values greater than 1.

De-essing To remove harshness caused by overly loud high frequency content, try enabling only the Overdrive is a distortion effect that pays homage to some classic pedal devices commonly used by guitarists. Unlike many distortion units, it can be driven extremely hard without sacri cing dynamic range.

The distortion stage is preceded by a bandpass lter that can be controlled with an X-Y controller. Phaser uses a series of all-pass lters to create a phase shift in the frequency spectrum of a sound. The Poles control creates notches in the frequency spectrum. The Feedback control can then be used to invert the waveform and convert these notches into peaks or poles. Spin detunes the two LFO speeds relative to each other. Each lter frequency is then modulated using a different LFO frequency, as determined by the Spin amount.

The Feedback parameter controls how much of the right channel output signal returns to the delay line input. Redux returns us to the Dark Ages of digital by reducing a signal’s sample rate and bit resolution. The Downsample section has two parameters: Downsample and a downsample Mode switch. This device consists of ve parallel resonators that superimpose a tonal character on the input source. It can produce sounds resembling anything from plucked strings to vocoder- like effects.

Mode A provides a more realistic sounding resonation, while Mode B offers an effect that is especially interesting when Resonator I’s Note parameter is set to lower pitches. The brightness of the resulting sound can be adjusted using the Color control.

This delays the reverberation relative to the input signal. One’s impression of the size of a real room depends partly on this delay. Typical values for natural sounds range from 1ms to 25ms. The lowest setting mixes the output signal to mono. Saturator is a waveshaping effect that can add that missing dirt, punch or warmth to your sound. It can coat input signals with a soft saturation or drive them into many different avors of distortion.

Setting Drive to zero will negate the effect entirely. The Simple Delay provides two independent delay lines, one for each channel left and right. To refer delay time to the song tempo, activate the Sync switch, which allows using the Delay Time beat division chooser.

This sounds similar to time stretching if the delay time is gradually changed. Fade mode is the default option. Note that this will cause an audible click if the delay time is changed while delays are sounding. With a setting of one, each block is shown. This results in much more activity in the display, which can be useful for nding the spectrum of short peaks. Utility can perform some very useful tasks, especially in combination with other devices.

The Mute button simply silences the incoming signal when enabled. However, since you can place Utility anywhere in a signal chain, you can use its mute function to cut the input of a delay line or reverb without turning off the output of these devices. The Vinyl Distortion effect emulates some of the typical distortions that occur on vinyl records during playback. These distortions are caused by the geometric relationships between the needle and the recorded groove.

A vocoder is an effect that combines the frequency information of one audio signal called the carrier with the amplitude contour of another audio signal called the modulator. The modulator source is generally something with a clear rhythmic character such as speech or drums, while the carrier is typically a harmonically-rich synthesizer sound such as a string or pad.

This is the option you’ll want for classic robot voice applications. This essentially outputs a resynthe- sized version of the modulator signal, but allows you to use Vocoder’s sound-shaping controls to adjust the sound. In Precise mode, all lters have the same gain and bandwidth.

Insert Vocoder in the track that contains your vocal material. You can either use a clip that contains a prerecorded voice clip or, to process a live vocal signal, connect a microphone to a channel on your audio hardware and choose this as input source for the track. Live’s Arpeggiator effect takes the individual MIDI notes from a held chord or single note , and plays them as a rhythmical pattern. Arpeggiators are a classic element in Eighties synth music.

The name originates with the musical concept of the arpeggio, in which the notes comprising a chord are played as a series rather than in unison. Thumb Up and Thumb UpDown. Play Order places notes in the pattern according to the order in which they are played. This is therefore only recognizable when more than one chord or note has been played. Notes can also be removed from the pattern in this scenario by playing them a second time, allowing the gradual buildup and rearrangement of the pattern over time.

Tip: If you want the pattern to stop playing, momentarily deactivate Hold. With Velocity set to On and Target set to 0, for example, the sequence will gradually fade out, eventually reaching 0 velocity. The Decay control sets the amount of time Arpeggiator takes to reach the Target velocity. Key Scale The pitch of incoming notes can be used to alter the length of the output notes. Random adds an element of the unknown to the otherwise commonplace pitch parameter. The Chance control de nes the likelihood that an incoming note’s pitch will be changed by a random value.

But with Chance set to percent, Choices set to 2 and Scale set to 2, incoming C3s will alternate between C3 and D3. Outside of the range de ned by these controls, the Scale effect will be inapplicable, and the LED light will ash to indicate that some notes are not being processed by the effect, but are playing at their unaltered pitch.

Page Chapter 23 Live Instrument Reference Live comes with a selection of custom-designed, built-in instruments. The Working with Instruments and Effects chapter explains the basics of using instruments in Live.

The boxed version of Live 8 ships with the Essential Instrument Collection, a multi-gigabyte library of meticulously sampled and selected instruments ready for use in either Simpler or Sampler. With this instrument, we have not attempted to emulate a speci c vintage analog synthesizer but rather to combine different features of legendary vintage synthesizers into a modern instrument. Furthermore, the signal ow can be run through the lters in series or in parallel.

Analog also features two low-frequency oscillators LFOs which can modulate the oscillators, lters and ampli ers. The choices are sine, sawtooth, rectan- gular and white noise. When rectangular is selected, the Pulse Width parameter is enabled in the display, which allows you to change the pulse width of the waveform.

Low Width values result in a very narrow waveform, which tends to sound tinny or pinched. As you increase the Ratio, the internal oscillator’s rate increases, which changes the harmonic content of the audible oscillator. Analog’s two multi-mode lters come equipped with a exible routing architecture, multiple saturation options and a variety of modulation possibilities.

As with the oscillators, all parameters can be set independently for each lter. The Asym modes result in asymmetrical saturation. For both mode types, higher numbers result in more distortion. Drive can be switched off entirely by selecting Off in the chooser.

In addition to the pitch envelopes in the oscillator sections, Analog is equipped with inde- pendent envelopes for each lter and ampli er. All four of these envelopes have identical controls, which are housed entirely within the display.

With Legato enabled, a new note that is played while another note is already depressed will use the rst note’s envelope, at its current position. Enabling the Free switch causes the envelope to bypass its sustain phase and move directly from the decay phase to the release phase.

As with the other sections, each LFO has independent parameters. This is the instrument’s master level, and can boost or attenuate the output of the ampli er sections. The Vib switch turns the vibrato effect on or off, while the percentage slider next to it adjusts the amplitude of the vibrato. The Octave, Semi and Tuning controls function as coarse and ne tuners. Octave transposes the entire instrument by octaves, while Semi transposes up or down in semitone increments.

The Tuning slider adjusts in increments of one cent up to a maximum of 50 cents up or down. Collision is a synthesizer that simulates the characteristics of mallet percussion instruments. Created in collaboration with Applied Acoustics Systems, Collision uses physical modeling technology to model the various sound generating and resonant components of real or imagined objects. Disabling unused sections can save CPU. These model the behavior of a mallet striking a surface, and provide Collision’s fundamental sound.

