Ableton Live - 5.0 Manuel d'instructions

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2.2. SETTING UP PREFERENCES 8The Info View.If you require more information on a specic user interface element or topic, please consultthis reference

8.2. THE SAMPLE BOX 988.2.2 Sample Loop/Region and DisplayZooming and ScrollingThe Clip Zoom/ScrollArea.Zooming and scrolling in the Sample Display wo

8.2. THE SAMPLE BOX 99clip that is currently displayed. You can click within the outline and drag horizontally orvertically to scroll or zoom.To have

8.2. THE SAMPLE BOX 100Using Clip Start and EndControls to Change ClipLength.You can also adjust the clip start and end numerically using the respecti

8.2. THE SAMPLE BOX 101The size of this jump is quantized by the global quantization setting, which can be quicklychanged using theCtrl6 (PC) /6 (

8.2. THE SAMPLE BOX 102Ctrl(PC) / (Mac) shortens or lengthens the loop brace by thecurrent grid setting.Ctrl(PC) / (Mac) doubles or halves the loop le

8.2. THE SAMPLE BOX 103through a sample in increments the size of the chosen quantization interval.8.2.3 Clip Pitch and GainThe Clip Pitch and GainCon

8.2. THE SAMPLE BOX 104to stop Live's playback. Upon returning to Live, the edited version of the sample will beplayed back. The current set of W

8.2. THE SAMPLE BOX 105new sample has the same or a greater length as the old sample and discarded otherwise.This function is also useful for locating

8.2. THE SAMPLE BOX 106If the High Quality switch is on, Live uses an advanced sample-rate conversion algorithmthat provides better sound quality at t

8.2. THE SAMPLE BOX 107Your computer's hard disk is too slow to deliver audio for as many tracks as desiredin real time. For more information on

2.3. THE MAIN LIVE SCREEN 9Lessons Table of Contents from the Help menu.The MIDI/Sync Preferences are used to help Live recognize MIDI devices for t

8.3. THE NOTES BOX 108position in time. Therefore, a mixer volume envelope that lowers the volume of the rst halfof a clip will continue to do exactl

8.3. THE NOTES BOX 1098.3.1 Tempo ControlsThe Orig. BPM eld displays Live's interpretation of the tempo at which the clip's MIDIwas recor

8.4. CLIP DEFAULTS AND UPDATE RATE 1108.4 Clip Defaults and Update RateYou can change the rate at which Live applies your Clip View settings to a runn

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

9.1. TEMPO 112The Control Bar's Tempo eld allows you to change the playback tempo of your Live Setat any time, in real time. You can even automa

9.2. TIME-WARPING SAMPLES 1139.2 Time-Warping SamplesLive's ability to play any sample in sync with a chosen tempo is a unique and importantfeatu

9.2. TIME-WARPING SAMPLES 114The Follow Switch in theControl Bar.In the following sections, we will look at a couple of applications for time-warping

9.2. TIME-WARPING SAMPLES 115A One-Bar Loop as ItAppears in the ClipView, by Default.The Orig. BPM eld displays Live's guess of the loop'

9.2. TIME-WARPING SAMPLES 116Setting the WarpMarkers for a Badly CutLoop.9.2.3 Syncing Odd-Length LoopsIf you import a sample that contains a seven-ba

9.2. TIME-WARPING SAMPLES 1179.2.4 Manipulating GroovesYou can now create any number of Warp Markers by double-clicking on one of the graygrid markers

2.3. THE MAIN LIVE SCREEN 10Each one of the selector buttons at the screen borders calls up a specic view; click this one,for instance, to access the

9.2. TIME-WARPING SAMPLES 1189.2.5 Syncing Longer PiecesLive's Auto-Warp algorithm makes longer samples and entire songs readily available forint

9.2. TIME-WARPING SAMPLES 119probably come in handy as you warp longer pieces.The Metronome Switch.It might happen that Auto-Warp guesses the tempo co

9.2. TIME-WARPING SAMPLES 120left to right. You can set a Warp Marker by double-clicking one of the gray grid markers tothe right of each correctly wa

9.3. ADJUSTING FOR GOOD STRETCHING QUALITY 121want to save them with the sample, so that they are reconstructed the next time you dragthe le into Liv

9.3. ADJUSTING FOR GOOD STRETCHING QUALITY 122some interesting rhythmic artifacts, choose large transient values in conjunction with pitchtranspositio

9.4. DEACTIVATING WARPING 123method of using variable-speed turntables to sync two records, or what happens to samplesin samplers when they're t

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

10.2. THE MIDI EDITOR 125or by selecting an empty Session slot in a MIDI track and choosing the Insert menu'sInsert MIDI Clip command;or, in the

10.2. THE MIDI EDITOR 126The Control Bar's DrawMode Switch.Switch to Draw Mode by activating the Control Bar's Draw Mode switch. You can now

10.3. MIDI EDITOR NAVIGATION AND TRANSPORT 12710.3 MIDI Editor Navigation and TransportNote Scale Position IsShown Vertically andBeat-Time Horizontall

2.3. THE MAIN LIVE SCREEN 11Adjusting the MainWindow Split.

10.3. MIDI EDITOR NAVIGATION AND TRANSPORT 1281235 6MIDI Editor Navigation.1. To smoothly change the time-zoom level, click and drag vertically in the

10.3. MIDI EDITOR NAVIGATION AND TRANSPORT 129in and out, drag up and down.6. Change the length of what is shown in the Editor by dragging the left or

10.4. EDITING MIDI 130View to enlarge the MIDI Editor.Enlarge the MIDI Editorby Dragging theWindow Split BetweenSession and Clip Views.10.4 Editing MI

10.4. EDITING MIDI 131(e.g., snares grouped together two octaves down from hi-hat cymbals, etc.). When workingwith a MIDI le created by such a mappin

10.4. EDITING MIDI 132Note movements will also snap to an offset, which is based on the original placement ofthe note relative to the grid. This is

10.4. EDITING MIDI 133Quantizing MIDI Notes.Using the options presented here, you can select a meter value for quantization and seteither the note sta

10.4. EDITING MIDI 134Copying (Above) andPasting (Below) a Loop.As we have already seen, creating new MIDI notes is as simple as activating Draw Modea

10.4. EDITING MIDI 135draw afterward.You may sometimes, by dragging or by drawing, place a new note on top of one that alreadyexists. If the new note

10.4. EDITING MIDI 136vertically with others, Live highlights the velocity marker for whichever note your mouse ishovering over.) Velocity changes wil

10.4. EDITING MIDI 137Drawing IdenticalVelocities (Above) and aCrescendo (Below).Tip: To draw a velocity ramp with notes that are all in the same key

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

10.4. EDITING MIDI 138is activated and draw the ramp into the Velocity Editor while holding the modier,so that you affect only the selected notes.Not

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

11.2. LAUNCH MODES 140To view the Launch box, open the Clip View of a Session View clip by double-clicking theclip, then activating the leftmost Clip

