Ableton Live Intro Manuel d'instructions

CHAPTER 3. AUTHORIZING LIVE 83.1 Copy Protection FAQs3.1.1 Can I Use Live or Other Ableton Products Without a SerialNumber?If you do not (yet) own Liv

CHAPTER 8. CLIP VIEW 988.1.3 Clip SignatureUsing the Clip Signature elds, you can specify the time signature of a MIDI or audioclip. This setting is

CHAPTER 8. CLIP VIEW 998.1.5 Clip Offset and NudgingTo jump within a playing clip in increments the size of the global quantization period, youcan use

CHAPTER 8. CLIP VIEW 1008.2 The Sample Box8.2.1 Warp ControlsThe Sample Box WarpControls.When the Warp switch is off, Live plays the sample at its ori

CHAPTER 8. CLIP VIEW 1018.2.2 Sample Loop/Region and DisplayZooming and ScrollingThe Clip Zoom/ScrollArea.Zooming and scrolling in the Sample Display

CHAPTER 8. CLIP VIEW 102To have the Sample Display follow the play position and scroll automatically, turn on theFollow switch, or use the Follow comm

CHAPTER 8. CLIP VIEW 103You can also adjust the clip start and end numerically using the respective value elds tothe left of the Sample Display. For

CHAPTER 8. CLIP VIEW 104cannot be looped.You can click and drag to change the position and length of the loop brace in the SampleDisplay, or you can t

CHAPTER 8. CLIP VIEW 105Setting the Clip to RunInto a Loop.The Loop Length and Position elds are equipped with Set buttons, which can be used tocreat

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

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

CHAPTER 3. AUTHORIZING LIVE 9To use Live on more than one computer at a time, you may require a secondary license or asite license. Ableton offers the

CHAPTER 8. CLIP VIEW 108this reason, we have provided a Legacy Hi-Q Mode option, which is enabled by default inthe Options menu whenever you load an o

CHAPTER 8. CLIP VIEW 1098.2.8 Clip RAM ModeThe RAM Mode Switch.If the RAM Mode switch is on, Live is loading the audio referenced by the clip into the

CHAPTER 8. CLIP VIEW 110Processed/Reverse. Until the Set is saved, new samples remain at the location specied bythe Temporary Folder.There are a few

CHAPTER 8. CLIP VIEW 111be retained. The Warp Markers will be retained only if the new sample has the exact samelength as the old sample.The Sample Di

CHAPTER 8. CLIP VIEW 1128.3.2 Bank and Program ChangeLive can send MIDI bank/program change messages to external devices and plug-ins thatsupport MIDI

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

CHAPTER 9. TEMPO CONTROL AND WARPING 114in hundredths of a BPM allows for enough precision to adjust to live performers or otherunsynchronized sources

CHAPTER 9. TEMPO CONTROL AND WARPING 115Although Live can be easily synchronized to external MIDI devices, you may nd yourself insituations in which

CHAPTER 9. TEMPO CONTROL AND WARPING 116Preferences. If the Auto-Warp Long Samples preference is on, Live assumes that longsamples contain music that

CHAPTER 9. TEMPO CONTROL AND WARPING 117Warp Markers can also be deleted by double-clicking them, or by pressing the computerkeyboard's orDeletek

10Chapter 4Live ConceptsThis chapter introduces the essential concepts of Live. We advise you to read this chapterearly in your Live career, as a soli

CHAPTER 9. TEMPO CONTROL AND WARPING 118Transient Markers.As you mouse over transients, temporary pseudo Warp Markers appear. These havethe same sha

CHAPTER 9. TEMPO CONTROL AND WARPING 1199.2.3 Using Warp MarkersIn the following sections, we will look at a couple of applications for time-warping s

CHAPTER 9. TEMPO CONTROL AND WARPING 120you can eliminate silence after the actual loop end by placing a Warp Marker at the sample'sright edge.Se

CHAPTER 9. TEMPO CONTROL AND WARPING 121If a single event in a percussion loop comes late, just pin a Warp Marker to it and drag themarker to the corr

CHAPTER 9. TEMPO CONTROL AND WARPING 122Auto-Warp's Results inthe Clip View.As long as Auto-Warp made the correct set of informed guesses, the cl

CHAPTER 9. TEMPO CONTROL AND WARPING 123Using the Context Menuto Direct Auto-Warp.Directing Auto-Warp is also relatively simple when you have imported

CHAPTER 9. TEMPO CONTROL AND WARPING 124The four Warp From Here commands provide various ways of resetting Warp Markers tothe right of the selected gr

CHAPTER 9. TEMPO CONTROL AND WARPING 1259.2.4 Quantizing AudioIn the previous section, you learned how to adjust the timing of events in audio les by

CHAPTER 9. TEMPO CONTROL AND WARPING 126The warp modes are different varieties of granular resynthesis techniques. Granular resyn-thesis achieves time

CHAPTER 9. TEMPO CONTROL AND WARPING 127The Transient Envelope slider applies a volume fade to each segment of audio. At 100,there is no fade. At 0, e

CHAPTER 4. LIVE CONCEPTS 11Selecting the Library bookmark in Live's File Browser will take you to the Live Library ofcreative tools. Depending on

128Chapter 10Editing MIDI Notes and VelocitiesA MIDI clip in Live contains notes and controller data for playing a MIDI instrument. Thisinstrument can

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 12910.2 The MIDI EditorTo bring up the MIDI Editor, double-click a MIDI clip to open the Clip View. You

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 130Previewing MIDI Notes.Provided your MIDI track's device chain contains an instrument, activating

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 131The MIDI Editor has both vertical and horizontal navigation. Along the horizontal axis liesa time rul

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 132It always shows the complete contents of the selected MIDI clip. The blackrectangular outline represe

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 13310.4 Editing MIDI10.4.1 Non-Destructive EditingYou can always return your MIDI clip to its previous s

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 134Use the Loop/RegionMarkers to Select aSpecic Region of theClip to Play.10.4.3 Grid SnappingMost func

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 135Clicking and dragging in the background selects a timespan. To select all of the notesthat begin duri

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 136Selecting a note (or notes) makes it subject to commands from the Edit menu, such as Copyand Paste. N

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 137Cut Time cuts a selection of time from the MIDI clip, thereby moving any notes oneither side of the c

CHAPTER 4. LIVE CONCEPTS 12The Arrangement View and the Session View interact in useful ways. One can, for instance,improvise with Session clips and r

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 138Quantizing MIDI Notes.Using the options presented here, you can select either the current grid size o

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 139As in the Note Editor, you can select multiple velocity markers to change by clicking withthe modier

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 140movement, Live will remember the change and use your new velocity on any notes that youdraw afterward

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 141When multiple notes are selected in the Note Editor, the Stretch Notes command becomesavailable from

142Chapter 11Using GroovesThe timing and feel of each clip in your Set can be modied through the use of grooves.Live's Library includes a larg

CHAPTER 11. USING GROOVES 143groove le to the clip. If you want to quickly try out a variety of grooves, you can enable theHot-Swap button above a cl

CHAPTER 11. USING GROOVES 144The Groove Pool.11.1.1 Adjusting Groove ParametersGrooves in the Groove Pool appear in a list, and offer a variety of par

CHAPTER 11. USING GROOVES 145to every voice in your clip, so notes that originally occurred together will now berandomly offset both from the grid and