At higher values, there are less low frequencies in the noise. This parameter has no effect if Noise is set to 0. The Mallet section can be toggled on or off via the switch next to its name.

When this slider is set to 0, there is no sustain phase. With it set to , there is no decay phase. Finally, the release time is set with the R Release slider.

This is the time it takes for the envelope to reach zero after the key is released. The Tune and Fine knobs function as coarse and ne tuning controls. Tune moves up or down in semitone increments, while Fine adjusts in increments of one cent up to a maximum of one quarter tone 50 cents up or down. As the radius increases, the decay time and high frequency sustain both increase. At very large sizes, the fundamental pitch of the resonator also changes.

Each resonator has its own Volume and Pan controls. Pan can also be modulated by note pitch via the K Key slider below the knob. The Bleed control mixes a portion of the original oscillator signal with the resonated signal. At higher values, more of the original signal is applied. The rst noise type steps between random values while the second uses smooth ramps. The switch next to the waveform chooser toggles the LFO’s rate between frequency in Hertz and tempo-synced beat divisions.

The global section contains the parameters that relate to the overall behavior and perfor- mance of Collision. The Volume knob acts as Collision’s master output control.

Collision contains a built-in limiter that automatically activates when the audio level is too high. The Voices chooser sets the available polyphony. Since each voice that’s used requires additional CPU, you may need to experiment with this chooser to nd a good balance between playability and performance, particularly on older machines. After you have installed the Drum Machines Live Pack, you will need to authorize it.

You will nd them as categorized presets within the Drum Rack folder. Drum Machines presets are therefore loaded just like any other device, by dragging a preset from the Browser into an empty MIDI track.

The full version of Electric is not included with the standard version of Live, but is a special feature available for purchase separately. The Decay knob adjusts how long it takes for this noise to fade to silence, while the Pitch control sets the center frequency.

Level adjusts the overall volume of the noise component. An additional Key scaling control adjusts how much the noise volume is determined by note pitch. The overall amount of damper noise is adjusted with the Level control.

It sends MIDI out and returns audio. The top chooser selects either a physical MIDI port, a If your external device connects to Live via a digital connection, you will want to adjust your latency settings in samples, which ensures that the number of samples you specify will be retained even when changing the sample rate. Both controls can be modulated: Pan by velocity and a random value, and Volume by velocity only.

Page Live’s Browser. After you have installed Latin Percussion, you will need to authorize it. Further details can be found at the Ableton website Then drag the entire folder to the Drum Rack’s pad view.

This will replace all of the currently loaded conga components, leaving all other pads alone. You can also unfold these preset folders to access individual instruments within. The shell offers the most important parameters in a single view and is divided into eight sections. Typically, FM synthesis makes use of pure sine waves, creating more complex waveforms via modulation.

However, in order to simplify sound design and to create a wider range of possible sounds, we designed Operator to produce a variety of other waveforms, including two types of noise.

The rst of these waveforms is a pure, mathematical sine wave, which is usually the rst choice for many FM timbres. When enabled, the oscillator’s overall output level is maintained as you draw additional harmonics. When disabled, additional harmonics add additional level.

Note that the volume can become extremely loud if Normalize is off. You can export your waveform in. With the R Retrigger button enabled, the waveform restarts at the same position in its phase each time a note is triggered. With R disabled, the oscillator is free-running. As explained earlier oscillators can modulate each other when set up to do so with the The LFO in Operator can practically be thought of as a fth oscillator. It runs at audio rates, and it modulates the frequency of the other oscillators.

It is possible to switch LFO modulation on or off for each individual oscillator and the lter using the Dest. The LFO’s intensity is also affected by its envelope. All envelopes feature some special looping modes. Addition- ally, the lter and pitch envelopes have adjustable slopes. In Beat Mode, the repeat time is de ned in fractions of song time, but notes are not quantized. If you play a note a bit out of sync, it will repeat perfectly but stay out of sync.

In Sync Mode however, the rst repetition is quantized to the nearest 16th note and, as a result, all following repetitions are synced to the song tempo. Operator’s lters can be very useful for modifying the sonically rich timbres created by the oscillators. And, since the oscillators also provide you with the classic waveforms of analog synthesizers, you can very easily build a subtractive synthesizer with them.

Additionally, the global display area provides a comprehensive set of modulation routing controls. The maximum number of Operator voices notes playing simultaneously can be adjusted with the Voices parameter in the global display. Operator includes a polyphonic glide function.

When this function is activated, new notes will start with the pitch of the last note played and then slide gradually to their own played pitch. Note that turning off the oscillators will not save CPU power.

The algorithm de nes the connections between the oscillators and therefore has a signi cant impact on the sound that is created. Voices This sets the maximum number of notes that can sound simultaneously.

Spread is a very CPU-intensive effect. Transpose This is the global transposition setting for the instrument. Changing this pa- rameter will affect notes that are already playing. The 24 dB lter modes attenuate the ltered frequencies to a much greater degree than the 12 dB modes. The Ladder and SVF lters provide additional lter architectures.

Filter Frequency Freq This de nes the center or cutoff frequency of the lter. Sample and Hold creates random steps, and Noise supplies bandpass- ltered noise. All waveforms are band- limited to avoid unwanted clicks. Coarse sets the ratio in whole numbers, creating a harmonic relationship. Osc Fine Frequency Fine The relationship between oscillator frequency and note pitch is de ned by the Coarse and Fine parameters.

With Repeat off, partials above the 16th, 32nd or 64th harmonic are truncated. Envelope Peak Level Peak This is the peak level at the end of the note attack. Envelope Sustain Level Sustain This is the sustain level at the end of the note decay.

The envelope will stay at this level until note release unless it is in Loop, Sync or Beat Mode. Page After you have installed the libraries of your choice, you will need to authorize them. Sampler is a sleek yet formidable multisampling instrument that takes full advantage of Live’s agile audio engine.

It has been designed from the start to handle multi-gigabyte instrument libraries with ease, and it imports most common library formats. But with Sampler, playback is only the beginning; Page Sampler is designed to let you approach multisampling on whatever level you like: You can load and play multisample presets, like those from Ableton’s Essential Instrument Collection, import multisamples from third-party vendors, or create your own multisamples from scratch.

Check out the latest Export-enabled applications. Live Lite serial numbers are included with various hardware devices and apps — find out more here. Check out this article if you need help with installing Live. Once installed, you need to authorize your Live Lite copy using a valid serial and an Ableton account.

Table Of Contents. Quick Links Download this manual. Table of Contents. Ableton Reference Manual Version 8. Previous Page. Next Page. Related Manuals for Ableton Live No related manuals. Page 2 The content of this manual is furnished for informational use only, is subject to change ableton live suite 10 manual free download notice, and should ableton live suite 10 manual free download be construed as a commitment by Ableton.