11.3. CLIP-LEVEL QUANTIZATION 141Repeat: As long as the mouse switch/key is held, the clip is triggered repeatedly atthe clip quantization rate.11.3 C

11.4. VELOCITY 14211.4 VelocityThe Velocity AmountField.The Velocity Amount control allows you to adjust the effect of MIDI note velocity on theclip&a

11.6. FOLLOW ACTIONS 143Legato Mode is very useful for creating breaks, as you can momentarily play alternativeloops and jump back to what was playing

11.6. FOLLOW ACTIONS 144this setting is one bar.2. The Follow Action choosers allow selecting two different Follow Actions, A andB.3. The Chance A and

11.6. FOLLOW ACTIONS 145or short melodic fragments has a tendency to sound static. Follow Actions allow you tocreate structures that will repeat but c

11.6. FOLLOW ACTIONS 146with a Chance setting of 1, leaving Follow Action B alone. Now this clip is setup to advance to the looping clip after it play

11.6. FOLLOW ACTIONS 147Or, a clip can be played from its start to a specic point, when its Follow Action tells it toPlay Next Clip. The same le c

13The Products Tab in thePreferences.Clicking on any product listed in the Products tab will give you the option of unlocking orbuying that product. P

11.6. FOLLOW ACTIONS 148other clip settings. As long as Follow Action Time in each clip is equal to the length of theclip that you want to play, you c

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

150The Mixer's In/OutSection and MixerSection Selectors.For every track (except the Master), the In/Out section has the same layout:The upper cho

12.1. MONITORING 15112.1 MonitoringMonitoring, in the context of Live, means passing a track's input signal on to the track'soutput. Suppo

12.2. EXTERNAL AUDIO IN/OUT 152using an external mixing console for monitoring or when using an audio hardwareinterface with a direct monitoring opt

12.3. EXTERNAL MIDI IN/OUT 153Mono is turned into stereo simply by using the identical signal for left and right channels.When a track is routed into

12.3. EXTERNAL MIDI IN/OUT 154You can congure which MIDI devices are made available to Live using the Active Devicessection in the MIDI Preferences.

12.3. EXTERNAL MIDI IN/OUT 155otherwise been assigned to remote-control elements of the Live interface. To prevent this,you can turn the computer MIDI

12.4. MASTER AND CUE OUTS 1562. MIDI messages that are used for remote-controlling Live's user-interface ele-ments;3. MIDI messages coming from a

12.5. REWIRE SLAVE ROUTING 157An Audio TrackReceiving Audio Fromand a MIDI TrackSending MIDI to Reason.The following example shows how to send MIDI fr

3.1. STEP 1: ENTERING YOUR SERIAL NUMBER 143.1 Step 1: Entering Your Serial NumberAs an owner of Live, you have received a Serial Number from Ableton,

12.6. RESAMPLING 1588. Select All Ins from the MIDI track's Input Type chooser.9. Arm the MIDI track.Now, any MIDI that you are playing into Li

12.7. INTERNAL ROUTINGS 15912.7 Inter nal RoutingsLive allows for inter-track routings. These routings, albeit potentially confusing, enable manyvalua

12.7. INTERNAL ROUTINGS 160layering is a good example of such a one-to-many routing setup.The rest of this section presents internal routing example

12.7. INTERNAL ROUTINGS 161other tracks' Monitor radio buttons are set to Off.12.7.2 Recording MIDI as AudioWhen working with MIDI and complex so

12.7. INTERNAL ROUTINGS 16212.7.3 Creating SubmixesSubmixing the IndividualDrums of a Drum Kit.Suppose we have the individual drums of a drum kit comi

12.7. INTERNAL ROUTINGS 163track. We could now drag another Simpler into the new track, but we would really like toreuse the Simpler from the pad trac

12.7. INTERNAL ROUTINGS 164The Instrument HasBeen Isolated in aDedicated Track.We might be bothered by the fact that muting the pad track (by turning

12.7. INTERNAL ROUTINGS 165Using Impulse'sIndividual Outs toSeparately ProcessSample Slots.We simply create an audio track and select from its In

12.7. INTERNAL ROUTINGS 166offers individual outputs so that the parts can be separately routed into the mixer. Or, theinstrument might offer a submix

12.7. INTERNAL ROUTINGS 167track. From the Output Channel chooser, we select the vocoder's sidechain input.Routing a Speech SignalInto a Vocoder&

3.2. STEP 2: UNLOCKING LIVE 15Live with your Serial Number more than once under the legal and technical conditionsdescribed later.3.2.1 The Unlock Key

12.7. INTERNAL ROUTINGS 168Using an Auxiliary MIDITrack to LayerInstruments.Perhaps you wonder why this works, given that the string track's outp

Chapter 13Mixing13.1 The Live MixerLive includes a mixer section that is accessible from two views:169

13.1. THE LIVE MIXER 170The Arrangement ViewMixer.In the Arrangement View, the mixer appears as a horizontal strip to the right of the trackarea. To d

13.1. THE LIVE MIXER 171mixer view setups in the Session View and in the Arrangement View:In/OutSendsReturnsMixerTrack DelaysCrossfaderThe Mixer Secti

13.2. AUDIO AND MIDI TRACKS 1721. The Meter shows the track's RMS (average) and peak output level. While moni-toring, however, it shows the input

13.3. RETURN TRACKS AND THE MASTER TRACK 173A track is represented by its track title bar. You can click on a track title bar to select thetrack and t

13.4. USING LIVE'S CROSSFADER 174The Send Controls andPre/Post Toggle.A clip track's Send control regulates how much of the clip track'

13.4. USING LIVE'S CROSSFADER 175The crossfader is accessed via the Session View mixer.The Crossfader.The crossfader is a horizontal slider that

13.5. SOLOING AND CUEING 176If A is on, the track will be played unattenuated as long as the crossfader is in the lefthalf of its value range. As the

13.5. SOLOING AND CUEING 177in the Session View mixer. Make sure you have Mixer and In/Out checked from theView menu.124 35The Cueing-RelatedSessi

3.2. STEP 2: UNLOCKING LIVE 16from the server. No information other than this is exchanged between your computer andthe Ableton server.3.2.4 Unlocking

13.6. TRACK DELAYS 178Note that when cueing is set up and activated, the output of audio les that you arepreviewing in the Browser is also heard thro

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

14.1. CHOOSING AN INPUT 18014.1 Choosing an InputA track will record whatever input source is shown in its In/Out section, which appears whenthe View

14.2. ARMING (RECORD-ENABLING) TRACKS 181For every track, you can choose an input source other than the default: any mono or stereoexternal input, a s

14.3. RECORDING 18214.3 RecordingRecording can be done in both the Session and the Arrangement Views. If you want torecord onto more than one track si

14.3. RECORDING 1833. When the Overdub switch is on, the new clips contain a mix of the signal alreadyin the track and the new input signal. The Overd

14.3. RECORDING 1843412Recording a New ClipInto the Session View.1. Set the Global Quantization chooser to any value other than None to obtaincorrec