CHAPTER 11. USING GROOVES 146or Groove Pool into a MIDI track. This will create a new MIDI clip, which you can then edit,as you would with any other M

CHAPTER 11. USING GROOVES 14711.3.2 Creating Texture With RandomizationYou can use a groove's Random parameter to create realistic doublings. Thi

CHAPTER 4. LIVE CONCEPTS 13The exclusivity of clips in a track also implies that, at any one time, a track will either playa Session clip or an Arrang

148Chapter 12Launching ClipsThe Live Session V iew is set apart by the fact that it gives you, the musician, a spontaneousenvironment that encourages

CHAPTER 12. LAUNCHING CLIPS 149Use the Clip View BoxSelector to Bring up theLaunch Box.Note that you can edit the launch settings of more than one cli

CHAPTER 12. LAUNCHING CLIPS 15012.3 Clip Launch QuantizationThe Clip QuantizationChooser.The Clip Quantization chooser lets you adjust an onset timing

CHAPTER 12. LAUNCHING CLIPS 151The Velocity Amount control allows you to adjust the effect of MIDI note velocity on theclip's volume: If set to z

CHAPTER 12. LAUNCHING CLIPS 152same group after the clip plays. A group is dened by clips arranged in successive slots ofthe same track. Tracks can h

CHAPTER 12. LAUNCHING CLIPS 153Play First Clip launches the rst (top) clip in a group.Play Last Clip launches the last (bottom) clip in a group.

CHAPTER 12. LAUNCHING CLIPS 15423Creating a Group Withthe Two Clips.3. Set up Follow Actions for the rst clip. You will want to make Follow Action Ti

CHAPTER 12. LAUNCHING CLIPS 155The default setting for Follow Action is actually a 1:0 chance that Nothing happens afterthe Follow Action Time, whic

CHAPTER 12. LAUNCHING CLIPS 15612.6.5 Mixing up Melodies and BeatsYou can let Follow Actions perform unpredictable remixes and solos for you: Use a cl

157Chapter 13Routing and I/OIn the context of Live, routing is the setup of the tracks' signal sources and destinations(i.e., their inputs and

CHAPTER 4. LIVE CONCEPTS 14recorded and played back using MIDI tracks. The two track types have their own corre-sponding clip types. Audio clips canno

CHAPTER 13. ROUTING AND I/O 158For every track that can play clips, the In/Out section has the same layout:The upper chooser pair (Audio/MIDI From)

CHAPTER 13. ROUTING AND I/O 159Audio and MIDI TrackArm Buttons.To permanently monitor the track's input, regardless of whether the track is armed

CHAPTER 13. ROUTING AND I/O 160reached via the Input and Output Channel choosers' Congure... option. Note thatthe Audio Preferences also provi

CHAPTER 13. ROUTING AND I/O 16113.3.1 The MIDI Ports List in the PreferencesThe MIDI Ports List inthe Preferences.You can congure which MIDI ports ar

CHAPTER 13. ROUTING AND I/O 162As it happens, when the computer keyboard is set to send notes between C3 and C4, thekeys are mapped to MIDI notes such

CHAPTER 13. ROUTING AND I/O 163source has been enabled in the MIDI Ports List in the Preferences;2. MIDI messages that are used for remote-controlling

CHAPTER 13. ROUTING AND I/O 1643. Select Reason from the MIDI track's Output Type chooser.4. The Output Channel chooser presents you with a lis

CHAPTER 13. ROUTING AND I/O 165Temporary Folder.13.6 Inter nal RoutingsLive's mixer allows for inter-track routings. These routings, albeit poten

CHAPTER 13. ROUTING AND I/O 166Approach 2, on the other hand, leaves Track A unaffected except for Track B tapping itsoutput. We can easily add more t

CHAPTER 13. ROUTING AND I/O 167Routing Points in RacksTap Points for EveryChain in a Track.If a track has one or more Instrument or Effect Racks in it

CHAPTER 4. LIVE CONCEPTS 15An Audio Clip'sProperties as Displayedin the Clip View.Many powerful manipulations arise from Live's warping capa

CHAPTER 13. ROUTING AND I/O 16813.6.2 Making Use of Internal RoutingThis section presents several internal routing examples in more detail.Post-Effect

CHAPTER 13. ROUTING AND I/O 169Recording MIDI as AudioWhen working with MIDI and complex software instruments, it is sometimes more usefulto record th

CHAPTER 13. ROUTING AND I/O 170Creating SubmixesSubmixing the IndividualDrums of a Drum Kit.Suppose we have the individual drums of a drum kit coming

CHAPTER 13. ROUTING AND I/O 171Several MIDI Tracks Playing the Same InstrumentConsider a MIDI track containing a virtual instrument  a Simpler playin

CHAPTER 13. ROUTING AND I/O 172The Instrument HasBeen Isolated in aDedicated Track.We might be bothered by the fact that muting the pad track (by turn

CHAPTER 13. ROUTING AND I/O 173Using Impulse'sIndividual Outs toSeparately ProcessSample Slots.We simply create an audio track and select from it

CHAPTER 13. ROUTING AND I/O 174Tracks Feeding MIDI toand Tapping AudioFrom the Parts of aMulti-TimbralInstrument.Sending MIDI from the mixer to a mult

CHAPTER 13. ROUTING AND I/O 175Routing a Speech SignalInto a Vocoder'sSidechain Input.Some vocoder plug-ins include a built-in synthesizer to gen

CHAPTER 13. ROUTING AND I/O 176Using an Auxiliary MIDITrack to LayerInstruments.Perhaps you wonder why this works, given that the string track's

177Chapter 14Mixing14.1 The Live MixerLive includes a mixer section that is accessible from two views:The Arrangement ViewMixer.In the Arrangement Vie

CHAPTER 4. LIVE CONCEPTS 16MIDI Files Are Draggedin from Live's FileBrowsers.As you'd expect, a MIDI clip's contents can be accessed an

CHAPTER 14. MIXING 178The Session View Mixer.The Session View is a standard vertical mixer layout. You'll likely nd the Session View mixermore i

CHAPTER 14. MIXING 179Let's look at the mixer controls:121365445 632The Mixer Controls.1. The Meter shows the track's RMS (average) and peak

CHAPTER 14. MIXING 18014.1.1 Session Mixer FeaturesThe Session Mixer'sPossibilities.The Mixer section of the Session Mixer has several additional

CHAPTER 14. MIXING 18114.2 Audio and MIDI TracksAudio and MIDI tracks in Live are for hosting and playing clips, as explained earlier.You can add up t

CHAPTER 14. MIXING 182particular knob or slider parameter (volume, for example), this difference will be maintainedas you adjust the parameter.If you

CHAPTER 14. MIXING 183A clip track's Send control regulates how much of the track's output feeds the associatedreturn track's input. Wh

CHAPTER 14. MIXING 184curve, (PC) /Ctrl(Mac) on the crossfader, then select an entry from the contextmenu.Choose from SevenCrossfader Curves.The chart

CHAPTER 14. MIXING 185A key mapped to any one of the three assignable crossfader positions (left, center orright) will toggle the crossfader's ab

CHAPTER 14. MIXING 18614.5 Soloing and CueingBy default, soloing a track simply mutes all other tracks (except in some cases where tracksare feeding o