Every effort has been made to ensure that manhal information in this manual is accurate. Page 3 Chapter 1 Welcome to Live 1. A great deal of effort http://replace.me/1529.txt been put into making Live easy and fun to use, yet at the same time capable of helping you create music with unlimited depth and sophistication. Page 5 MIDI display. Page 7: First Steps Chapter 2 First Steps When you install Live and run it for the rst time, you will be presented with an authorization dialog.

Please see the chapter on authorizing Live should ableton live suite 10 manual free download have questions or concerns during the authorization process. If you do not yet own Live, you can still try out all of Live’s features, but you will not be able to save or export your work. For certain items, you ablwton create your own text and it will appear in this window.

This screen consists of a number of views, and each view manages a speci c aspect of your Live Set, which is the type of document that you create and work on in Live.

Page 12 If you nd this procedure ableton live suite 10 manual free download be an inconvenience, please understand that the copy protection secures your investment: It allows Ableton to provide you with support and to continue developing Live. Page 13 The standard Live license allows you to use Live on only one computer at a time.

However, the Ableton server will provide you with two authorizations in good faith that you will use Live on only one machine at a time. Page 14 To use Live on more than one computer at a time, you may require a secondary license or a site license. Ableton offers these licenses at special rates. Even if Manial is not authorized, you can still load and perform a Live Set with no time limitation. We advise you to read this chapter early in your Live career, as a solid understanding of the program’s basic principles will help you fully exploit Live’s potential for your music-making.

You can also nd Live Sets made by others at the Ableton website, as well as upload your ableton live suite 10 manual free download. This makes it easy to collaborate with other Live users. The Arrangement View and the Session View interact in useful ways. One can, for instance, improvise with Session clips and record a log of ableton live suite 10 manual free download improvisation into the Arrangement for further re nement.

The exclusivity of clips in a track also implies that, at any one time, a track will either play a Session clip or an Arrangement clip, ableton live suite 10 manual free download never both.

So, who wins? When a Session clip is launched, the respective track stops whatever it is doing to play that clip. Some instruments, such as Live’s Simpler, are for chromatic playing of one sound via the keyboard. Live offers many options for playing samples in exciting new ways, allowing you to create an abundance of new sounds without actually changing the original sample all the changes are computed in real time, while the sample is played. Double- clicking a track’s title bar brings up the Track View, which shows the track’s device chain.

You can also use plug-in devices in Live. Note that the signal connections between audio devices are always stereo, but the software’s inputs and outputs can be con gured to be mono in the Audio Ableton live suite 10 manual free download.

When the signal has passed through the device chain, it ends up in Live’s mixer. The MIDI signal from the clip is fed into the track’s device chain. There, it is rst processed by any number of MIDI effects. Ableton live suite 10 manual free download example is the Scale effect, which maps the incoming notes onto a user-de ned musical scale. This feature allows for the creation of powerful multi-device creations and effectively adds all the capabilities of Live’s MIDI and audio effects to the built-in instruments.

Where do these signals go? Recording is enabled on a track by pressing its Arm button. With multiple tracks selected, pressing any of their Arm buttons will arm all of them. The movement of a control across the Arrangement timeline is called automation; a control whose value changes in the course ableton live suite 10 manual free download this timeline is automated.

An audio clip can, however, lose the reference to its corresponding sample if it is moved or deleted from disk. The links between samples and their clips can be preserved with a special command, Collect and Save, which makes a copy Page The Library After installation the Library will already contain a few sound ideas, ,anual of Ableton. We encourage ablteon to experiment with this material to get a sense of what the program can do, but we do not recommend removing or changing the contents of the factory Library.

This chapter will explain everything you need to know about working with each of these le types in Live. However, we should rst take a look at Live’s File Browsers, through which most les arrive in the program.

Each Browser can point to a different disk location, which Live will remember across sessions. The Browser root can easily be changed: The topmost Browser item, called Parent Folder, will move the Browser root up one step up in the disk hierarchy when double-clicked.

Clicking in the Browser’s cownload bar will open the Bookmark menu. The Bookmark Menu. After entering your search terms, begin the search by clicking the Go button or pressing on your computer keyboard.

Live will search the entire Browser root for your search terms. The results will include les that match all search terms, as opposed to any. Rescanning happens in the background, and you can keep making music while Live does its work, but you can also abort the search with this button if the disk traf c is bothering you. Hint: You can preview les even when the Preview switch is not activated by pressing Return Pive on a sample le or use to select it.

Click in the Tab’s scrub как adobe photoshop cc 2015 crack youtube free download считаю to make playback jump to основываясь на этих данных point.

Cancel renaming with the key. Instead of using the keys, we can also click on the le’s Hot- Swap icon to load it. The analysis le contains data gathered manal Live to help optimize the stretching quality, speed up the waveform display and automatically detect the ableyon of long Live puts this analysis le in the windows 10 pro 1903 download iso free download folder as the sample. Samples that have an. Samples without an.

The Rendered Track Chooser. If you are monitoring the Master output, you can be sure that the rendered le will contain exactly what you hear. This should allow any sound from external devices to fade out, but if you need more time for example, if you’re waiting for a long reverb tailableton live suite 10 manual free download can increase the wait time by typing a new number in the number box. Because they only contain references to samples on disk rather than the audio data itselfLive Clips are very small, which makes it easy to develop and maintain your own collection.

Uploaded Sets can donwload be shared with other Live users. Of the three tracks contained in the Set shown in the following gure, two contain Session View clips. The template Live Set, Template. The easiest way to locate this folder is to search your disk for Template. Clicking the Edit button will fgee the referenced sample in the external application. The sample will remain suitee ine as long as the Edit switch is engaged. Usually, Live takes care of this automatically.

When you save a Live Set under a new name or in a new folder location, Live will create a new project folder and store the Live Set there unless you are saving the Live Suire into an And now for something completely different: We choose the File menu’s New ableton live suite 10 manual free download and record a samba tune.

So, we Save As At times however, it may make more sense to save a preset with the current Project. Page 63 Library by default but you can also save them with a Project. Ableton delivers Library content that can serve as a starting point for creative exploration.

Content is shipped in the form of Factory Live Packs. You should not use or modify this folder or its contents. In the Preferences’ Library tab, you will nd the Library Location chooser, which contains a list of Library locations that you’ve used in the past: The Library Location Chooser. Live will then offer to install any default packages downloaf the new location. Note that Live will not care if the sample you offer is really the sample that was missing.

To select the folder, click the associated Set Folder button. Page Live will then request that you choose a location for the new Project. As long as you’re working in a Project meaning that you’ve ffee your current Live Setevery device in the Device Browser will show a Current Project sub-folder. You can organize your les any way you want within a Project, mannual you’ll need to use the File Manager to relink the les that you’ve moved around: 1 In Live’s Browser or via your operating system, reorganize the les and folders within your Project folder.

Page 75 Chapter 6 Arrangement View The Arrangement View displays the Arrangement, which contains music laid out along a song timeline, like a multitrack tape. A Piece of Music in the Arrangement View. The Arrangement View is a powerful editing tool that easily lets you combine and arrange MIDI, loops, sound effects, video and complete pieces of music. To smoothly change the zoom level, click and drag vertically in the beat-time ruler at the top of the Arrangement View you can also drag horizontally to scroll the display.