14.3. RECORDING 185record-enabled slots belonging to that scene. However, you can use the Start Recording onScene Launch option from the Misc Preferen

14.4. RECORDING IN SYNC 1868. Stop recording by pressing a Clip Stop button or the Stop button in the ControlBar.Note that holdingAlt(PC) /Alt(Mac) wh

14.5. RECORDING QUANTIZED MIDI NOTES 187The Preview VolumeKnob.To adjust the metronome volume, use the mixer's Preview Volume knob.Notice that Li

3.2. STEP 2: UNLOCKING LIVE 17If you have entered your Serial Number and Challenge Code correctly, another website willappear to provide you with the

14.6. RECORDING WITH COUNT-IN 188When overdub recording with the Clip View Loop activated, changes to the Record Quan-tization take effect immediately

14.8. USING REMOTE CONTROL FOR RECORDING 189The sample le type you would like Live to create can be chosen from the Record FileType chooser in the Mi

14.8. USING REMOTE CONTROL FOR RECORDING 190One key is used to jump to the next scene...A Track Launch Button... and another key to start and end rec

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

192Devices in the TrackView.The Track View is where you insert, view and adjust the devices for the selected track. Toselect a track and open the Trac

15.1. USING THE LIVE DEVICES 19315.1 Using the Live DevicesThe Live Device BrowserSelector.Click on the Live Device Browser selector to access the pal

15.1. USING THE LIVE DEVICES 194MIDI and Audio TrackArm ButtonsPlay with the device's controls to change the result, or get more hands-on by as

15.1. USING THE LIVE DEVICES 195A MIDI Track's DeviceChain Can Contain AllThree Device Types.To remove a device from the chain, click on the name

15.1. USING THE LIVE DEVICES 196there is practically unlimited headroom. Clipping can occur when an overly strong signal issent to a physical output o

15.1. USING THE LIVE DEVICES 197You can browse and load presets quickly with the computer keyboard:Scroll up and down using the and keys.Close and ope

Live Version 5.2 for Windows and Mac OSCreated by Bernd Roggendorf, Gerhard Behles, Robert Henke, awi, Reiner Rudolph, StefanHaller, Torsten Slama, Ed

3.2. STEP 2: UNLOCKING LIVE 18Manually Enter YourUnlock Key.

15.1. USING THE LIVE DEVICES 198Saving and Organizing PresetsYou can create and save any number of your own presets in the Device Browser.The Preset S

15.1. USING THE LIVE DEVICES 199Searching for PresetsLive's search function is available in the Device Browser to help with nding presets by nam

15.1. USING THE LIVE DEVICES 200it and click this button to open the preset in Browse Mode, where its location in the folderhierarchy will be displaye

15.2. USING PLUG-INS 201A Device Group in theTrack View.The entire device group, along with its component device settings, can be stored as a presetby

15.2. USING PLUG-INS 202Working with VST and Audio Units Plug-ins is very much like working with Live devices. VSTand Audio Units instruments can only

15.2. USING PLUG-INS 203If you install/de-install a plug-in while the program is running, Live will not detect yourchanges or implement them in the Pl

15.2. USING PLUG-INS 204The Plug-In UnfoldButton.You can view or hide the VST Plug-in's parameters by toggling the triangle-shaped buttonin the p

15.2. USING PLUG-INS 205The Plug-In Edit button opens a oating window that shows the original VST or Audio UnitsPlug-in panel. Changing parameters on

15.3. VST PLUG-INS 20615.2.3 Plug-In Performance OptionsThe Plug-In Preferences contain a Performance setting for balancing plug-in latency andperform

15.3. VST PLUG-INS 207Setting up VST Plug-InSources for Windows.For Windows, proceed as follows:1. Use the VST Plug-In Custom Folder entry to tell Liv

3.3. COPY PROTECTION FAQS 193.3 Copy Protection FAQs3.3.1 Can I Use Live or Other Ableton Products Without a Serial Num-ber?If you do not (yet) own Li

15.3. VST PLUG-INS 208Setting up VST Plug-InSources for Mac OS X.Set up your VST Plug-ins under Mac OS X by doing the following:1. Your VST Plug-ins w

15.3. VST PLUG-INS 209partition or hard drive on your computer. Live will scan the set VST Plug-in folder as well asany alias folders contained therei

15.3. VST PLUG-INS 210Renaming a VST Plug-InProgram.To rename the current program, select the VST program chooser and execute the Editmenu's Rena

15.4. AUDIO UNITS PLUG-INS 21115.4 Audio Units Plug-InsAudio Units Plug-ins are only available in Mac OS X. In most respects, they operate just likeVS

15.4. AUDIO UNITS PLUG-INS 212Activating Audio UnitsPlug-Ins.Audio Units Plug-ins sometimes have a feature that allows choosing between differentmodes

15.5. DEVICE DELAY COMPENSATION 21315.5 Device Delay CompensationLive automatically compensates for delays caused by Live and plug-in instruments ande

Chapter 16Automation and Editing EnvelopesOften, when working with Live's mixer and devices, you will want the controls' movementsto become

16.2. DELETING AUTOMATION 215automation for track panning and the Track Activator switch as well; their automation LEDsappear in their upper left corn

16.4. DRAWING AND EDITING AUTOMATION 216The Back toArrangement Button.When one or more of the automated controls in your Live Set are not active, the

16.4. DRAWING AND EDITING AUTOMATION 2171. To access a track's envelope, unfold the track by clicking the triangular buttonnext to the track na

3.3. COPY PROTECTION FAQS 20Click Here if You AreInterested in BuyingLive.3.3.2 What if I Change My Computer's Components?If the Challenge Code o

16.4. DRAWING AND EDITING AUTOMATION 218Drawing an Envelope.Drawing creates steps as wide as the visible grid, which you can modify using a numberof h

16.4. DRAWING AND EDITING AUTOMATION 219To Move all BreakpointsWithin the Selection,Drag Any One of Them.Your movement is constrained by the neighbori

16.4. DRAWING AND EDITING AUTOMATION 220You can also choose to lock envelopes from the Options menu.The Lock EnvelopesSwitch.16.4.4 Edit Menu Commands

16.4. DRAWING AND EDITING AUTOMATION 221The Tempo Envelope.When adjusting the tempo envelope, you might want to scale the value axis display, whichis

Chapter 17Clip EnvelopesEvery clip in Live can have its own clip envelopes. The aspects of a clip that are inuenced byclip envelopes change depending

17.1. THE CLIP ENVELOPE EDITOR 22317.1 The Clip Envelope EditorUse the Clip View BoxSelector to Bring up theEnvelopes Box.To work with clip envelopes,

17.1. THE CLIP ENVELOPE EDITOR 224Audio clips have entries for Clip (the clip's sample controls), every effect in the track'sdevice chain

17.2. AUDIO CLIP ENVELOPES 225Let us now look at some uses of clip envelopes.17.2 Audio Clip EnvelopesClip envelopes extend Live's elastic appr

17.2. AUDIO CLIP ENVELOPES 226The TranspositionEnvelope with Steps(Top) and Ramps(Bottom).Note that the warp settings determine how accurately Live&ap