CHAPTER 14. MIXING 187for cueing. This has to be set to an output other than that selected for the Master.If the desired outputs don't show up in

CHAPTER 4. LIVE CONCEPTS 17The Track ViewDisplaying a MIDI Track'sDevice Chain.Live's built-in audio effects, MIDI effects and instruments a

CHAPTER 14. MIXING 188automatic by default. Unusually high Track Delay settings or reported latencies from plug-ins may cause noticeable sluggishness

189Chapter 15Recording New ClipsThis chapter is about recording new clips from audio and MIDI input signals. Note that thisis a different kind of reco

CHAPTER 15. RECORDING NEW CLIPS 190The Track In/Out Sectionin the Arrangement(Left) and Session View(Right).Audio tracks default to recording a stereo

CHAPTER 15. RECORDING NEW CLIPS 191If you are using a natively supported control surface, arming a MIDI track will automaticallylock this control surf

CHAPTER 15. RECORDING NEW CLIPS 1921. Recording commences when the Control Bar's Record button is activated andthe Play button is pressed.2. Reco

CHAPTER 15. RECORDING NEW CLIPS 19334 12Recording a New ClipInto the Session View.1. Set the Global Quantization chooser to any value other than None

CHAPTER 15. RECORDING NEW CLIPS 19415.3.3 Overdub Recording MIDI PatternsLive makes pattern-oriented recording of drums and the like quite easy. Using

CHAPTER 15. RECORDING NEW CLIPS 19515.3.4 MIDI Step RecordingThe MIDI Editor allows you to record notes with the transport stopped by holding down key

CHAPTER 15. RECORDING NEW CLIPS 19615.4 Recording in SyncLive keeps the audio and MIDI you have recorded in sync, even when you later decide on adiffe

CHAPTER 15. RECORDING NEW CLIPS 19715.5 Recording Quantized MIDI NotesIf you will be recording MIDI, you have the option of automatically quantizing M

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

CHAPTER 4. LIVE CONCEPTS 18available from the Plug-In Device Browser.Plug-In Devices AreAvailable from thePlug-In Device Browser.Consider an audio cli

CHAPTER 15. RECORDING NEW CLIPS 19815.7 Setting up File TypesThe following Preferences from the Record/Warp/Launch tab are relevant to the sample les

CHAPTER 15. RECORDING NEW CLIPS 199The Scene Up/DownButtons.One key is used to jump to the next scene...A Track Launch Button... and another key to s

200Chapter 16Working with Instruments andEffectsEvery track in Live can host a number of devices. These devices can be of three differentsorts:MIDI ef

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 201Devices in the TrackView.To save space in the Track View, a device can be collapsed by double-clic

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 20216.1 Using the Live DevicesThe Live Device Browser.Click on the Device Browser selector to access

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 203MIDI and Audio TrackArm ButtonsThis is how you would play live instruments through effects on a tr

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 204A MIDI Track's DeviceChain Can Contain AllThree Device Types.To remove a device from the chai

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 205Devices in Live's tracks have input and output level meters. These meters are helpful inndin

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 206Presets in the DeviceBrowser.You can browse and load presets quickly with the computer keyboard:Sc

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 207Saving PresetsYou can create and save any number of your own presets in the Device Browser.The Sav

CHAPTER 4. LIVE CONCEPTS 19The Live Mixer in theArrangement View (Left)and Session View (Right).The mixer has controls for volume, pan position and se

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 208To save the current settings of a device as a default preset, open the (PC) /Ctrl(Mac) context men

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 209The Plug-In DeviceBrowser.Audio Units and VST Plug-ins are browsed and imported using the Plug-In

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 210You can also rescan if you believe that your plug-in database has somehow become cor-rupted. Holdi

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 211Showing Plug-In Panels in Separate WindowsThe Plug-In Edit Button.The Plug-In Edit button opens a

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 212Plug-In Congure ModeThe Congure Button.Congure Mode allows you to customize Live's panel t

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 213in the panel's X-Y eld. These entries are removed when you adjust another param-eter. To mak

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 21416.2.2 Plug-In Performance OptionsThe CPU Preferences contain a Plug-In Buffer Size setting for ba

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 2152. Once you have selected a VST Custom Folder and Live has scanned it, the pathwill be displayed.

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 216System folder on Mac OS X) selected in Live's File/Folder Preferences. The alias can pointto

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 217The VST Load Programor Bank Button (Left) andSave Program or BankButton (Right).VST programs and b

CHAPTER 4. LIVE CONCEPTS 20A MIDI Effect, anInstrument and an AudioEffect in a MIDI Track.If a MIDI track has no instrument (and no audio effects), th

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 218on the Use Audio Units option activates Audio Units Plug-ins so that they appear in Live'sPlu

CHAPTER 16. WORKING WITH INSTRUMENTS AND EFFECTS 219Device delay compensation is on by default and does not normally have to be adjustedin any way. Ho

220Chapter 17Instrument, Drum and Effect RacksA Rack is a exible tool for working with effects, plug-ins and instruments in a track'sdevice chai

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 22117.1 An Overview of Racks17.1.1 Signal Flow and Parallel Device ChainsInside An Audio EffectRack (As

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 22217.1.2 Macro ControlsThe Macro Controls.One unique property of Racks are their Macro Controls.The Mac

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 22317.2.1 Pad ViewPad View (As It Appearsin the Full Version ofLive).The Pad View is unique to Drum Rack

CHAPTER 17. INSTRUMENT, DRUM AND EFFECT RACKS 224Pad View excels as a performance interface, particularly when triggered by a hardwarecontrol surface

225Chapter 18Automation and Editing EnvelopesOften, when working with Live's mixer and devices, you will want the controls' movementsto beco

CHAPTER 18. AUTOMATION AND EDITING ENVELOPES 226Volume, Pan and theTrack Activator SwitchHave Been Automated.18.2 Deleting AutomationTo delete automat

CHAPTER 18. AUTOMATION AND EDITING ENVELOPES 2272. You can click on it to reactivate all automation and thereby return to the automa-tion state as it

CHAPTER 4. LIVE CONCEPTS 214.9 RoutingAs we have seen, all tracks deliver signals, either audio or MIDI. Where do these signalsgo? This is set up in t

CHAPTER 18. AUTOMATION AND EDITING ENVELOPES 228an overview of which devices actually have automation by showing an LED nextto their labels. You can m

CHAPTER 18. AUTOMATION AND EDITING ENVELOPES 229Drawing an Envelope.Drawing creates steps as wide as the visible grid, which you can modify using a nu

CHAPTER 18. AUTOMATION AND EDITING ENVELOPES 230them. Holding down theCtrl(PC) / (Mac) modier while dragging switchesto a ner resolution.Click and d

CHAPTER 18. AUTOMATION AND EDITING ENVELOPES 231To copy, cut, delete or duplicate automation from a track, independent of the associatedclip, make sur

232Chapter 19Clip EnvelopesEvery clip in Live can have its own clip envelopes. The aspects of a clip that are inuenced byclip envelopes change depend

CHAPTER 19. CLIP ENVELOPES 233To work with clip envelopes, bring up the Clip View's Envelopes box by activating therightmost Clip View Box select

CHAPTER 19. CLIP ENVELOPES 2341. Enclose the desired selection in the loop brace, and click the brace so that it isselected. This will execute the Edi