Note that you can downloax drag horizontally to scroll the display.

Please make sure you have a Live Lite serial. Need help getting started? Included with a number of apps and hardware products, Live 10 Lite is a lightweight version of Ableton Live Watch: What is Live Lite? Both for writing solo or recording a band, Live Lite is fast and flexible software. And all the instruments, sounds and effects you need are there to start songs, shape your sound and finish off your music.

Learn Live Setting up an audio interface. Take your sketches from music-making apps further in Live Lite. Save your project as a Live Set, then transfer onto your laptop and arrange and mix your songs. Check out the latest Export-enabled applications.

Live Lite serial numbers are included with various hardware devices and apps — find out more here. Check out this article if you need help with installing Live. Once installed, you need to authorize your Live Lite copy using a valid serial and an Ableton account.

Note: Live 10 is bit only and is not supported on Linux. Record songs Both for writing solo or recording a band, Live Lite is fast and flexible software. Take your app ideas further Take your sketches from music-making apps further in Live Lite. Make sure you have a Live Lite serial Live Lite serial numbers are included with various hardware devices and apps — find out more here. End User License Agreement. Mac OS X

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Quantizing the note end will stretch the note so that it ends at the chosen meter subdivision. Tip: To set a group of notes so that they all have the same velocity, select their markers in the Velocity Editor, drag them up or down to either maximum or minimum velocity, and then adjust velocity to the desired value.

Please note that note-off or release velocity is a somewhat esoteric parameter, and is only supported by certain devices. Ableton’s Sampler instrument, for example, provides note-off velocity as a controller for a variety of parameters.

Note Stretch Ctrl markers will then appear in the Note Editor, allowing notes to be scaled proportionally in time. Page Chapter 11 Using Grooves The timing and feel of each clip in your Set can be modi ed through the use of grooves. Live’s Library includes a large selection of grooves, which appear as. Groove Files in the Browser. The Hot-Swap Groove Button. Grooves can be applied to both audio and MIDI clips.

In audio clips, grooves work by adjusting the clip’s warping behavior, and thus only works on clips with Warp enabled. You can also save and hot-swap grooves via the buttons next to the Groove’s name.

You can then convert the edited clip back into a groove, via the process below. In this example, we’d extract the snare chain, creating a new clip and track that contained only the snare notes.

Then we could apply a different groove to this new clip. Page Chapter 12 Launching Clips The Live Session View is set apart by the fact that it gives you, the musician, a spontaneous environment that encourages performance and improvisation. An important part of how you take advantage of the Session View lies within how you con gure your various Session View clips. Note that you can edit the launch settings of more than one clip at the same time by rst selecting the clips and then opening the Clip View.

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

For more on playing clips via MIDI, see the respective section. A group is de ned by clips arranged in successive slots of the same track. Tracks can have an unlimited number of groups, separated by empty slots.

The Follow Action Controls. Play Last Clip launches the last bottom clip in a group. Play Any Clip plays any clip in the group. Play Other Clip is similar to Play Any Clip, but as long as the current clip is not alone in the group, no clip will play consecutively.

Set up Follow Actions for the rst clip. You will want to make Follow Action Time equal to the clip’s length. But now, imagine a group consisting of one single clip.

Return tracks receive their input from the respective sends. This setting effectively turns the track into what is called an Aux on some systems: the track is not used for recording but for bringing in a signal from elsewhere for instance, a ReWire slave program.

Note that the Audio Preferences also provide access to the Channel Con guration dialogs, which determine which inputs and outputs are used, and whether they are available to Live as mono or stereo pairs. All available input and output ports are listed here. To prevent this, you can turn the computer MIDI keyboard off when it is not needed.

MIDI messages that are used for remote-controlling Live’s user-interface ele- ments; 3. MIDI messages that are mapped to remote-control Live’s user-interface elements are eaten up by the remote control assignment and will not be passed on to the MIDI tracks. The Output Channel chooser presents you with a list of the instruments that you currently have in your Reason rack; select the instrument you want to address.

Select Reason from the audio track’s Input Type chooser. Resampling can be a fun and useful tool, as it lets you create samples from what is currently happening in a Live Set that can then be immediately integrated. Both approaches result in Track A’s output being fed into Track B. Therefore, changes that are made to the tapped track’s devices or mixer have no effect on the tapped signal. If a track contains one or more Drum Racks, internal routing points will be available for any Post-Effects Recording Let’s say that you are feeding a guitar into Live, building up a song track by track, overlaying take onto take.

A single MIDI note can prompt, for example, Native Instruments’ Absynth to produce something that sounds more like a piece of music than a single tone.

Suppose we have the individual drums of a drum kit coming in on separate tracks for multitrack recording. In the mix, we can easily change the volumes of the individual drums, but adjusting the volume of the entire drum kit against the rest of the music is less convenient. Note that the Output Channel chooser now offers a selection of destinations: We can either feed the new track’s output into the input of the pad track, or we can directly address the Simpler.

This can be easily remedied by cutting the clips from the pad track and pasting them into a third track that can be independently muted and that can hold its own MIDI effects.

Soloing a track that taps one of Impulse’s sample slots will still allow you to hear the output of that slot. A multi-timbral instrument is like several instruments in one, with each component part or whatever term the manufacturer uses receiving MIDI on a separate MIDI channel. Page Some vocoder plug-ins include a built-in synthesizer to generate the carrier signal. In this case, the only difference from the above procedure is that the vocoder instrument is dragged into a MIDI track. Feeding the side-chain audio input works as described above.

Please note that Ableton’s Auto Filter, Compressor, Perhaps you wonder why this works, given that the string track’s output is audio and not MIDI. Page Chapter 14 Mixing In the Arrangement View, the mixer appears as a horizontal strip to the right of the track area. To display all mixer controls for a track, unfold the track using the button next to its name, and adjust its height accordingly.

The Session View is a standard vertical mixer layout. You’ll likely nd the Session View mixer more intuitive than the Arrangement mixer, which comes in handy when you work with automation.

Note that the Tab key toggles between the Arrangement and Session Views. The View menu options listed below show or hide mixer components. The Meter shows the track’s RMS average and peak output level.

While moni- toring, however, it shows the input level. The Volume control adjusts the track’s output level. With multiple tracks selected, adjusting the volume of one of them will adjust the others as well. The Mixer section of the Session Mixer has several additional features that are not visible by default. The mixer is resizable, and dragging upwards on the top of the mixer will extend the height of the track meters, adding tick marks, a numeric volume eld and resettable peak level indicators.

MIXING particular knob or slider parameter volume, for example , this difference will be maintained as you adjust the parameter. If you drag a track’s title bar to the Browser it will be saved as a new Set. If a track contains audio clips, Live will manage the copying of the referenced sampled into this new location based on the selection in the Collect Samples on Export You can also use a Group Track purely as a folder track by rerouting the outputs of the contained tracks to some other destination..