17.2. AUDIO CLIP ENVELOPES 227added to the Transpose control's value. The result of the modulation is clipped to stay inthe available range (-4

3.3. COPY PROTECTION FAQS 21Keys in good faith that you will use Live on only one machine at a time. Just proceed asdescribed in the corresponding sec

17.2. AUDIO CLIP ENVELOPES 228Try sample offset modulation with a one-bar drum loop: Make sure Beats Mode is chosen;in the Envelopes box, choose Cl

17.3. MIXER AND DEVICE CLIP ENVELOPES 22917.2.5 Using Clips as TemplatesAs you are making creative use of clip envelopes, the clips containing them de

17.3. MIXER AND DEVICE CLIP ENVELOPES 23017.3.1 Modulating Mixer Volumes and SendsNotice that there are actually two volume modulations: Clip Volume a

17.4. MIDI-CONTROLLER CLIP ENVELOPES 23117.3.3 Modulating Device ControlsAll devices in a clip's track are listed in the upper clip envelope Devi

17.5. UNLINKING CLIP ENVELOPES FROM CLIPS 232A MIDI-Controller ClipEnvelope.Many of the techniques described in the following section on unlinking a c

17.5. UNLINKING CLIP ENVELOPES FROM CLIPS 2331342Using a Clip Envelope toCreate a Fade-Out OverSeveral Repetitions of aLoop.1. Choose the Clip Volume

17.5. UNLINKING CLIP ENVELOPES FROM CLIPS 234menu's Undo command.17.5.2 Creating Long Loops from Short LoopsLet us take this a step further. For

17.5. UNLINKING CLIP ENVELOPES FROM CLIPS 235To keep this complexity under control, it is important to have a common point of reference.The start mark

Chapter 18Live Audio Effect ReferenceLive comes with a selection of custom-designed, built-in audio effects. The Working withInstruments and Effects

18.1. AUTO FILTER 23718.1 Auto FilterThe Auto Filter Effect.The Auto Filter effect provides classic analog lter emulation. It can be modulated by ane

3.3. COPY PROTECTION FAQS 22program CD and a CD with the last state of your Live Set(s). In case of an emergency, youcan install and run Live on any c

18.1. AUTO FILTER 238while the Attack control sets how the envelope responds to rising input signals. Low Attackvalues cause a fast response to input

18.2. AUTO PAN 23918.2 Auto PanThe Auto Pan Effect.Auto Pan offers LFO-driven manipulation of amplitude and panning for creating automaticpanning, tre

18.3. BEAT REPEAT 240The device's inuence on incoming signals is set with the Amount control.18.3 Beat RepeatThe Beat Repeat Effect.Beat Repeat

18.3. BEAT REPEAT 241Gate denes the total length of all repetitions in sixteenth notes. If Gate is set to 4/16,the repetitions will occur over the

18.4. CHORUS 242repetitions are playing but passes it otherwise; and Gate passes only the repetitions, neverpassing the original signal. Gate mode is

18.4. CHORUS 243To set both delay lines to Delay 1's delay time, turn on the link button (= ). This is especiallyuseful if you want to change b

18.5. COMPRESSOR I 24418.5 Compressor IThe Compressor I Effect.A Compressor reduces gain for signals above a user-settable threshold. Compression re-d

18.5. COMPRESSOR I 245sound loudness-maximizing tool in the master channel. Less is often more here.Because compression reduces the volume of loud sig

18.6. COMPRESSOR II 24618.6 Compressor IIThe Compressor IIEffect.Compressor II is a state of the art compression unit  the tool of choice for a wide

18.6. COMPRESSOR II 247better since it reacts more to the actual signal level, while RMS is usually more musical.But as always if it comes to compre

3.3. COPY PROTECTION FAQS 233.3.6 What Do I Do About Problems or Questions Regarding Copy Pro-tection?Please contact technical support9. They are happ

18.7. EQ THREE 24818.7 EQ ThreeThe EQ Three Effect.If you have ever used a good DJ mixer you will know what this is: An EQ that allows you toadjust th

18.8. EQ FOUR 249cutting the signal at the crossover frequency. The higher setting results in more drasticltering, but needs more CPU.Note: The lter

18.9. EROSION 250frequencies higher than the specied frequency) or high-cut (cuts frequencies above thespecied frequency) modes. Each lter band can

18.10. FILTER DELAY 251The Erosion effect degrades the input signal by modulating a short delay with ltered noiseor a sine wave. This adds noisy arti

18.10. FILTER DELAY 252The Filter Delay provides three independent delay lines, each preceded by linked low-passand high-pass lters. This allows appl

18.11. FLANGER 253in a return channel.18.11 FlangerThe Flanger Effect.Flanger uses two parallel time-modulated delays to create anging effects.Flange

18.12. GATE 254Rate can also be synced with the project tempo and set in meter subdivisions (e.g., sixteenthnotes).The Phase control lends the sound s

18.12. GATE 255sound by turning up the threshold to where it cuts off reverb or delay tails or truncates aninstrument's natural decay.The Thresho

18.13. GRAIN DELAY 25618.13 Grain DelayThe Grain Delay Effect.The Grain Delay effect slices the input signal into tiny particles (called grains) tha

18.13. GRAIN DELAY 257parameter to the X-axis, choose it from the parameter row below the controller. To assign aparameter to the Y-axis, use the para

Chapter 4Live BasicsThis chapter introduces the essential concepts of Live. We advise you to read this chapterearly in your Live career, as a solid un

18.14. PHASER 25818.14 PhaserThe Phaser Effect.Phaser uses a series of all-pass lters to create a phase shift in the frequency spectrum of asound.The

18.15. PING PONG DELAY 259Amount control.LFO speed is controlled with the Rate control, which can be set in terms of hertz. Rate canalso be synced wit

18.15. PING PONG DELAY 260The delay is preceded by a low- and high-pass lter that can be controlled with an XYcontroller. To dene the lter bandwidt

18.16. SATURATOR 26118.16 SaturatorThe Saturator Effect.Saturator is a distortion effect that can add that missing dirt, punch or warmth to your sound

18.17. SIMPLE DELAY 26218.17 Simple DelayThe Simple Delay Effect.The Simple Delay provides two independent delay lines, one for each channel (left and

18.18. VINYL DISTORTION 26318.18 Vinyl DistortionThe Vinyl DistortionEffect.The Vinyl Distortion effect emulates some of the typical distortions that

18.19. REDUX 264There are two distortion modes: soft and hard. The soft mode simulates the sound of a dubplate, while hard mode is more like that of a

18.20. RESONATORS 265and the more deconstructed the sound. Downsampling is like applying a mosaic effectto an image: There's a loss of informat

18.20. RESONATORS 266This device consists of ve parallel resonators that superimpose a tonal character on theinput source. It can produce sounds rese

18.21. REVERB 267The output section features the obligatory Dry/Wet control and a Width parameter thataffects only the wet signal and blends the left