CHAPTER 19. CLIP ENVELOPES 23519.2.2 Changing Pitch and Tuning per NoteDrop a sample loop from the Browser into Live and play it. Click on the Transpo

CHAPTER 19. CLIP ENVELOPES 236(Mac) modier while drawing or moving breakpoints to obtain a ner resolution.To scroll the display, hold down theCtrlAl

CHAPTER 19. CLIP ENVELOPES 237Try sample offset modulation with a one-bar drum loop: Make sure Beats Mode is chosen;in the Envelopes box, choose Clip

CHAPTER 4. LIVE CONCEPTS 22button is on, every armed track records its input signal into the Arrangement. Every takeyields a new clip per track.Track

CHAPTER 19. CLIP ENVELOPES 23819.2.5 Using Clips as TemplatesAs you are making creative use of clip envelopes, the clips containing them develop a lif

CHAPTER 19. CLIP ENVELOPES 239Modulating the MixerVolume. The Little DotBelow the Volume SliderThumb Represents theModulated VolumeSetting.As you rais

CHAPTER 19. CLIP ENVELOPES 24019.4 MIDI Controller Clip EnvelopesWhether you are working with a new MIDI clip that was recorded directly into Live, or

CHAPTER 19. CLIP ENVELOPES 241will present in the rest of this chapter.19.5.1 Programming a Fade-Out for a Live SetLet us start with a straightforward

CHAPTER 19. CLIP ENVELOPES 242Now, as you play the clip, you can hear the one-bar loop fading out over eight bars.Please note: toggling Linked Mode ch

CHAPTER 19. CLIP ENVELOPES 243To keep this complexity under control, it is important to have a common point of reference.The start marker identies th

244Chapter 20Live Audio Effect ReferenceLive comes with a selection of custom-designed, built-in audio effects. The Working withInstruments and Effec

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 245There are four different lter types: lowpass, highpass, bandpass and notch. For each type,the X-Y controll

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 246periodic fashion. The respective Amount control sets how much the LFO affects the lter.This can be used in

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 247Auto Pan offers LFO-driven manipulation of amplitude and panning for creating automaticpanning, tremolo and

CHAPTER 4. LIVE CONCEPTS 23The Automated PanControl and itsEnvelope.Practically all mixer and effect controls in Live can be automated, even the song

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 248The Interval control denes how often Beat Repeat captures new material and begins re-peating it. Interval

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 249Beat Repeat includes a combined lowpass and highpass lter for dening the passed fre-quency range of the d

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 250To set both delay lines to Delay 1's delay time, turn on the link button (=). This is especiallyusef

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 251A compressor reduces gain for signals above a user-settable threshold. Compression re-duces the levels of p

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 252maximizing tool in the master channel. Less is often more here.Because compression reduces the volume of lo

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 253cise, and so works well for limiting tasks where you need to ensure that there are absolutelyno signals ove

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 254are the same signal. But by using sidechaining, it is possible to compress a signal basedon the level of an

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 255Mixing a VoiceoverSidechaining is commonly used for so-called ducking effects. For example, imagine thaty

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 25620.6 Dynamic TubeThe Dynamic TubeEffect.The Dynamic Tube effect infuses sounds with the peculiarities of tu

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 257to volume changes in the input signal. Together, they shape the dynamic nature of thedistortions. Note that

CHAPTER 4. LIVE CONCEPTS 24An Envelope for ClipTransposition.4.13 MIDI and Key RemoteTo liberate the musician from the mouse, most of Live's cont

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 258Low cut (cuts frequencies below the specied frequency);Low shelf (boosts or cuts frequencies lower than th

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 25920.8 EQ ThreeThe EQ Three Effect.If you have ever used a good DJ mixer you will know what this is: An EQ th

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 260controls are set to 0.00 dB. This is typical behavior for this kind of lter, and is part of EQThree's

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 26120.10 Filter DelayThe Filter Delay Effect.The Filter Delay provides three independent delay lines, each pre

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 262The Feedback parameter sets how much of the output signal returns to the delay line input.Very high values

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 263LFO speed is controlled with the Rate control, which can be set in terms of hertz. Rate canalso be synced t

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 264The Threshold slider sets the gate's sensitivity. If the gate is open and passing signal (i.e.,the sig

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 265by inserting a Gate on the pad's track and choosing the drum loop's track as the sidechaininput.2

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 266parameter to the Y-axis, use the parameter row on the left side.The Feedback parameter sets how much of the

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 267Phaser uses a series of all-pass lters to create a phase shift in the frequency spectrum of asound.The Pol

CHAPTER 4. LIVE CONCEPTS 254.14 Saving and ExportingSaving a Live Set saves everything it contains, including all clips, their positions and settings,

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 26820.15 Ping Pong DelayThe Ping Pong DelayEffect.The Ping Pong Delay effect uses a single tapped delay line t

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 269The Dry/Wet control adjusts the balance between the processed and dry signals. Set it to100 percent if usin

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 270If the downsample dial is set to 1, every input sample passes to the output and the signaldoes not change

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 271them. The rst resonator denes the root pitch and the four others are tuned relative to thispitch in music

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 27220.18 ReverbThe Reverb Effect.20.18.1 Input ProcessingThe input signal passes rst through high and low cut

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 273higher value can sometimes improve the source's intelligibility, while a lower value may givea smoothe

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 274adding to the frozen reverberation; when off, the input signal will contribute to the diffusedamplitude. Fl

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 275An X-Y grid helps to visualize Saturator's shaping curve. The shaper's input and output valuesare

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 276Activating the Color button enables two lters. The rst of these, controlled with the Basecontrol, dictate

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 277notes. For example, selecting 4 delays the signal by four 16th notes, which equals onebeat (a quarter not

CHAPTER 4. LIVE CONCEPTS 26MIDI sequences with matching instruments and effects, e.g., a MIDI drum pattern withthe associated Impulse and effects sett

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 27820.21 SpectrumThe Spectrum Device.Spectrum performs realtime frequency analysis of incoming audio signals.

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 279scaling, but switch the legending at the top of the display between Hertz and note names.Linear scaling is

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 280audible range. It will only have a sonic effect if a signal contains these frequencies and isprocessed afte

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 281needle and the recorded groove. The effect also features a crackle generator for addingnoisy artifacts.The

282Chapter 21Live MIDI Effect ReferenceLive comes with a selection of custom-designed, built-in MIDI effects. The Working withInstruments and Effects

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 283controlled by the device, which also provides a full complement of both classic and originalarpeggiator feat

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 284Pinky Up and PinkyUpDown.Thumb Up andThumb UpDown.Play Order places notes in the pattern according t

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 285can be added to the pattern simply by playing them. Notes can also be removed from thepattern in this scenar

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 286The dynamics of Arpeggiator are controlled using the velocity section. With Velocity setto On and Target s

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 287Note that no two notes of the same pitch can contribute to the chord, and that selectingthe same shift value

CHAPTER 4. LIVE CONCEPTS 27can enjoy the Essential Instrument Collection 2 LE, a multi-gigabyte library of meticulouslysampled and selected instrument

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 288Decay Time  This is the time needed for an incoming note's velocity to decay to zero. Thedecay begins