Once a Group Track has been created, tracks can be dragged into or out of the group. Deleting a Group Track deletes all of its contents, but a group can be dissolved back into individual tracks by executing the Edit Menu’s Ungroup Tracks command. A clip or group track’s Send control regulates how much of the track’s output feeds the associated return track’s input.

The crossfader is accessed via the Session View’s mixer selectors. It features seven different crossfade curves so that you can choose the one that ts your style the best.

The crossfader can be mapped to any continuous MIDI controller absolute or incremental. In addition to the crossfader’s central slider, its absolute left and right positions are separately available for MIDI or keyboard mapping. MIXING In order to set Live up for cueing, you must be using an audio interface with at least four dedicated outputs or two dedicated stereo outputs.

The respective settings are accessible in the Session View mixer. The control allows delaying or pre- delaying the output of tracks in milliseconds in order to compensate for human, acoustic, hardware and other real-world delays. This section of the interface can be shown or hidden using its respective Mixer Section selector. Note that this is a different kind of recording than the capturing of Session clips into the Arrangement.

For successful audio recording, please make sure the audio preferences are set up properly. For more on this, please see the built-in program lesson on setting up Audio Preferences. Recording commences when the Control Bar’s Record button is activated and the Play button is pressed.

Recording creates new clips in all tracks that have their Arm button on. When the Overdub switch is on, the new clips contain a mix of the signal already in the track and the new input signal. Set the Global Quantization chooser to any value other than None to obtain correctly cut clips. Activate the Arm button for the tracks onto which you want to record.

Clip Record buttons will appear in the empty slots of the armed tracks. Using Live’s Impulse instrument and the following technique, you can successively build up drum patterns while listening to the result. Or, using an instrument such as Simpler, which allows for chromatic playing, you can build up melodies or harmonies, note by note. This process, known as step recording, allows you to enter notes at your own pace, without needing to listen to a metronome or guide track.

In fact, Live allows you to change the tempo at any time before, after and even during recording. The Record Quantization chooser in the Edit menu allows selecting the meter subdivisions with which your recorded notes will align. When recording into Session slots into the One key is used to jump to the next scene A Track Launch Button.. You can also map the step recording navigators. Ctrl Devices Can Be Folded. Click on the Device Browser selector to access the palette of Live’s built-in devices.

You will notice that MIDI effects, audio effects and instruments each have their own folders in the Browser. Note that you can easily move from this setup into recording new clips for further use in Live. To remove a device from the chain, click on its title bar and press your computer’s key, or select Delete from the Edit menu. To change the order of devices, drag a Delete device by its title bar and drop it next to any of the other devices in the Track View.

These meters are helpful in nding problematic devices in the device chain: Low or absent signals will be revealed by the level meters, and relevant device settings can then be adjusted, or the device can be turned off or removed. The Save Preset Button. Click the Save Preset button to save a device’s current settings including any custom info text as a new preset.

If you have already saved a default preset for a particular device, Live will ask you before overwriting it. Please see the previous section, Using the Live Devices, for details. The Plug-In Device Browser. You can also rescan if you believe that your plug-in database has somehow become cor- rupted.

To assign any two plug-in parameters to the Live panel X-Y eld, use the drop-down menus directly beneath it. Con gure Mode allows you to customize Live’s panel to show only the plug-in parameters that you need to access. These entries are removed when you adjust another param- eter. Here you can set the number of samples processed at any one time by the plug-in.

Note that, on Windows, Live may have found a path in the registry without the need for browsing. The alias can point to a different partition or hard drive on your computer. Live will scan the set VST Plug-in folder as well as any alias folders contained therein.

VST programs and banks can be imported from les. Clicking the VST Program Load button brings up a standard le-open dialog for locating the desired le.

Note that you can always turn this option off later if you decide not to use Audio Units. Activating Audio Units Plug-Ins. However, Live Sets that were created with Live 4 or earlier will open without device delay compensation. To manually turn latency compensation on or off , use the Delay Compensation option in the Options menu. A Rack is a exible tool for working with effects, plug-ins and instruments in a track’s device chain. Racks can be used to build complex signal processors, dynamic performance instruments, stacked synthesizers and more.

By default, the Track View displays only a single chain, but there is actually no limit to the number of chains contained within a track. How you use them is up to you whether it be for convenience, by making an important device parameter more accessible; Note that if you repeat one of these commands again on the same device, you will create a Rack within a Rack. Macro Controls 3. Chain List. In Drum Racks, this view can include both drum chains and return chains. Devices 5. Racks are also identi able by their round corners, which bracket and enclose their content.

As signals enter a Rack, they are rst greeted by the Chain List. We will therefore also choose this point for our own introduction. Since the Track View can show only one device chain at a time, the Chain List also serves as a navigational aid: The list selection determines what will be shown in the adjacent Devices view when enabled.

When the Auto Select switch is activated, every chain that is currently processing signals becomes selected in the Chain List. Chains will only respond to MIDI notes that lie within their key zone. Otherwise, the functionality here is identical to that of the Key Zone Editor. Velocity zone fade ranges attenuate the velocities of notes entering a chain.

Taking the previous example one step further, we can tweak our chain select zones to produce a smooth transition between our presets. To accomplish this, we will make use of our zones’ fade ranges. In addition to the standard selectors found on all Racks, Drum Racks have four additional controls in the view column. Page Although Pad View is designed for easy editing and sound design, it also excels as a performance interface, particularly when triggered by a hardware control surface with pads.

Page The Slicing Preset chooser contains a few Ableton-supplied slicing templates, as well as any of your own that you may have placed in your Library’s default presets folder. The Drum Rack’s Macro Controls will be pre-assigned to useful parameters for the Simplers, as determined by the settings in the selected slicing preset. In the factory Slicing presets, these include basic envelope controls and parameters to adjust the loop and crossfade properties of each slice.

To process several slices with the same set of effects, multi-select their chains in the Drum Rack’s chain list and press -G to group them to Ctrl The following steps will get you started mapping: 1. Likewise, any nested chains within the Rack will also have this button. This makes it easy to get an overview of your Rack’s hierarchy or hide it when you just want to work on your mix.

A Drum Rack’s return chains can also be extracted, and will create new return tracks if dragged to the mixer. Page Chapter 18 Automation and Editing Envelopes Often, when working with Live’s mixer and devices, you will want the controls’ movements to become part of the music. The movement of a control across the song timeline is called automation; a control whose value changes in the course of this timeline is automated.

Practically all mixer and device controls in Live can be automated, including the song tempo. The automation LED disappears, and the control’s value stays constant across the entire song. You can click on it to reactivate all automation and thereby return to the automa- tion state as it is written on tape. It also provides you with an overview of which devices actually have automation by showing an LED next to their labels. You can make things clearer still by selecting Show Automated Parameters Only from the bottom of the chooser.

Drawing creates steps as wide as the visible grid, which you can modify using a number of handy shortcuts. If the line segment is in the current selection, the envelope is moved vertically across the selected timespan. Any edit commands applied to an envelope selection within a single lane will only apply to this envelope. The clip itself will be unaffected.