4.2. ARRANGEMENT AND SESSION 25A Live Set in theBrowser, Accessed viathe Library Button.Pressing the Library button in Live's Browser will take y

18.21. REVERB 26818.21.2 Early ReectionsThese are the earliest echoes that you hear after they bounce off a room's walls, beforethe onset of the

18.21. REVERB 26918.21.4 Diffusion NetworkThe Diffusion network creates the reverberant tail that follows the early reections. Thedecay time control

18.22. UTILITY 27018.22 UtilityThe Utility Effect.Utility can perform some very useful tasks, especially in combination with other effects.Most obviou

18.22. UTILITY 271either the Left or Right button is activated, the Width control has no function and is thereforebypassed.At the bottom of the device

Chapter 19Live MIDI Effect ReferenceLive comes with a selection of custom-designed, built-in MIDI effects. The Working withInstruments and Effects c

19.1. ARPEGGIATOR 27319.1 ArpeggiatorThe Arpeggiator Effect.Live's Arpeggiator effect takes the individual notes in a played MIDI chord, or notes

19.1. ARPEGGIATOR 274UpDown andDownUp.Down & Up and Up& Down.Converge andDiverge.Con & Diverge.Pinky Up and PinkyUpDown.

19.1. ARPEGGIATOR 275is therefore only recognizable when more than one chord or note has been played.In addition to the Arpeggiator styles above, ther

19.1. ARPEGGIATOR 276parameter effectively rotates this circle counter-clockwise one note at a time, changingwhere in the pattern play begins.With the

19.2. CHORD 277Tip: The velocity section's Retrigger option can be used in conjunction with Beat retriggeringto add rhythm to the dynamic slope.1

4.3. TRACKS 26View; you can toggle between the two views using the computer's Tab key or their respectiveselectors. Because the two views have di

19.3. PITCH 278semitone shift added with the Shift 6 control.Note that no two notes of the same pitch can contribute to the chord, and that selecting

19.4. RANDOM 27919.4 RandomThe Random Effect.Random adds an element of the unknown to the otherwise commonplace pitch parameter.The Chance control de

19.5. SCALE 280harmonic range.19.5 ScaleThe Scale Effect.Scale alters incoming note pitch based on a scale mapping. Each incoming note is givenan outg

19.6. VELOCITY 281by the effect, but are playing at their unaltered pitch.19.6 VelocityThe Velocity Effect.Velocity re-maps the 127 MIDI note velocity

19.6. VELOCITY 282incoming notes altogether if their velocities are outside of the range. You will see the littleLED in the effect ash when a note is

Chapter 20Live Instrument ReferenceLive comes with a selection of custom-designed, built-in instruments. The Working withInstruments and Effects cha

20.1. IMPULSE 28420.1 ImpulseThe Impulse Instrument.Impulse is a drum sampler with complex modulative capabilities. The eight drum samplesloaded into

20.1. IMPULSE 285Each of the eight samples has a proprietary set of parameters, located in the area below thesample slots and visible when the sample

20.1. IMPULSE 28620.1.3 FilterThe Filter section offers a broad range of lter types, each of which can impart differentsonic characteristics onto the

20.2. SIMPLER 28720.1.6 Global ParametersThe parameters located to the right of the sample slots are global controls that apply to allsamples within I

4.3. TRACKS 27A Track in theArrangement View.Session and Arrangement share the same set of tracks. The tracks are vertically laid out fromleft to righ

20.2. SIMPLER 288Simpler is an instrument that integrates the basic elements of a sampler with a set of classicsynthesizer parameters. A Simpler voice

20.2. SIMPLER 289due to the discontinuity in waveform amplitude (i.e., the sample's loudness). The Snapswitch will help mitigate these by forcing

20.2. SIMPLER 290time is the amount of time after the end of the note that it takes for the envelope to dropfrom the Sustain level back down to zero.T

20.2. SIMPLER 291setting assigns higher notes a higher LFO rate. If Key is set to zero, all voices' LFOs havethe same rate and may just differ in

20.2. SIMPLER 29220.2.8 Glide and SpreadSimpler includes a polyphonic glide function. When this function is activated, new noteswill start with the pi

20.3. OPERATOR 29320.3 OperatorThe OperatorInstrument.Operator is an advanced and exible synthesizer that combines the concept of frequencymodulatio

20.3. OPERATOR 294eight sections. On the left side, you will nd four oscillator sections, and on the right sidefrom top to bottom, the LFO, the lter

20.3. OPERATOR 295Operator's GlobalDisplay.Typically, FM synthesis makes use of pure sine waves, creating more complex waveformsvia modulation. H

20.3. OPERATOR 29620.3.2 Oscillator Section and AliasingOscillator D's Displayand Shell Parameters.The oscillators can basically play back ve wa

20.3. OPERATOR 297the (PC) /Ctrl(Mac) context menu.Aliasing distortion is a common side effect of all digital synthesis and is the result of thenite

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

4.4. AUDIO AND MIDI 28Arrangement playback until explicitly told to do so.The Play, Stop, Recordand Back toArrangement Buttons.This is what the Back t

20.3. OPERATOR 298or inharmonic sounds (which very well could be exactly what you want...).The amplitude of an oscillator depends on the Level setting

20.3. OPERATOR 299The LFO offers a choice of classic LFO waveforms, sample and hold (S&H), and noise.Sample and hold uses random numbers chosen at

20.3. OPERATOR 300using the (PC) /Ctrl(Mac) context menu.With FM synthesis, it is possible to create spectacular, endless, permuting sounds; the keyto

20.3. OPERATOR 301Pitch Env control.Tip: If the pitch envelope is only applied to the LFO and is looping, it can serve as anotherLFO, modulating the r

20.3. OPERATOR 30220.3.6 Global ControlsThe maximum number of Operator voices (notes) playing simultaneously can be adjustedwith the Voices parameter

20.3. OPERATOR 30320.3.7 Glide and SpreadOperator's Pitch Section.Operator includes a polyphonic glide function. When this function is activated,

20.3. OPERATOR 30420.3.8 Strategies for Saving CPU PowerIf you want to save CPU power, turn off features that you do not need or reduce the numberof v

20.3. OPERATOR 305text that appears in the Info View. Parameters in this list are grouped into sections basedon where they appear in Operator.Global S

20.3. OPERATOR 306Pitch Shell and DisplayPitch Envelope On- This turns the pitch envelope on and off. Turning it off if it is unusedsaves some CPU pow

20.3. OPERATOR 307Filter Shell and DisplayFilter On- This turns the lter on and off. Turning it off when it is unused saves CPU power.Filter Type- Lo

4.5. AUDIO CLIPS AND SAMPLES 29recorded and played back using MIDI tracks. The two track types have their own corre-sponding clip types. Audio clips c

20.3. OPERATOR 308LFO Waveform- Select from among several typical LFO waveforms. Sample and Hold createsrandom steps, and Noise supplies band-pass-lt

20.3. OPERATOR 309Osc Fine Frequency (Fine)- The relationship between oscillator frequency and note pitchis dened by the Coarse and Fine parameters.