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 28921.5 RandomThe Random Effect.Random adds an element of the unknown to the otherwise commonplace pitch parame

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 290C3 once will trigger C3, and each successive C3 will trigger the next semitone higher untilthe device reache

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 291You could, for example, shift a melody written in C major to G major by setting Transposeto +7 st.Fold makes

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 292Out Low to 127, the slope of the line will be reversed, and softly played notes will actuallyproduce the lou

293Chapter 22Live Instrument ReferenceLive Intro comes with a selection of custom-designed, built-in instruments. The Workingwith Instruments and Eff

CHAPTER 22. LIVE INSTRUMENT REFERENCE 29422.1 ImpulseThe Impulse Instrument.Impulse is a drum sampler with complex modulation capabilities. The eight

CHAPTER 22. LIVE INSTRUMENT REFERENCE 295automation, which are applied once a new note starts. If you want to achieve continuouschanges as a note play

CHAPTER 22. LIVE INSTRUMENT REFERENCE 29622.1.4 Saturator and EnvelopeThe Saturator gives the sample a fatter, rounder, more analog sound, and can be

CHAPTER 22. LIVE INSTRUMENT REFERENCE 297this signal to a separate track. Please see the Routing chapter to learn how to accomplishthis for Impulse&ap

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

28Chapter 5Managing Files and SetsVarious types of les are used in making music with Live, from those containing MIDI andaudio, to more program-speci

CHAPTER 22. LIVE INSTRUMENT REFERENCE 29822.2.2 Sample ControlsSimpler plays a specic region or loop of the sample, as determined by a group of sampl

CHAPTER 22. LIVE INSTRUMENT REFERENCE 299vertically to zoom, and drag horizontally to pan different areas of the sample into view.22.2.4 EnvelopeSimpl

CHAPTER 22. LIVE INSTRUMENT REFERENCE 30030 Hz, or sync to divisions of the Set's tempo. LFOs are applied individually to each voice,or played no

CHAPTER 22. LIVE INSTRUMENT REFERENCE 301The Voices parameter sets the maximum number of voices that Simpler can play simultane-ously. If more voices

CHAPTER 22. LIVE INSTRUMENT REFERENCE 302SONiVOX, Chocolate Audio and Puremagnetik.Note  The Essential Instrument Collection 2 LE Edition is not incl

CHAPTER 22. LIVE INSTRUMENT REFERENCE 30322.3.3 The Included InstrumentsThe following multisampled instruments are included:Acoustic Keyboards  Grand

304Chapter 23Max for LiveMax for Live, an add-on product co-developed with Cycling '74, allows users to extend andcustomize Live by creating inst

CHAPTER 23. MAX FOR LIVE 305on authorizing Live contains more information about this process, and in-depth instructionscan be found at the Ableton web

CHAPTER 23. MAX FOR LIVE 306To avoid these issues, we recommend always storing Max devices and their presets in thesame folder. Live's Library is

CHAPTER 23. MAX FOR LIVE 307To load an empty Max device, drag a Max Instrument, Max MIDI Effect or Max Audio Effectfrom the Device Browser into your S

CHAPTER 5. MANAGING FILES AND SETS 29The File BrowserSelector Buttons.Each Browser can point to a different disk location, which Live will remember ac

CHAPTER 23. MAX FOR LIVE 308location.Note: unlike Live's native devices, Max devices are not saved inside Live Sets, but rather asseparate les.2

309Chapter 24MIDI and Key Remote ControlTo liberate the musician from the mouse, most of Live's controls can be remote-controlledwith an external

CHAPTER 24. MIDI AND KEY REMOTE CONTROL 31024.1 MIDI Remote ControlLive can be controlled remotely by external MIDI control surfaces, such as MIDI key

CHAPTER 24. MIDI AND KEY REMOTE CONTROL 311listed here, don't fret  it can still be enabled manually in the next section, Manual ControlSurface

CHAPTER 24. MIDI AND KEY REMOTE CONTROL 312Control Surfaces CanFollow Device Selection.In addition to following device selection, natively supported c

CHAPTER 24. MIDI AND KEY REMOTE CONTROL 313Note: Some control surfaces do not support locking to devices. This capability is indicatedfor individual c

CHAPTER 24. MIDI AND KEY REMOTE CONTROL 31424.1.3 Takeover ModeMIDI ControllerTakeover Mode.When MIDI controls that send absolute values (such as fade

CHAPTER 24. MIDI AND KEY REMOTE CONTROL 31524.2 The Mapping BrowserThe Mapping Browserand Selector.All manual MIDI, computer keyboard and Macro Contro

CHAPTER 24. MIDI AND KEY REMOTE CONTROL 316Once your remote control setup has been dened in the MIDI/Sync Preferences, giving MIDIcontrollers and not

CHAPTER 24. MIDI AND KEY REMOTE CONTROL 31724.2.3 Mapping to Absolute MIDI ControllersAbsolute MIDI controllers send messages to Live in the form of a

CHAPTER 5. MANAGING FILES AND SETS 30Library Is thisBrowser's Root.The Browser root can easily be changed: The topmost Browser item, called Pa

CHAPTER 24. MIDI AND KEY REMOTE CONTROL 318Live to pan right, causing an abrupt jump in the track's panning. A pan knob sending relativemessages

CHAPTER 24. MIDI AND KEY REMOTE CONTROL 319Relative Session View NavigationNotice that you can make not only absolute mappings to individual slots and

CHAPTER 24. MIDI AND KEY REMOTE CONTROL 320it is important to remember that creating remote control mappings for any control in theClip View interface

CHAPTER 24. MIDI AND KEY REMOTE CONTROL 321Please be sure not to confuse this remote control functionality with Live's ability to usethe computer

322Chapter 25Using the APC40The APC40 (Ableton Performance Controller) is a dedicated controller for Ableton Live, co-designed by Ableton and Akai Pro

CHAPTER 25. USING THE APC40 323Setting Up The APC40.25.2 Clip Launch MatrixThe APC40's matrix of buttons gives you physical access to the clips i

CHAPTER 25. USING THE APC40 324Session View Clip andNavigation Controls.Pressing a Clip Launch button triggers the clip in the corresponding clip slot

CHAPTER 25. USING THE APC40 325APC's button matrix are shown in Live with a red border.The directional arrows and Shift button increase the scope

CHAPTER 25. USING THE APC40 32625.4 Mixer SectionThe APC40 features eight tracks, each with its own fader, solo/pre-cue, activator and recordarm butto

CHAPTER 25. USING THE APC40 32725.5 Device ControlThe APC40 features eight endless dials and four control buttons that map to your devicesautomaticall

CHAPTER 5. MANAGING FILES AND SETS 31File Browser's selector button will do the same.5.1.2 Browser BookmarksUsing bookmarks, you can quickly save

CHAPTER 25. USING THE APC40 328the Shift button, these eight buttons let you select eight banks of eight device parametercontrols. For more informatio

CHAPTER 25. USING THE APC40 329MIDI Overdub lets you overdub on a MIDI clip.Metronome turns the metronome on and off.25.7 Track ControlThe Track Contr

CHAPTER 25. USING THE APC40 33025.8 Tempo ControlTap Tempo and Nudge Left/Right buttons are essential for live performance, helping you tostay in sync

CHAPTER 25. USING THE APC40 33125.9 CrossfaderThe APC40's replaceable crossfader is an essential DJ control, and is also handy for control-ling e

