Ableton Live - 6.0 Instrukcja Użytkownika Strona 1

1

8Chapter 3Unlocking LiveLive is protected against illegal use by a copy protection scheme. This scheme has beendesigned to meet the highest security s

CHAPTER 8. CLIP VIEW 98Because of this feature's dependency on note timing, we recommend that you quantizeMIDI clips prior to applying groove  p

CHAPTER 8. CLIP VIEW 99Clip Offset from GlobalTime as Shown in theClip's Display.When clip play is offset from global time in this manner, a litt

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 102The Follow Switch.Playing and Scrubbing ClipsThe section of the sample that plays when a clip is launched is set with the clip

CHAPTER 8. CLIP VIEW 103sixteenths; for unwarped clips, the display is in minutes-seconds-milliseconds. Notice thatyou can use the Set buttons here to

CHAPTER 8. CLIP VIEW 104The Clip Loop Controls.The loop brace can be selected with the mouse and its position changed with commandsfrom the computer k

CHAPTER 8. CLIP VIEW 105Playing the clip and then clicking the Set Loop Position button moves the beginningof loop to the current playback position (r

CHAPTER 8. CLIP VIEW 1068.2.4 Saving Default Clip Settings with the SampleThe Save Default ClipButton.The Save Default Clip button saves the current c

CHAPTER 8. CLIP VIEW 1078.2.6 Clip Start and End FadesThe Clip Fade Switch.The Clip Fade switch, when enabled, applies a short fade to the clip start

CHAPTER 3. UNLOCKING LIVE 9The Products Tab in thePreferences.Clicking on any product listed in the Products tab will give you the option of unlocking

CHAPTER 8. CLIP VIEW 1088.2.8 Reversing SamplesThe Reverse Button.This function creates a new sample by reversing the sample referenced by the current

CHAPTER 8. CLIP VIEW 109the sample currently in use - but only the excerpt that is actually used plus a 50 millisecondsafety margin on both ends. The

CHAPTER 8. CLIP VIEW 1108.3.1 Tempo ControlsThe Orig. BPM eld displays Live's interpretation of the tempo at which the clip's MIDIwas recor

CHAPTER 8. CLIP VIEW 111Mode, can be set up as defaults for all new clips. This is also done in the Record/Warp/LaunchPreferences.

112Chapter 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 113You can have an external sequencer (or drum machine) play along with Live or have Live playalong with the sequ

CHAPTER 9. TEMPO CONTROL AND WARPING 114A clip's warping properties are set in the Sample box, which is a sub-section of the Clip View.The Sample

CHAPTER 9. TEMPO CONTROL AND WARPING 115current tempo master.This is achieved by adding tempo automation to the Master track for the duration of thete

CHAPTER 9. TEMPO CONTROL AND WARPING 116Double-Clicking a GridMarker Creates a WarpMarker.When working with your sample, you can have Live scroll the

CHAPTER 9. TEMPO CONTROL AND WARPING 117Syncing Straight LoopsWhen you import a sample that represents a well-cut musical loop of 1,2,4 or 8 bars inle

CHAPTER 3. UNLOCKING LIVE 10Selecting the UnlockButton in the ProductsTab.3.1 Step 1: Entering Your Serial NumberAs an owner of Live, you have receive

CHAPTER 9. TEMPO CONTROL AND WARPING 118Setting the WarpMarkers for a Poorly CutLoop.Syncing Odd-Length LoopsIf you import a sample that contains a se

CHAPTER 9. TEMPO CONTROL AND WARPING 119Manipulating GroovesYou can now create any number of Warp Markers by double-clicking on one of the numericgrid

CHAPTER 9. TEMPO CONTROL AND WARPING 120Record/Warp/Launch Preferences).Note that, for the auto-warp mechanism to work, les which are being imported

CHAPTER 9. TEMPO CONTROL AND WARPING 121Using the Context Menuto Direct Auto-Warp.Directing Auto-Warp is also relatively simple when you have imported

CHAPTER 9. TEMPO CONTROL AND WARPING 1222. Use the Control Bar's Tap Tempo button to tap along, thereby setting theLive Set's tempo to match

CHAPTER 9. TEMPO CONTROL AND WARPING 123Three Selected WarpMarkers.Here are the steps:1. Select the Warp Markers that you wish to copy by clicking on

CHAPTER 9. TEMPO CONTROL AND WARPING 124the sample (the grains). The warp modes differ in the selection of grains, as well as in thedetails of overl

CHAPTER 9. TEMPO CONTROL AND WARPING 125The Grain Size control determines the grain size used, but unlike in Tones Mode, this is asetting that Live wi

126Chapter 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 12710.2 The MIDI EditorTo bring up the MIDI Editor, double-click a MIDI clip to open the Clip View. You