20.3. OPERATOR 310Osc Output Level<Velocity (Vel)- This denes how much the oscillator's level depends uponnote velocity. Applying this to mod

20.3. OPERATOR 311Envelope Beat/Sync Rate (Repeat)- The envelope will be retriggered after this amount ofbeat-time, as long as it is still on. When re

Chapter 21MIDI and Key Remote ControlTo liberate the musician from the mouse, most of Live's controls can be remote-controlledwith an external MI

21.1. KEYBOARD REMOTE CONTROL 3134. Continuous controls, like the mixer's volume, pan and sends.5. The crossfader, the behavior of which is descr

21.2. MIDI REMOTE CONTROL 314Please be sure not to confuse keyboard remote-control functionality with Live's ability touse the keyboard as a pseu

21.2. MIDI REMOTE CONTROL 315The Active Devices table lists all available input and output MIDI devices. To use a devicefor remote mapping, make sur

21.2. MIDI REMOTE CONTROL 316corner of the Live screen. Notice that assignable elements of the interfacebecome highlighted.2. Click on the Live contro

21.2. MIDI REMOTE CONTROL 317to which they are assigned. A value message of 127, for example, might turn the Volumecontrol on a Live track all the way

4.6. MIDI CLIPS AND MIDI FILES 30are computed in real time, while the sample is played. The respective settings are made inthe Clip View, which appear

21.2. MIDI REMOTE CONTROL 318There are several types of relative controllers: Signed Bit, Signed Bit 2, Bin Offset and TwosComplement. Live can recogn

21.3. RELATIVE SESSION VIEW NAVIGATION 31921.3 Relative Session View NavigationNotice that you can make not only absolute mappings to individual slots

21.4. MAPPING TO CLIP VIEW CONTROLS 32021.4 Mapping to Clip View ControlsThe Clip View displays the settings for whichever clip happens to be currentl

Chapter 22Mackie ControlThe comprehensive Mackie Control mixing surface puts all of Live's real-time creative powerat your ngertips.Mackie Contr

322surface. If selected from the lower chooser, the Mackie Control extension should be placedto the right of the main Mackie Control.The following sec

22.1. CHANNEL STRIPS 32322.1 Channel StripsThe Eight Channel Stripsand the Master Strip.The Mackie Control's eight channel strips and master stri

22.1. CHANNEL STRIPS 324controls allow reassigning the channel strips to access an unlimited number of Live tracks.1. Arm  By default, this arms the

22.2. V-POTS AND ASSIGNMENT SWITCHES 32522.2 V-Pots and Assignment SwitchesThe V-Pots andAssignment Switches.The Mackie Control's V-Pots have dua

22.2. V-POTS AND ASSIGNMENT SWITCHES 326V-Pot when dealing with a control that has various options (lter type choosers, for example),selects the opti

22.2. V-POTS AND ASSIGNMENT SWITCHES 3275. Previous/Next  If, in any of the above assignment modes (especially with de-vices), more than one page of

4.6. MIDI CLIPS AND MIDI FILES 31the original le is not referenced thereafter. In the Live File Browsers, a MIDI le appearsas a folder that can be o

22.3. BANK/CHANNEL AND FLIP/RETURN 32822.3 Bank/Channel and Flip/ReturnBank, Channel, Flip andReturn Buttons.1. Bank  If more than eight tracks are b

22.3. BANK/CHANNEL AND FLIP/RETURN 329increments of eight (or more, if a fader extension is installed) to the right or left,respectively. To go to the

22.4. TRANSPORT 33022.4 TransportThe Transport Controls.1. Previous/Next Locator  Using these buttons, you can skip forward or backwardthrough the Ar

22.4. TRANSPORT 331using these buttons. The LEDs above these buttons are illuminated when aprevious/next locator is available in the respective direct

22.4. TRANSPORT 332In the Arrangement View, with the zoom button enabled (i.e., its LED illu-minated), you can use the arrow buttons for zooming and s

22.5. SOFTWARE-SPECIFIC CONTROLS 33322.5 Software-Specic ControlsThe Software-SpecicControls.1. Shift, Option, Control, Alt  Used to access additio

22.5. SOFTWARE-SPECIFIC CONTROLS 3343. Name/Value  Switches the meters in the main display on/off. Note that thesemeters appear only when pan assignm

Chapter 23Synchronization and ReWire23.1 Synchronizing via MIDIThe MIDI protocol denes two ways to synchronize sequencers, both of which are supporte

23.1. SYNCHRONIZING VIA MIDI 336(subdivisions of a second). Live will interpret a Timecode message as a position in theArrangement. Timecode messages

23.1. SYNCHRONIZING VIA MIDI 337Setting up Live as a MIDISlave.Then, activate external sync either by switching on the EXT button in the Control Bar o

4.7. DEVICES AND THE MIXER 324.7 Devices and the MixerA track can have not only clips but also a chain of devices for processing signals. Double-click

23.2. CONNECTING VIA REWIRE 338format that is used for display in the Arrangement View: Go to the Options menu, and thenaccess the Time Ruler Format s

23.2. CONNECTING VIA REWIRE 339The ReWire technology, developed by Propellerhead Software, provides ReWire-compatibleprograms with:common access to th

23.2. CONNECTING VIA REWIRE 34023.2.2 Running Live in ReWire Slave ModeIf you have not used Live yet, please launch Live so that it can install its Re

23.2. CONNECTING VIA REWIRE 341If you cannot seem to nd an answer there, please contact the Ableton support team3.3http://www.ableton.com/support

Chapter 24Computer Audio Resources andStrategiesReal-time audio processing is a demanding task for general-purpose computers, which werelikely designe

24.1. MANAGING THE CPU LOAD 343speed include the processor's clock rate (e.g., speed in MHz or GHz), architecture, memorycache performance (how e

24.1. MANAGING THE CPU LOAD 344change.24.1.2 CPU Load from Tracks and DevicesGenerally, every track and device being used in Live incurs some amount o

24.2. MANAGING THE DISK LOAD 345available. Note that track freeze is not part of Live's Undo history, but executing the Editmenu's Undo comm

24.2. MANAGING THE DISK LOAD 346proportional to the number of audio channels being written or read simultaneously. A trackplaying a stereo sample caus

Chapter 25Live Keyboard Shortcuts25.1 Showing and Hiding ViewsWindows MacintoshToggle Full Screen ModeF11CtrlF11Toggle Session/Arrangement ViewToggle

4.7. DEVICES AND THE MIXER 33Live's Built-in DevicesAre Available from theDevice Browser.You can also use plug-in devices in Live. VST and Audio

25.2. ACCESSING MENUS 348Windows MacintoshHide/Show MixerCtrlAltMAltMHide/Show CrossfaderCtrlAltFAltFOpen the Preferences N/A,Close the Preferences N/

25.4. BROWSING 34925.4 BrowsingIn addition to the shortcuts shown here, editing shortcuts can also be used in the Browser.Windows MacintoshActivate Br