CHAPTER 25. USING THE APC40 33225.10 Customizing the APC40 ControlsYou can change the assignment of all of the knobs, faders and buttons on the APC40

333Chapter 26Using the APC20The APC20 (Ableton Performance Controller) is a dedicated controller for Ableton Live, co-designed by Ableton and Akai Pro

CHAPTER 26. USING THE APC20 334Setting Up The APC20.26.2 Clip Launch MatrixThe APC20's matrix of buttons gives you direct access to the clips in

CHAPTER 26. USING THE APC20 335Session View Clip andNavigation Controls.Pressing a Clip Launch button triggers the clip in the corresponding clip slot

CHAPTER 26. USING THE APC20 336reects what's happening on the controller. The clip slots currently being controlled by theAPC's button matr

CHAPTER 26. USING THE APC20 337Transport and GlobalControls.26.5 MixerThe Mixer section gives you control of your mix, as well as all soloing, pre-cue

CHAPTER 5. MANAGING FILES AND SETS 32Activating BrowserSearch Mode.After entering your search terms, begin the search by clicking the Go button or pre

CHAPTER 26. USING THE APC20 338Mixer Controls.The Vol, Pan, Send A, Send B, Send C, User 1, User 2 and User 3 buttons provide additionalcontrol possib

CHAPTER 26. USING THE APC20 33926.6 Note ModePressing the Note Mode button changes the functionality of the clip launch matrix. WhenNote Mode is on (i

CHAPTER 26. USING THE APC20 340topmost controller selected in your preferences will control tracks 1-8, the second controllerselected will control tra

341Chapter 27Using the LaunchpadThe Launchpad is a dedicated controller for Ableton Live, co-designed by Ableton andNovation1. Launchpad has 64 square

CHAPTER 27. USING THE LAUNCHPAD 342Setting Up TheLaunchpad.27.2 Launchpad's Four ModesLaunchpad's ModeButtons.The row of buttons on the top

CHAPTER 27. USING THE LAUNCHPAD 343Launchpad SessionMode Button.27.3.1 Launching ClipsSession Mode.When Launchpad is chosen as an active control surfa

CHAPTER 27. USING THE LAUNCHPAD 344The Left and Right arrow keys move you left or right one track at a time. Hold theSession button while hitting Left

CHAPTER 27. USING THE LAUNCHPAD 345The Launchpad's Session Overview lets you navigate through large Live Sets quickly withoutlooking at your comp

CHAPTER 27. USING THE LAUNCHPAD 34627.4.1 Customizing the Launchpad ControlsYou can change the assignment of all of the Launchpad's controls by e

CHAPTER 27. USING THE LAUNCHPAD 34727.5 Mixer ModeLaunchpad MixerButtons.Launchpad's Mixer mode gives you access to essential mixing controls in

CHAPTER 5. MANAGING FILES AND SETS 33Automatic rescanning for new searches can be activated and deactivated in the File/FolderPreferences.While a sear

CHAPTER 27. USING THE LAUNCHPAD 34827.5.1 Mixer OverviewLaunchpad MixerOverview.This is the view displayed when pressing the Mixer button. It provides

CHAPTER 27. USING THE LAUNCHPAD 349pads in the arm row will arm this trackThe bottom four buttons on the right provide additional control for each t

CHAPTER 27. USING THE LAUNCHPAD 35027.5.3 The Pan PageLaunchpad Pan Page.Press the pan button to enter the Pan page.In the Pan page, all eight pads

CHAPTER 27. USING THE LAUNCHPAD 35127.5.4 The Send PagesLaunchpad Send Page.Press the snd A or snd B button to enter a Send page.In the two Send p

352Chapter 28Synchronization and ReWire28.1 Synchronizing via MIDIThe MIDI protocol denes two ways to synchronize sequencers, both of which are suppo

CHAPTER 28. SYNCHRONIZATION AND REWIRE 353are explained later in this chapter. With respect to MIDI Timecode, Live can only actas a MIDI sync slave, n

CHAPTER 28. SYNCHRONIZATION AND REWIRE 354The External SyncSwitch.When Live is synced to an external MIDI device, it can accept song position pointers

CHAPTER 28. SYNCHRONIZATION AND REWIRE 355pronounced percussive sounds. While listening to the output from both, adjust the SyncDelay control until bo

CHAPTER 28. SYNCHRONIZATION AND REWIRE 35628.2.1 Running Live in ReWire Master ModeThe step-by-step procedure for sending MIDI to and receiving audio

CHAPTER 28. SYNCHRONIZATION AND REWIRE 35728.2.3 More on ReWireYou can nd tutorials on connecting Live to specic ReWire master programs at the Ablet

CHAPTER 5. MANAGING FILES AND SETS 34The Rotating RingMeans That a Search isin Progress.For mouse-free searching, we suggest the following sequence of

358Chapter 29Computer Audio Resources andStrategiesReal-time audio processing is a demanding task for general-purpose computers, which areusually desi

CHAPTER 29. COMPUTER AUDIO RESOURCES AND STRATEGIES 359Fortunately, Live supports multicore and multiprocessor systems, allowing the processingload fr

CHAPTER 29. COMPUTER AUDIO RESOURCES AND STRATEGIES 36029.1.2 CPU Load from Tracks and DevicesGenerally, every track and device being used in Live inc

CHAPTER 29. COMPUTER AUDIO RESOURCES AND STRATEGIES 361Draw and edit mixer automation and mixer clip envelopes;Consolidate;Record Session View clip la

CHAPTER 29. COMPUTER AUDIO RESOURCES AND STRATEGIES 362You can also decide to atten frozen tracks, which completely replaces the original clips andde

363Chapter 30Audio Fact SheetPrior to the release of Live 7, much of Ableton's development effort was focused on carefullyand objectively testing

CHAPTER 30. AUDIO FACT SHEET 364we will never release an update unless it passes every test.30.2 Neutral OperationsProcedures in Live that will cause

CHAPTER 30. AUDIO FACT SHEET 365rendering to a le with the same bit depth as the original results in complete phasecancellation.rendering to a le wi

CHAPTER 30. AUDIO FACT SHEET 36630.2.4 Summing at Single Mix PointsSince version 7, Live uses double precision (64-bit) summing at all points where si

CHAPTER 30. AUDIO FACT SHEET 36730.2.7 Freeze, FlattenWhen tracks are frozen, the audio les that are created are 32 bit, which ensures that theywill

CHAPTER 5. MANAGING FILES AND SETS 35The Preview Switch.Hint: You can preview les even when the Preview switch is not activated by pressingReturnor .