The aspects of a clip that are in uenced by clip envelopes change depending upon clip type and setup; clip envelopes can do anything from representing MIDI controller data to modulating device parameters.

In this chapter, we will rst look at how all clip envelopes are drawn and edited, and then get into the details of their various applications. The Envelopes box contains two choosers for selecting an envelope to view and edit. The Clip View’s Envelopes Box. Enclose the desired selection in the loop brace, and click the brace so that it is selected. This will execute the Edit menu’s Select Loop command, which selects all material in the loop.

Click on the Transpose quick- chooser button. You can now alter the pitch transposition of individual notes in the sample as you listen to it. Pitch is modulated in an additive way.

The output of the transposition envelope is simply added to the Transpose control’s value. The result of the modulation is clipped to stay in the available range The Envelope Editor appears with a vertical grid overlay.

In envelope Draw Mode, set steps to non-zero values to hear the loop scrambled. What is going on? Imagine the audio is read out by a tape head, the position of which is modulated by the envelope. All clip settings, including the envelopes, will remain unaltered; only the sample will be replaced. Since mixer and device controls can also be controlled by the Arrangement’s automation envelopes, this is Modulating the track’s Send controls is just as easy.

Again, the modulation is a relative percentage: The clip envelope cannot open the send further than the Send knob, but it can Modulating a Send. You can create new clip envelopes for any of the listed controllers by drawing steps or using breakpoints. You can also edit clip envelope representations of controller data that is imported as part of your MIDI les or is created while recording new clips: Names of controllers that already have clip envelopes appear with an adjacent LED in the Control chooser.

Suppose you are setting up a Live Set and wish to program a fade-out over eight bars to occur when a speci c clip is launched but all you have is a one-bar loop. To return to the previous state, please use the Edit menu’s Undo command.

For a different part of your set, you would like to use the same one-bar loop because it sounds great but its repetition bores you. You can also think of interesting applications that work the other way around. Page Working With Video Chapter 20 Working with Video Live’s exible architecture makes it the perfect choice for scoring to video. You can trim video clips to select parts of them and use Warp Markers to visually align music in the Arrangement View with the video.

You can then render your edited video le along with your audio. It can be dragged to any location you like, and it will never get covered up by Live. When scoring to video, video clips are usually set as tempo masters, while audio clips are left as tempo slaves. Let’s look at a common scenario matching a piece of music to edits or hit points in a video: 1. This pre-roll two-beep serves as a sync reference for the mixing engineer, who expects that the composer’s audio les will also include the same pre-roll.

Now, we click on the video clip’s title bar to deselect everything else , then drag the video clip’s left edge to the left as far as possible to reveal the pre-roll again. Page Chapter 21 Live Audio Effect Reference Live comes with a selection of custom-designed, built-in audio effects.

The Working with Instruments and Effects chapter explains the basics of using effects in Live. The Auto Filter effect provides classic analog lter emulation. For each type, the X-Y controller adjusts frequency to adjust, click and drag on the X-axis and Q also called resonance; to adjust, click and drag on the Y-axis.

You can also click on the Freq and Q numeric displays and type in exact values. The respective Amount control sets how much the LFO affects the lter.

This can be used in conjunction with or instead of the envelope follower. The Rate control speci es the LFO speed. It can be set in terms of hertz, or synced to the song tempo, allowing for controlled rhythmic ltering. Auto Pan’s LFOs modulate the amplitude of the left and right stereo channels with sine, triangle, sawtooth down or random waveforms. The Offset control shifts the point de ned by Interval forward in time.

You can turn the lter on and off, and set the center frequency and width of the passed frequency band, using the respective controls. The original signal which was received at Beat Repeat’s input is mixed with Beat Repeat’s repetitions according to one of three mix modes: Mix allows the original signal to pass through the device and have repetitions added to it; This is especially useful if you want to change both delays with a single gesture. The Modulation X-Y controller can impart motion to the sounds.

To change the modula- tion rate for the delay times, click and drag along the horizontal axis. Compression re- duces the levels of peaks, opening up more headroom and allowing the overall signal level to be turned up. This gives the signal a higher average level, resulting in a sound that is subjectively louder and punchier than an uncompressed signal. Less is often more here. Because compression reduces the volume of loud signals and opens up headroom, you can use the Output slider so that the peaks once again hit the maximum available headroom.

The Output meter shows the output signal’s level. Page Note that, for reasons of quantum physics, Lookahead and external sidechaining are disabled when using the FB model; Ableton’s engineers are hard at work developing code that will allow our software to predict the future, but we don’t anticipate having this available until at least the next major release.

But by using sidechaining, it is possible to compress a signal based on the level of another signal or a speci c frequency component. To access the Sidechain parameters, unfold the Compressor window by toggling the button in its title bar. For example, imagine that you have one track containing a voiceover and another track containing background music.

Since you want the voiceover to always be the loudest source in the mix, the background music must get out of the way every time the narrator is speaking.

Corpus is an effect that simulates the acoustic characteristics of seven types of resonant objects. Developed in collaboration with Applied Acoustics Systems, Corpus uses physical modelling technology to provide a wide range of parameters and modulation options.

The full version of Corpus is not included with the standard version of Live, but is bundled with the Collision You can hide or show the Sidechain parameters by toggling the button in Corpus’s title bar. Inharmonics adjusts the pitch of the resonator’s harmonics. At negative values, frequencies are compressed, increasing the amount of lower partials. At positive values, frequencies are stretched, increasing the amount of upper partials. This parameter is not used with the Pipe or Tube resonators.

The Dynamic Tube effect infuses sounds with the peculiarities of tube saturation. An in- tegrated envelope follower generates dynamic tonal variations related to the level of the input signal. Together, they shape the dynamic nature of the distortions. Note that if Envelope is set to zero, they will have no effect.

Cut or boost the device’s nal signal level with the Output dial. If you have ever used a good DJ mixer you will know what this is: An EQ that allows you to adjust the level of low, mid and high frequencies independently.

This is typical behavior for this kind of lter, and is part of EQ Three’s unique sound. The External Audio Effect is a bit different than Live’s other effects devices. Instead of processing audio itself, it allows you to use external hardware effects processors within a track’s device chain. If your external device connects to Live via an analog connection, you will want to adjust your latency settings in milliseconds, which ensures that the amount of time you specify will be retained when changing the sample rate.

The Pan controls at the right can override the delay channels’ outputs; otherwise each delay outputs on the channel from which it derives its input. Each delay channel’s lter has an associated On switch, located to the left of each X-Y controller. Flanger uses two parallel time-modulated delays to create anging effects. Flanger’s delays can be adjusted with the Delay Time control.

Set it to percent if using Flanger in a return track. Drive is only available in Ring mode. Enabling the Wide button creates a stereo effect by inverting the polarity of the Spread value for the right channel.