25.6. EDITING 35025.6 EditingWindows MacintoshCutCtrlXXCopyCtrlCCPasteCtrlVVDuplicateCtrlDDDeleteDeleteUndoCtrlZZRedoCtrlZZRenameCtrlRRSelect AllCtrlA

25.8. SESSION VIEW COMMANDS 351Windows MacintoshMove Start Marker to Position Click ClickNudge Loop Left/RightMove Loop By Loop LengthDouble/Halve Loo

25.9. ARRANGEMENT VIEW COMMANDS 35225.9 Arrangement View CommandsThe shortcuts for zooming, snapping/drawing and loop/region settings also work in the

25.11. COMMANDS FOR BREAKPOINT ENVELOPES 35325.11 Commands for Breakpoint EnvelopesThe shortcuts for zooming, snapping/drawing and loop/region setting

25.13. ZOOMING, DISPLAY AND SELECTIONS 35425.13 Zooming, Display and SelectionsWindows MacintoshZoom In++Zoom Out--Drag/Click to Append to a Selection

25.15. CLIP VIEW MIDI EDITOR 35525.15 Clip View MIDI EditorThe shortcuts for zooming, snapping/drawing and loop/region settings also work in theMIDI E

25.17. GLOBAL QUANTIZATION 35625.17 Global QuantizationWindows MacintoshSixteenth-Note QuantizationCtrl6 6 Eighth-Note QuantizationCtrl7 7 Qua

25.19. WORKING WITH PLUG-INS AND DEVICES 35725.19 Working with Plug-Ins and DevicesWindows MacintoshShow/Hide Plug-In WindowsCtrlPPOpen Second/Multipl

4.7. DEVICES AND THE MIXER 34In practice, the computer's processor speed does impose a limit on the number of devicesyou can use at the same time

25.20. USING THE CONTEXT MENU 358special grid marker commands for directing Auto-Warp; detailed options for zoom-adaptiveand xed grid line width; and

Chapter 26Index359

IndexAAbletone-mail addressessales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21technical support . . . . . . . . . . .

INDEX 361Audio Units Plug-ins, using . . . . . . . . . . . . . see devicesauthorization . . . . . . . . . . . . . . . . . . see copy protectionAuto Fi

INDEX 362Clip Launch button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79Clip Name eld . . . . . . . . . . . . . . . . . . . . . . .

INDEX 363Cut Scenes command . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Cut Time command . . . . . . . . . . . . . . . . . . . . . . . . .

INDEX 364effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . see devicesEnvelope Editor . . . . . . . . . . . . . . . . . . . .

INDEX 365and MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284lter . . . . . . . . . . . . . . . . . . . . . . . . . . . .

INDEX 366Loop/Warp Short Samples preference . . . . . . . . . . 123MMackie Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .321

INDEX 367Oofine clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Ogg les . . . . . . . . . . . . . . . . . . . .

4.7. DEVICES AND THE MIXER 35The Live Mixer in theArrangement View (Top)and Session View(Bottom).The mixer has controls for volume, pan position and s

INDEX 368for clip launching . . . . . . . . . . . . . . . . . . . . . . . . . . 141for MIDI notes during recording . . . . . . . . . . . 187Quantize m

INDEX 369and recording MIDI as audio. . . . . . . . . . . . . . .161and ReWire. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156and si

INDEX 370Set 1.1.1 Here command . . . . . . . . . . . . . . . . . . . . . . . 119Set Locator button . . . . . . . . . . . . . . . . . . . . . . . . .

INDEX 371Track title bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Track View . . . . . . . . . . . . . . . . . . . . . .

INDEX 372views, working with see View menu commands, seeView Selector button, see View Show/HidebuttonVinyl Distortion effect . . . . . . . . . . . .

4.7. DEVICES AND THE MIXER 36Live's Crossfader.Devices that receive and deliver audio signals are called audio effects. Audio effects are theonly

4.8. PRESETS AND DEVICE GROUPS 37the track's mix and Send controls disappear from the mixer.The Mixer for a MIDITrack without anInstrument.4.8 Pr

1.2. WHAT'S NEW IN LIVE 5? 2Your Ableton Team.1.2 What's New in Live 5?1.2.1 Remix FeaturesSupport for MP3, Ogg Vorbis, Ogg FLAC and FLAC co

4.9. ROUTING 38select a signal source and destination. The In/Out section, accessible through the Viewmenu's In/Out entry, is Live's patc

4.10. RECORDING NEW CLIPS 39from another track or device in Live. The Monitor controls regulate the conditions underwhich the input signal is heard th

4.11. AUTOMATION ENVELOPES 40method of choice for creating drum patterns, which are built up by successively addingnotes to the patter n while it play

4.12. CLIP ENVELOPES 414.12 Clip EnvelopesEnvelopes can be found not only in tracks but also in clips. Clip envelopes are usedto modulate device and m

4.14. SAVING AND EXPORTING 42In this mode, you can click on any mixer or effect control, and then assign it to a controllersimply by sending the desir

4.14. SAVING AND EXPORTING 43appear with these settings. This is especially useful if you have made warp settings for a clipand want to use it in mult

4.15. THE LIBRARY 44Variations of a sample loop created by applying Warp Markers, clip envelopes andeffects;Ideas that may not t your current project

4.15. THE LIBRARY 45The library is built from several Live Packs, which can be separately downloaded, installedand uninstalled. Live Packs are availab

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

5.1. WORKING WITH THE FILE BROWSERS 47on specic criteria, a topic that we will cover in the next section.Each File Browser can have its own root dire

1.2. WHAT'S NEW IN LIVE 5? 3Track Delay controls to control for human, acoustic and hardware delaysMulti-selection clip editingClip deactivation

5.1. WORKING WITH THE FILE BROWSERS 48Close and open folders with and .Jump to the parent folder of any closed folder using . (Hint: If executed on at

5.1. WORKING WITH THE FILE BROWSERS 49Live will search for the contents typed in the Search eld throughout the entire Browserroot. Alternatively, you

5.1. WORKING WITH THE FILE BROWSERS 50The Locate In BrowserButton.5.1.3 Previewing FilesThe Preview Switch.Live allows you to preview les in the File

5.1. WORKING WITH THE FILE BROWSERS 515.1.4 Adding Clips from the BrowserThere are several ways to add clips to a Live Set:Files can be dragged and dr

5.2. SAMPLE FILES 52over the target Browser's button.Rename les and folders using the Edit menu's Rename command or theCtrlR(PC) /R(Mac) sh

5.2. SAMPLE FILES 53writes the result to a temporary, uncompressed sample le. This usually happens quicklyenough that you will be able to play the sa

5.2. SAMPLE FILES 545.2.2 Analysis Files (.asd)An analysis le is a little le that Live creates when a sample le is brought into the programfor the

5.2. SAMPLE FILES 555.2.3 File Pre-AnalysisTo avoid waiting for longer samples to be analyzed the rst time they are imported into Live,you may want t

5.2. SAMPLE FILES 56Which Signal Will Be Rendered?Render to Disk will always render the signal at Live's Master output. If you are monitoringthe

5.3. MIDI FILES 57samples to disk, but add the specied delay effect. As the second pass starts writingaudio to disk, it will include the delay tail

1.2. WHAT'S NEW IN LIVE 5? 41.2.7 ResourcesValuable library of clips, device presets and Live SetsLibrary expansion and customization with Live P

5.4. LIVE CLIPS 58A MIDI File and ItsTracks in the Browser.5.3.1 Exporting MIDI FilesLive MIDI clips can be exported as Standard MIDI les. To export

5.4. LIVE CLIPS 59To save a clip from the open Live Set to disk, simply drag it from the Session View to the FileBrowser and drop it into any folder.