CHAPTER 3. UNLOCKING LIVE 11technical support to help you get back your serial number if you lose it is via your registrationdata. Therefore, please r

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 128Previewing MIDI Notes.Provided your MIDI track's device chain contains an instrument, activating

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 129a time ruler, which shows note position along a musical timeline. The vertical axis containsboth the

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 130in and out, drag up and down.6. Change the length of what is shown in the Editor by dragging the left

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 131Enlarge the MIDI Editorby Dragging theWindow Split BetweenSession and Clip V iews.10.4 Editing MIDI10

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 132When editing MIDI, you might nd that you want to change which part of the clip you arelistening to,

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 133or downward to enclose the notes in the dotted line that appears.You can use the modier to click and

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 134The Edit menu's Select Loop command selects all notes that begin within the loop brace.The Selec

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 13510.4.6 Changing Note LengthClicking and dragging on a note's left or right edges changes its len

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 136lines unless the grid is not shown, or theAlt(PC) / (Mac) modier is held whiledragging.If one marker

CHAPTER 10. EDITING MIDI NOTES AND VELOCITIES 137modier is held. To draw markers individually (as you would want to with a crescendo,for instance) de

CHAPTER 3. UNLOCKING LIVE 123.2.3 Unlocking OnlineUnlocking Live Online.If the computer you want to unlock Live for is connected to the Internet, the

138Chapter 11Launching ClipsThe Live Session View is set apart by the fact that it gives you, the musician, an spontaneousenvironment that encourages

CHAPTER 11. LAUNCHING CLIPS 139Use the Clip V iew BoxSelector to Bring up theLaunch Box.Note that you can edit the launch settings of more than one cl

CHAPTER 11. LAUNCHING CLIPS 14011.3 Clip-Level QuantizationThe Clip QuantizationChooser.The Clip Quantization chooser lets you adjust an onset timing

CHAPTER 11. LAUNCHING CLIPS 141The Velocity Amount control allows you to adjust the effect of MIDI note velocity on theclip's volume: If set to z

CHAPTER 11. LAUNCHING CLIPS 142same group after the clip plays. A group is dened by clips arranged in successive slots ofthe same track. Tracks can h

CHAPTER 11. LAUNCHING CLIPS 143in a group, this Follow Action triggers the rst clip.Play First Clip launches the rst (top) clip in a group.Play L

CHAPTER 11. LAUNCHING CLIPS 14423Creating a Group Withthe Two Clips.3. Set up Follow Actions for the rst clip. You will want to make Follow Action Ti

CHAPTER 11. LAUNCHING CLIPS 145The default setting for Follow Action is actually a 1:0 chance that Nothing happens afterthe Follow Action Time, whic

CHAPTER 11. LAUNCHING CLIPS 14611.6.5 Mixing up Melodies and BeatsYou can let Follow Actions perform unpredictable remixes and solos for you: Use a cl

147Chapter 12Routing and I/OIn the context of Live, routing is the setup of the tracks' signal sources and destinations(i.e., their inputs and

CHAPTER 3. UNLOCKING LIVE 13The Live Unlocking WebSite.If you have entered your serial number and challenge code correctly, another website willappear

CHAPTER 12. ROUTING AND I/O 148The Mixer's In/OutSection and MixerSection Selectors.For every track (except the Master), the In/Out section has t

CHAPTER 12. ROUTING AND I/O 149track's output, via the track's device chain. If the track's output is set to Master, you canhear the

CHAPTER 12. ROUTING AND I/O 15012.2 Exter nal Audio In/OutAn audio interface's inputs are selected by choosing Ext. In from the Input Type choo

CHAPTER 12. ROUTING AND I/O 151the case with audio inputs, the Input Channel chooser also has meters next to every entryto represent activity on the r

CHAPTER 12. ROUTING AND I/O 152the Impulse percussion sampler's sample slots. This means that you can play and recorddrum patterns right off the

CHAPTER 12. ROUTING AND I/O 1532. MIDI messages that are used for remote-controlling Live's user-interface ele-ments;3. MIDI messages coming from

CHAPTER 12. ROUTING AND I/O 154An Audio TrackReceiving Audio Fromand a MIDI TrackSending MIDI to Reason.The following example shows how to send MIDI f

CHAPTER 12. ROUTING AND I/O 15512.6 ResamplingLive's Master output can be routed into an individual audio track and recorded, or resampled.Resamp

CHAPTER 12. ROUTING AND I/O 156Two Ways to Route TrackA into Track B.Both approaches result in Track A's output being fed into Track B. Approach

CHAPTER 12. ROUTING AND I/O 157Tap Points for TrackRouting.Pre FX taps the signal that is coming directly from a track, before it has been passedon to

CHAPTER 3. UNLOCKING LIVE 143.3 Copy Protection FAQs3.3.1 Can I Use Live or Other Ableton Products Without a Serial Num-ber?If you do not (yet) own Li