Here are some tips for using the Frequency Shifter device. Drum tuning Tuning sampled acoustic drums can be tricky. Using a sampler’s transposition controls often changes the character of the sounds in unrealistic ways, resulting in pinched or tubby samples. The Gate effect passes only signals whose level exceeds a user-speci ed threshold. A gate can eliminate low-level noise that occurs between sounds e. But by using sidechaining, it is possible to gate a signal based on the level of another signal.

Randomizing pitch and delay time can create complex masses of sound and rhythm that seem to bear little relationship to the source.

This can be very useful in creating new sounds and textures, as well as getting rid of unwelcome house guests, or terrifying small pets just kidding! The Limiter effect is a mastering-quality dynamic range processor that ensures that the output does not exceed a speci ed level. The meter gives a visual indication of how much gain reduction is being applied to the signal.

Note that any devices or channel faders that appear after Limiter may add gain. To ensure that your nal output will never clip, place Limiter as the last device in the Master track’s device chain and keep your Master fader below 0 dB.

The Play button plays back the current state of Looper’s buffer without recording any new material. The Stop button stops playback. The behavior of the transport controls changes depending on whether or not Live’s playback is running. Engaging the Reverse button is subject to the Quantization chooser setting. Feedback sets the amount of previously recorded signal that is fed back into Looper when overdubbing. Record at least one pass of material into Looper.

Create another audio track. When we use the term compression, we’re typically talking about lowering the level of signals that exceed a threshold. Each band has activator and solo buttons.

For the Above thresholds, Attack de nes how long it takes to reach maximum compression or expansion once a signal exceeds the threshold, while Release sets how long it takes for the device to return to normal operation after the signal falls below the threshold. Adjust the crossover points to suit your audio material, then apply down- ward compression by dragging down in the upper blocks in the display or by setting the numerical ratios to values greater than 1.

De-essing To remove harshness caused by overly loud high frequency content, try enabling only the Overdrive is a distortion effect that pays homage to some classic pedal devices commonly used by guitarists.

Unlike many distortion units, it can be driven extremely hard without sacri cing dynamic range. The distortion stage is preceded by a bandpass lter that can be controlled with an X-Y controller. Phaser uses a series of all-pass lters to create a phase shift in the frequency spectrum of a sound. The Poles control creates notches in the frequency spectrum. The Feedback control can then be used to invert the waveform and convert these notches into peaks or poles.

Spin detunes the two LFO speeds relative to each other. Each lter frequency is then modulated using a different LFO frequency, as determined by the Spin amount. The Feedback parameter controls how much of the right channel output signal returns to the delay line input. Redux returns us to the Dark Ages of digital by reducing a signal’s sample rate and bit resolution. The Downsample section has two parameters: Downsample and a downsample Mode switch.

This device consists of ve parallel resonators that superimpose a tonal character on the input source. It can produce sounds resembling anything from plucked strings to vocoder- like effects. Mode A provides a more realistic sounding resonation, while Mode B offers an effect that is especially interesting when Resonator I’s Note parameter is set to lower pitches.

The brightness of the resulting sound can be adjusted using the Color control. This delays the reverberation relative to the input signal. One’s impression of the size of a real room depends partly on this delay. Typical values for natural sounds range from 1ms to 25ms. The lowest setting mixes the output signal to mono.

Saturator is a waveshaping effect that can add that missing dirt, punch or warmth to your sound. It can coat input signals with a soft saturation or drive them into many different avors of distortion. Setting Drive to zero will negate the effect entirely. The Simple Delay provides two independent delay lines, one for each channel left and right. To refer delay time to the song tempo, activate the Sync switch, which allows using the Delay Time beat division chooser.

This sounds similar to time stretching if the delay time is gradually changed. Fade mode is the default option. Note that this will cause an audible click if the delay time is changed while delays are sounding. With a setting of one, each block is shown.

This results in much more activity in the display, which can be useful for nding the spectrum of short peaks. Utility can perform some very useful tasks, especially in combination with other devices. The Mute button simply silences the incoming signal when enabled. However, since you can place Utility anywhere in a signal chain, you can use its mute function to cut the input of a delay line or reverb without turning off the output of these devices. The Vinyl Distortion effect emulates some of the typical distortions that occur on vinyl records during playback.

These distortions are caused by the geometric relationships between the needle and the recorded groove. A vocoder is an effect that combines the frequency information of one audio signal called the carrier with the amplitude contour of another audio signal called the modulator.

The modulator source is generally something with a clear rhythmic character such as speech or drums, while the carrier is typically a harmonically-rich synthesizer sound such as a string or pad. This is the option you’ll want for classic robot voice applications. This essentially outputs a resynthe- sized version of the modulator signal, but allows you to use Vocoder’s sound-shaping controls to adjust the sound.

In Precise mode, all lters have the same gain and bandwidth. Insert Vocoder in the track that contains your vocal material. You can either use a clip that contains a prerecorded voice clip or, to process a live vocal signal, connect a microphone to a channel on your audio hardware and choose this as input source for the track. Live’s Arpeggiator effect takes the individual MIDI notes from a held chord or single note , and plays them as a rhythmical pattern.

Arpeggiators are a classic element in Eighties synth music. The name originates with the musical concept of the arpeggio, in which the notes comprising a chord are played as a series rather than in unison. Thumb Up and Thumb UpDown. Play Order places notes in the pattern according to the order in which they are played. This is therefore only recognizable when more than one chord or note has been played. Notes can also be removed from the pattern in this scenario by playing them a second time, allowing the gradual buildup and rearrangement of the pattern over time.

Tip: If you want the pattern to stop playing, momentarily deactivate Hold. With Velocity set to On and Target set to 0, for example, the sequence will gradually fade out, eventually reaching 0 velocity. The Decay control sets the amount of time Arpeggiator takes to reach the Target velocity. Key Scale The pitch of incoming notes can be used to alter the length of the output notes. Random adds an element of the unknown to the otherwise commonplace pitch parameter.

The Chance control de nes the likelihood that an incoming note’s pitch will be changed by a random value. But with Chance set to percent, Choices set to 2 and Scale set to 2, incoming C3s will alternate between C3 and D3. Outside of the range de ned by these controls, the Scale effect will be inapplicable, and the LED light will ash to indicate that some notes are not being processed by the effect, but are playing at their unaltered pitch. Page Chapter 23 Live Instrument Reference Live comes with a selection of custom-designed, built-in instruments.

The Working with Instruments and Effects chapter explains the basics of using instruments in Live. The boxed version of Live 8 ships with the Essential Instrument Collection, a multi-gigabyte library of meticulously sampled and selected instruments ready for use in either Simpler or Sampler.

With this instrument, we have not attempted to emulate a speci c vintage analog synthesizer but rather to combine different features of legendary vintage synthesizers into a modern instrument. Furthermore, the signal ow can be run through the lters in series or in parallel. Analog also features two low-frequency oscillators LFOs which can modulate the oscillators, lters and ampli ers.