5.5. LIVE SETS 60the same source sample.5.5 Live SetsThe type of document that you create and work on in Live is called a Live Set.5.5.1 Creating, Ope

5.5. LIVE SETS 61A Live Set in theBrowser.These tracks and clips can be selectively previewed and dragged into the current Set, orthe entire Live Set

5.6. OFFLINE AND LOST FILES 62Computer key mappings.MIDI mappings.The template Live Set Template.als is located in Live's Preferences folder an

5.8. LIVE PACKS 63its Sounds folder, or send it to collaborators via the Internet, and all les used in the projectwill be included.The Sounds folder

Chapter 6Arrangement ViewThe Arrangement View displays the Arrangement, which contains music laid out along asong timeline, like a multitrack tape.A P

6.1. NAVIGATION 65The Arrangement View is a powerful editing tool that easily lets you combine and arrangemusical material of all types: MIDI, loops,

6.2. TRANSPORT 66sents the part of the Arrangement that is currently displayed in the Arrangementdisplay below. To scroll the display, click within th

6.2. TRANSPORT 67will return the Arrangement play position to 1.1.1.Arrangement PlaybackBegins from the InsertMarker.To continue playback from the pos

1.2. WHAT'S NEW IN LIVE 5? 51.2.10 Miscellaneous(PC) /Ctrl(Mac) context menus for many commands and settingsZoom-adaptive or xed grid optionsCou

6.3. LAUNCHING THE ARRANGEMENT WITH LOCATORS 68The Arrangement Position elds show the song position in bars-beats-sixteenths.To change the values:Cli

6.3. LAUNCHING THE ARRANGEMENT WITH LOCATORS 69can also create a locator using the context menu in the scrub area above the tracks or via theInsert me

6.4. THE ARRANGEMENT LOOP 706.4 The Arrangement LoopThe Control Bar's LoopSwitch.For Live to repeatedly play a section of the Arrangement, activa

6.5. MOVING AND RESIZING CLIPS 71and shift the loop brace left/right in steps the size of its length.TheCtrl(PC) / (Mac) modier used with the arrow l

6.6. SELECTING CLIPS AND TIME 726.6 Selecting Clips and TimeWith the exception of moving and resizing clips, Arrangement editing in Live is selection-

6.7. USING THE EDITING GRID 73Clicking on the loop brace is a shortcut for executing the Edit menu's Select Loopcommand, which selects all materi

6.8. USING THE ...TIME COMMANDS 74UseCtrl3 (PC) /3 (Mac) to toggle triplets mode; this would, for instance,change the grid from eighth notes to ei

6.9. SPLITTING CLIPS 75Duplicate Time places a copy of the selected timespan into the Arrangement, therebyincreasing its overall duration by the lengt

6.10. CONSOLIDATING CLIPS 76The Result of Splitting aClip.6.10 Consolidating ClipsThe Consolidate command replaces the material in the Arrangement Vie

6.10. CONSOLIDATING CLIPS 77Suppose you have, by editing or improvising, come up with a layout of clips that soundgood in Arrangement Loop Mode. Selec

Chapter 2First StepsWhen you install Live and run it for the rst time, you will be presented with the ProductsPreferences tab.If you own Live, you ca

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

7.1. SESSION VIEW CLIPS 797.1 Session View ClipsThe Controls for aSession View Clip.1. Each clip in the Session V iew has a triangular button at the l

7.2. TRACKS AND SCENES 80You can always return the Arrangement Position elds to 1.1.1 and stop playback for theentire Live Set by pressing the Contro

7.2. TRACKS AND SCENES 81A Session View Scene.The horizontal rows are called scenes. The Scene Launch buttons are located in the rightmostcolumn, whic

7.3. THE TRACK STATUS FIELDS 827.3 The Track Status FieldsYou can tell a track's status by looking at the Track Status eld just above the active

7.4. SETTING UP THE SESSION VIEW GRID 83If the track is playing clips from the Arrangement, a miniature display representing theArrangement clips bein

7.4. SETTING UP THE SESSION VIEW GRID 847.4.1 Select on LaunchBy default, clicking a Session View clip's Launch button also selects the clip, sin

7.5. RECORDING SESSIONS INTO THE ARRANGEMENT 85Paste Scenes works like Paste, but inserts blank scenes before pasting. Live insertsenough scenes to t

7.5. RECORDING SESSIONS INTO THE ARRANGEMENT 86The Control Bar's RecordButton.When the Record button is on, Live logs all of your actions into th

7.5. RECORDING SESSIONS INTO THE ARRANGEMENT 87The Back toArrangement Button.Arrangement playback does not resume until you explicitly tell Live to re

2.1. LEARN ABOUT LIVE 72.1 Lear n About LiveLive comes with a set of interactive lessons to take you step by step through the key featuresof the progr

Chapter 8Clip ViewThe Clip View is where clip properties can be set and adjusted.Clicking the ClipOverview Opens theClip View.The Clip View is opened

89Clicking a Session ViewTrack Status Field Opensthe Clip View.In the Session View, clicking on a Track Status Field opens the Clip View for editing t

90The Clip box contains basic clip settings.The Envelopes box and the Envelope Editor manage the clip's envelopes, which areused to modulate the

91The Notes box contains settings pertaining to how Live plays a MIDI clip and what itdisplays in the MIDI Editor.The Clip View for a MIDIClip.To make

8.1. THE CLIP BOX 928.1 The Clip BoxThe Clip Box.8.1.1 Clip Activator SwitchUsing this switch, you can deactivate a clip so that it does not play when

8.1. THE CLIP BOX 938.1.3 Clip SignatureUsing the Clip Signature elds, you can specify the signature of an audio clip's sample. Thissetting is r

8.1. THE CLIP BOX 94Groove can be applied to both MIDI clips and audio clips. Applying groove to audioclips does require that the Warp switch be activ

8.1. THE CLIP BOX 95The Scrub Control inMIDI Map Mode.With quantization set to values less than one bar, it is easy to offset clip playback from Live&

8.2. THE SAMPLE BOX 96Using the Keep andRevert Buttons toManage Meter Offset.The current offset as indicated by the dot can be made permanent by movin

8.2. THE SAMPLE BOX 97When the Warp switch is off, Live plays the sample at its original, normal tempo, irrespec-tive of the current Live Set tempo.