CHAPTER 30. AUDIO FACT SHEET 36830.2.8 Bypassed EffectsBypassed effects in Live are removed from the signal ow. This is true for both Live's bui

CHAPTER 30. AUDIO FACT SHEET 369In all cases, output is rendered and compared with the output of an unsplit version of thesame source. Phase cancellat

CHAPTER 30. AUDIO FACT SHEET 370transposition in a given Set. The algorithm behind the Hi-Q switch was rewritten for Live 7,and now results in conside

CHAPTER 30. AUDIO FACT SHEET 371audio signals that are being processed by effects plug-ins, internal recording at 32 bits isrecommended. Please note,

CHAPTER 30. AUDIO FACT SHEET 37230.3.9 GroovesUnder most conditions, playback of a warped clip that is at the same tempo as the Set isa neutral operat

CHAPTER 30. AUDIO FACT SHEET 37330.5 Summary and ConclusionsAbleton wrote this paper in order to help users understand exactly how audio is affectedwh

374Chapter 31MIDI Fact SheetIn conjunction with our work on the audio engine, Ableton has spent additional effort an-alyzing Live's MIDI timing a

CHAPTER 31. MIDI FACT SHEET 375environment would capture this incoming information with perfect timing accu-racy in relation to the timeline of the so

CHAPTER 31. MIDI FACT SHEET 376data into a plug-in's playback, for example. Jitter-free MIDI timing involvesaccurate conversion between different

CHAPTER 31. MIDI FACT SHEET 377For playback of hardware devices, Live also generates timestamps that it attempts to com-municate to the MIDI interface

CHAPTER 5. MANAGING FILES AND SETS 36To learn how to set up Live for cueing, please refer to the relevant section of the Mixingchapter.5.1.5 Adding Cl

CHAPTER 31. MIDI FACT SHEET 37831.5 Tests and ResultsOur procedure for testing the timing of incoming MIDI events is represented in the followingdiagr

CHAPTER 31. MIDI FACT SHEET 379At 44.1 kHz and 512 sample buffer, occasional events with +/- 6 ms occurred. In allcases, the majority of the jitter oc

CHAPTER 31. MIDI FACT SHEET 38031.6 Tips for Achieving Optimal MIDI Perfor manceIn order to help users achieve optimal MIDI performance with Live, we

CHAPTER 31. MIDI FACT SHEET 38131.7 Summary and ConclusionsAbleton wrote this paper in order to help users understand a variety of related topics:the

382Chapter 32Live Keyboard Shortcuts32.1 Showing and Hiding ViewsWindows MacintoshToggle Full Screen ModeF11CtrlF11Toggle Session/Arrangement ViewTogg

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 383Windows MacintoshClose Window/DialogEscEsc32.2 Accessing MenusUnder Windows, you can access each menu by pressi

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 38432.4 BrowsingIn addition to the shortcuts shown here, editing shortcuts can also be used in the Browser.Windows

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 38532.6 EditingWindows MacintoshCutCtrlXXCopyCtrlCCPasteCtrlVVDuplicateCtrlDDDeleteDeleteUndoCtrlZZRedoCtrlYZRenam

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 38632.7 Loop Brace and Start/End MarkersThe loop brace and start/end markers must rst be selected before any of t

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 38732.9 Arrangement View CommandsThe shortcuts for zooming, snapping/drawing and loop/region settings also work in

CHAPTER 5. MANAGING FILES AND SETS 37Rename les and folders using the Edit menu's Rename command or theCtrlR(PC) /R(Mac) shortcut. Cancel renami

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 38832.11 Commands for Breakpoint EnvelopesThe shortcuts for zooming, snapping/drawing and loop/region settings als

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 38932.13 Zooming, Display and SelectionsWindows MacintoshZoom In++Zoom Out--Drag/Click to Append to a SelectionCli

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 39032.15 Clip View MIDI EditorThe shortcuts for zooming, snapping/drawing and loop/region settings also work in th

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 39132.17 Global QuantizationWindows MacintoshSixteenth-Note QuantizationCtrl6 6 Eighth-Note QuantizationCtrl7

CHAPTER 32. LIVE KEYBOARD SHORTCUTS 39232.19 Working with Plug-Ins and DevicesWindows MacintoshShow/Hide Plug-In WindowsCtrlAltPAltPOpen Second/Multip

393Chapter 33Live Intro vs. Live 8 ComparisonChartLive Intro Live 8Maximum number of audio tracks per project 64 UnlimitedMaximum number of MIDI track

CHAPTER 33. LIVE INTRO VS. LIVE 8 COMPARISON CHART 394Live Intro Live 8Number of included Ableton audio effects 23 30Looper No YesOverdrive No YesLimi

CHAPTER 33. LIVE INTRO VS. LIVE 8 COMPARISON CHART 395Live Intro Live 8Clip envelopes and Follow Actions Yes YesExternal Instrument/Audio Effect devic

396IndexAAbletone-mail addressessales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8technical support . . . . . . . . . . . . . . . .

INDEX 397authorization . . . . . . . . . . see copy protectionauthorizing Livemore than once . . . . . . . . . . . . . . . . . . . . . . 8Auto Filter

2Chapter 2First StepsNote: This manual has been adapted for Live Intro. Specically, this means that featureswhich are not available in Live Intro hav

CHAPTER 5. MANAGING FILES AND SETS 38The Hot-Swap Browser.While in Hot-Swap Mode, pressing theReturnkey loads that le into the Impulse slot(presumabl

INDEX 398Clip Quantization chooser . . . . . . . . . . . . . .150Clip Record button . . . . . . . . . . . . . . . . . 22, 193Clip Signature elds . .

INDEX 399cueing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186Cut Time commandin the Arrangement . . . . . . . . . . . . . . .

INDEX 400with scenes . . . . . . . . . . . . . . . . . . . . . . . . . 90Edit switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106effe

INDEX 401hot-swapping . . . . . . . . . . . . . . . . . . . . . . . . . . . 37and device presets . . . . . . . . . . . . . . . . 206and grooves . . .

INDEX 402Look/Feel Preferences . . . . . . . . . . . . . . . . . . . . 4loop bracein the Arrangement . . . . . . . . . . . . . . . . . 75with clips .

INDEX 403mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18, 177Mixer Section selector . . . . . . . . . . . . . . . . . 178modulati

INDEX 404Previous Locator button . . . . . . . . . . . . . . . . . 72processor . . . . . . . . . . . . . . . . . . . . . . . . . see CPUprojects/proje

INDEX 405and sidechain inputs . . . . . . . . . . . . . . .174between tracks . . . . . . . . . . . . . . . . . . . . 165for creating submixes . . . .

INDEX 406lter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299Glide and Spread . . . . . . . . . . . . . . . . . .300LFO . . . . . .

INDEX 407inserting . . . . . . . . . . . . . . . . . . . . . . . . . . .181mixer controls in . . . . . . . . . . . . . . . . . . .177muting . . . . .

CHAPTER 5. MANAGING FILES AND SETS 395.2 Sample FilesA sample is a le that contains audio data. Live can play both uncompressed le formats(WAV, AIF

INDEX 408Warp Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Warp switch . . . . . . . . . . . . . . . . . . . . . . . . . . . .100war

CHAPTER 5. MANAGING FILES AND SETS 40Preferences for theDecoding and WebCache.5.2.2 Analysis Files (.asd)An analysis le is a little le that Live cre

CHAPTER 5. MANAGING FILES AND SETS 41The analysis le's name is the same as that of the associated sample, with an added .asdextension. Live pu

CHAPTER 5. MANAGING FILES AND SETS 42Which Signal Will Be Rendered?The Rendered TrackChooser.The Export dialog's Rendered Track chooser offers se

CHAPTER 5. MANAGING FILES AND SETS 43Audio Rendering OptionsAudio RenderingOptions.The Export dialog offers several audio rendering options:Normalize

CHAPTER 5. MANAGING FILES AND SETS 44the dither modes. Dithering adds a small amount of noise to rendered audio, but min-imizes artifacts when reducin

CHAPTER 5. MANAGING FILES AND SETS 45individual components of Live Sets.5.3.1 Exporting MIDI FilesLive MIDI clips can be exported as Standard MIDI le

CHAPTER 5. MANAGING FILES AND SETS 46containing no clips or devices, or drag it into the space in the Session or Arrangement Viewcontaining no tracks.