The choices are sine, sawtooth, rectan- gular and white noise. When rectangular is selected, the Pulse Width parameter is enabled in the display, which allows you to change the pulse width of the waveform. Low Width values result in a very narrow waveform, which tends to sound tinny or pinched. As you increase the Ratio, the internal oscillator’s rate increases, which changes the harmonic content of the audible oscillator.

Analog’s two multi-mode lters come equipped with a exible routing architecture, multiple saturation options and a variety of modulation possibilities. As with the oscillators, all parameters can be set independently for each lter.

The Asym modes result in asymmetrical saturation. For both mode types, higher numbers result in more distortion. Drive can be switched off entirely by selecting Off in the chooser.

In addition to the pitch envelopes in the oscillator sections, Analog is equipped with inde- pendent envelopes for each lter and ampli er. All four of these envelopes have identical controls, which are housed entirely within the display. With Legato enabled, a new note that is played while another note is already depressed will use the rst note’s envelope, at its current position.

Enabling the Free switch causes the envelope to bypass its sustain phase and move directly from the decay phase to the release phase. As with the other sections, each LFO has independent parameters. This is the instrument’s master level, and can boost or attenuate the output of the ampli er sections.

The Vib switch turns the vibrato effect on or off, while the percentage slider next to it adjusts the amplitude of the vibrato.

The Octave, Semi and Tuning controls function as coarse and ne tuners. Octave transposes the entire instrument by octaves, while Semi transposes up or down in semitone increments.

The Tuning slider adjusts in increments of one cent up to a maximum of 50 cents up or down. Collision is a synthesizer that simulates the characteristics of mallet percussion instruments. Created in collaboration with Applied Acoustics Systems, Collision uses physical modeling technology to model the various sound generating and resonant components of real or imagined objects. Disabling unused sections can save CPU. These model the behavior of a mallet striking a surface, and provide Collision’s fundamental sound.

At higher values, there are less low frequencies in the noise. This parameter has no effect if Noise is set to 0. The Mallet section can be toggled on or off via the switch next to its name. When this slider is set to 0, there is no sustain phase. With it set to , there is no decay phase. Finally, the release time is set with the R Release slider. This is the time it takes for the envelope to reach zero after the key is released.

The Tune and Fine knobs function as coarse and ne tuning controls. Tune moves up or down in semitone increments, while Fine adjusts in increments of one cent up to a maximum of one quarter tone 50 cents up or down. As the radius increases, the decay time and high frequency sustain both increase. At very large sizes, the fundamental pitch of the resonator also changes.

Each resonator has its own Volume and Pan controls. Pan can also be modulated by note pitch via the K Key slider below the knob. The Bleed control mixes a portion of the original oscillator signal with the resonated signal. At higher values, more of the original signal is applied. The rst noise type steps between random values while the second uses smooth ramps. The switch next to the waveform chooser toggles the LFO’s rate between frequency in Hertz and tempo-synced beat divisions.

The global section contains the parameters that relate to the overall behavior and perfor- mance of Collision. The Volume knob acts as Collision’s master output control. Collision contains a built-in limiter that automatically activates when the audio level is too high. The Voices chooser sets the available polyphony. Since each voice that’s used requires additional CPU, you may need to experiment with this chooser to nd a good balance between playability and performance, particularly on older machines.

After you have installed the Drum Machines Live Pack, you will need to authorize it. You will nd them as categorized presets within the Drum Rack folder. Drum Machines presets are therefore loaded just like any other device, by dragging a preset from the Browser into an empty MIDI track. The full version of Electric is not included with the standard version of Live, but is a special feature available for purchase separately.

The Decay knob adjusts how long it takes for this noise to fade to silence, while the Pitch control sets the center frequency. Level adjusts the overall volume of the noise component. An additional Key scaling control adjusts how much the noise volume is determined by note pitch. The overall amount of damper noise is adjusted with the Level control.

It sends MIDI out and returns audio. The top chooser selects either a physical MIDI port, a If your external device connects to Live via a digital connection, you will want to adjust your latency settings in samples, which ensures that the number of samples you specify will be retained even when changing the sample rate.

Both controls can be modulated: Pan by velocity and a random value, and Volume by velocity only. Page Live’s Browser.

After you have installed Latin Percussion, you will need to authorize it. Dragging them at one end, while holding down the [Shift] key the old case , will stretch or shrink the audio sample.

And the good thing is that you do timestretching at the same time, adapting to the bars you choose, all in sync with the tempo of your project. This is only one example of what you can do with this new version. Select the MIDI clips you want in the Arrange View, and from their note editor you can arrange and retouch all of them at once.

Another great new feature is the automation process, which is actually a new mode in Ableton Live 10 Suite. When you press the [A] key, the corresponding tabs on the track header appear, as well as the parameter automation lines. This way you can switch between the Array View and editing in automation mode. Even from the latter, you can still cut, stretch and invert your audio clips. Also now the change points in the automation curves adapt to the bar grid, and if you drag them to the next point, they disappear and reappear if you go backwards.

If you also double-click on a blank space in the track, you will create a new automation point. As in previous versions, holding down the [Alt] key while dragging an automation line will allow you to shape it and create smoother or more abrupt changes. Simply excellent. We do not miss the obvious reference of the new devices in Ableton Live 10 Suite. Leave a Reply Cancel reply You must be logged in to post a comment.

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Page 1 Ableton Reference Manual Version 8 ; Page 2 The content of this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Ableton. Every effort has been made to ensure that the information in this manual is accurate. Page 3 Chapter 1 Welcome to Live The Ableton Team Says: Thank You Live is the result of. End User License Agreement. Included with a number of apps and hardware products, Live 10 Lite is a lightweight version of Ableton Live It comes with all of Live’s essential workflows, instruments and effects – everything you need to record songs, create hands-on with your controller, take music made in your apps further and so much more. Live Sets, Racks, presets, Max for Live devices, and anything else you can download and use in Ableton Live. To download your free trial of Ableton Live visit Try Live for free. Downloads Download the Live Set of Merrin Karras’ New Track “Still Life”.
End User License Agreement. Included with a number of apps and hardware products, Live 10 Lite is a lightweight version of Ableton Live It comes with all of Live’s essential workflows, instruments and effects – everything you need to record songs, create hands-on with your controller, take music made in your apps further and so much more. Live Sets, Racks, presets, Max for Live devices, and anything else you can download and use in Ableton Live. To download your free trial of Ableton Live visit Try Live for free. Downloads Download the Live Set of Merrin Karras’ New Track “Still Life”. Download Ableton Live Suite for Mac full version program setup free. Ableton Live Suite 10 for macOS is a complete software that empowers musicians and sound engineers to create ideal sounds and music without any replace.meted Reading Time: 2 mins. Live Manual. Live Versions: All. Operating System: All. You can read the Live manual online. The manual is also included in Live as a PDF. To open it, launch Live and click on the following option on Live. Page 1 Ableton Reference Manual Version 8 ; Page 2 The content of this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Ableton. Every effort has been made to ensure that the information in this manual is accurate. Page 3 Chapter 1 Welcome to Live The Ableton Team Says: Thank You Live is the result of.