CHAPTER 5. MANAGING FILES AND SETS 47You can use the Save As command to save the current Live Set under a different nameand/or in a different director

CHAPTER 2. FIRST STEPS 3directly in the program via the Help menu. We highly recommend following the lessons.Many users have told us that the lessons

CHAPTER 5. MANAGING FILES AND SETS 48Unfolding a Set toReveal its Contents.You can now drag the individual tracks and drop them as described at the be

CHAPTER 5. MANAGING FILES AND SETS 495.5.3 Exporting Session Clips as New SetsYou can export a selection of Session View clips as a new Live Set by dr

CHAPTER 5. MANAGING FILES AND SETS 50Replace a le  Dragging a le from the File Browser and dropping it on an entry in thelist makes the Live Set re

CHAPTER 5. MANAGING FILES AND SETS 51The File Reference List'sLocation Column.5.6 Live ProjectsA Live Project is a folder containing Live-related

CHAPTER 5. MANAGING FILES AND SETS 52A Live Set and itsRecordings in a LiveProject Folder.The project folder (Tango Project) contains the Live Set (

CHAPTER 5. MANAGING FILES AND SETS 53to save it outside the Tango Project folder, say on the Desktop. Live creates a new projectfolder named Samba Pro

CHAPTER 5. MANAGING FILES AND SETS 54A New Project WasAdded by Saving a LiveSet Outside its OriginalProject.Note that the new project folder has no Sa

CHAPTER 5. MANAGING FILES AND SETS 555.6.2 Projects and PresetsBy default, new instrument and effect presets are stored in the Live Library, making th

CHAPTER 5. MANAGING FILES AND SETS 56locating les that the Project is missing;collecting external les into the Project;listing unused les in the Pr

CHAPTER 5. MANAGING FILES AND SETS 57A list of the currently installed Factory Live Packs is available from the Preferences' Librarytab. Here you

CHAPTER 2. FIRST STEPS 42.2 Setting up PreferencesLive's Preferences window is where you can nd various settings that determine how Livelooks, b

CHAPTER 5. MANAGING FILES AND SETS 585.7.1 Changing the Library Location, Upgrading an Old LibraryThe Library can reside in the hard drive location of

CHAPTER 5. MANAGING FILES AND SETS 59To the right of the Change Location button is the Repair Library button. If you have modiedyour Library outside

CHAPTER 5. MANAGING FILES AND SETS 60The File Manager's Listof Missing Files.5.8.1 Manual RepairTo manually x a broken le reference, locate the

CHAPTER 5. MANAGING FILES AND SETS 61Automatic RepairOptions in the FileManager.Search Folder  includes a user-dened folder, as well as any sub-fold

CHAPTER 5. MANAGING FILES AND SETS 625.9 Collecting Exter nal FilesTo prevent a Live Set from containing broken le references, Live provides the opti

CHAPTER 5. MANAGING FILES AND SETS 63A le count and the associated disk space used;A Show button that will list the les in the File Browser;A Yes/No

CHAPTER 5. MANAGING FILES AND SETS 64The Library  choose the Manage Files command from the File menu; then click theManage Library button.The current

CHAPTER 5. MANAGING FILES AND SETS 65Manage Projects command, then see the Unused Files section. Live inspects each Projectindividually and labels a 

CHAPTER 5. MANAGING FILES AND SETS 665.13.2 How Can I Save Presets Into My Current Project?As long as you're working in a Project (meaning that y

CHAPTER 5. MANAGING FILES AND SETS 675.13.6 Can I Use My Own Folder Structure Within a Project Folder?You can organize your les any way you want with

CHAPTER 2. FIRST STEPS 5The User Account/Licenses Preferences are used to manage licensing and installationof the Live platform, and add-on components

68Chapter 6Arrangement ViewThe Arrangement View displays the Arrangement, which contains music laid out along asong timeline, like a multitrack tape.A

CHAPTER 6. ARRANGEMENT VIEW 696.1 NavigationLive offers several fast methods for zooming and scrolling the Arrangement display:134562Navigating theArr

CHAPTER 6. ARRANGEMENT VIEW 70and drag downwards to zoom in around that part. Note that you can also draghorizontally to scroll the display. Using thi

CHAPTER 6. ARRANGEMENT VIEW 71menu setting. While the mouse is held down over the scrub area, a portion ofthe Arrangement the size of the chosen quant

CHAPTER 6. ARRANGEMENT VIEW 726.3 Launching the Arrangement with LocatorsUsing Locators toLaunch Play in theArrangement.Locators can be set at any poi

CHAPTER 6. ARRANGEMENT VIEW 73menu command (or use theCtrlR(PC) /R(Mac) shortcut). You can also enteryour own info text for a locator via the Edit Inf

CHAPTER 6. ARRANGEMENT VIEW 74Any time signature with a one- or two-digit numerator and a denominator of 1, 2, 4, 8 or16 can be used as a time signatu

CHAPTER 6. ARRANGEMENT VIEW 75changes the length of the entire Arrangement.If you import a MIDI le into the Arrangement, you'll be given an opti

CHAPTER 6. ARRANGEMENT VIEW 76and shift the loop brace left/right in steps the size of its length.TheCtrl(PC) / (Mac) modier used with the arrow left

CHAPTER 6. ARRANGEMENT VIEW 776.7 Audio Clip Fades and CrossfadesThe beginning and end of audio clips in the Arrangement View have adjustable volumefa

CHAPTER 2. FIRST STEPS 6If one of the browser views is open, you can adjust the main window's horizontal split bydragging.Adjusting the MainWindo

CHAPTER 6. ARRANGEMENT VIEW 78menu.Crossfaded Clips.Selecting a fade handle and pressing theDeletekey deletes the fade, unless the CreateFades on Clip

CHAPTER 6. ARRANGEMENT VIEW 796.8 Selecting Clips and TimeWith the exception of moving and resizing clips, Arrangement editing in Live is selection-ba

CHAPTER 6. ARRANGEMENT VIEW 80Holding while clicking extends an existing selection in the same track or acrosstracks. You can also hold and use the ar

CHAPTER 6. ARRANGEMENT VIEW 81The current spacing between adjacent grid lines is displayed in the lower right corner of theArrangement View or Clip Vi

CHAPTER 6. ARRANGEMENT VIEW 82Insert Silence inserts as much empty time as is currently selected into the Arrangement,before the selection.6.11 Splitt

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

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

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

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

CHAPTER 7. SESSION VIEW 87unless the Select Next Scene on Launch option in the Launch Preferences is set to Off.This allows you to trigger scenes fr

7Chapter 3Authorizing LiveLive is protected against illegal use by a copy protection scheme. This scheme has beendesigned to meet the highest security

CHAPTER 7. SESSION VIEW 88Launch button.7.3 The Track Status FieldsYou can tell a track's status by looking at the Track Status eld just above t

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

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

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

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

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

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

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

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

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