CHAPTER 12. ROUTING AND I/O 158Routing Points in RacksTap Points for EveryChain in a Track.If a track has one or more Racks in its device chain, inter

CHAPTER 12. ROUTING AND I/O 159Post-Effects RecordingLet's say that you are feeding a guitar into Live, building up a song track by track, overla

CHAPTER 12. ROUTING AND I/O 160Recording the Output ofa Complex Instrument inAudio Tracks.A setup similar to the one described above accomplishes the

CHAPTER 12. ROUTING AND I/O 161Therefore, we add a new audio track to submix the individual drums. The drum tracks areall set to output to the submix

CHAPTER 12. ROUTING AND I/O 162The Instrument HasBeen Isolated in aDedicated Track.We might be bothered by the fact that muting the pad track (by turn

CHAPTER 12. ROUTING AND I/O 163Using Impulse'sIndividual Outs toSeparately ProcessSample Slots.We simply create an audio track and select from it

CHAPTER 12. ROUTING AND I/O 164Tracks Feeding MIDI toand Tapping AudioFrom the Parts of aMulti-TimbralInstrument.Sending MIDI to a multi-timbral instr

CHAPTER 12. ROUTING AND I/O 165Routing a Speech SignalInto a Vocoder'sSidechain Input.Some vocoder plug-ins include a built-in synthesizer to gen

CHAPTER 12. ROUTING AND I/O 166stage, which is after any MIDI Effects, and just before the instrument.

167Chapter 13Mixing13.1 The Live MixerLive includes a mixer section that is accessible from two views:The Arrangement ViewMixer.In the Arrangement Vie

CHAPTER 3. UNLOCKING LIVE 153.3.2 What if I Change My Computer's Components?If the challenge code of your computer changes for some reason, Live

CHAPTER 13. MIXING 168its name, and adjust its height accordingly.The Session View Mixer.The Session View is a standard vertical mixer layout. You&apo

CHAPTER 13. MIXING 169The Mixer SectionSelectors.Let's look at the mixer controls:121365445 632The Mixer Controls.1. The Meter shows the track&ap

CHAPTER 13. MIXING 17013.1.1 Session Mixer FeaturesThe Session Mixer'sPossibilities.The Mixer section of the Session Mixer has several additional

CHAPTER 13. MIXING 17113.2 Audio and MIDI TracksAudio and MIDI tracks in Live are for hosting and playing clips, as explained earlier.You can add new

CHAPTER 13. MIXING 172Note that you can hide and show the return tracks using the Returns command in the Viewmenu.Like the normal clip tracks, the r

CHAPTER 13. MIXING 17313.4 Using Live's CrossfaderLive includes a crossfader that can create smooth transitions between clips playing ondifferent

CHAPTER 13. MIXING 174Mapping to two of the three elds allows for a snapping back behavior when oneof the assigned keys is held down and the other

CHAPTER 13. MIXING 17513.5 Soloing and CueingBy default, soloing a track simply mutes all other tracks. The signal from the soloed tracksis heard thro

CHAPTER 13. MIXING 1763. Activate cueing by setting the Solo/Cue Mode switch to Cue.4. The tracks' Solo switches are now replaced by Cue switch

CHAPTER 13. MIXING 177device delay compensation, however this is not normally recommended. You may also ndthat adjusting the individual track delays

CHAPTER 3. UNLOCKING LIVE 16To use Live on more than one computer at a time, you require a secondary license or a sitelicense. Ableton offers these li

178Chapter 14Recording New ClipsThis chapter is about recording new clips from audio and MIDI input signals. Note that thisis a different kind of reco

CHAPTER 14. RECORDING NEW CLIPS 179The Track In/Out Sectionin the Arrangement(Left) and Session V iew(Right).Audio tracks default to recording a stere

CHAPTER 14. RECORDING NEW CLIPS 180behavior is called auto-monitoring and you can change it to t your needs.Clicking one track's Arm button un

CHAPTER 14. RECORDING NEW CLIPS 1811. Recording commences when the Control Bar's Record button is activated andthe Play button is pressed.2. Reco

CHAPTER 14. RECORDING NEW CLIPS 18234 12Recording a New ClipInto the Session V iew.1. Set the Global Quantization chooser to any value other than Non

CHAPTER 14. RECORDING NEW CLIPS 18314.3.3 Overdub Recording MIDI PatternsLive makes pattern-oriented recording of drums and the like quite easy. Using

CHAPTER 14. RECORDING NEW CLIPS 18414.4 Recording in SyncLive keeps the audio and MIDI you have recorded in sync, even when you later decide on adiffe

CHAPTER 14. RECORDING NEW CLIPS 18514.5 Recording Quantized MIDI NotesIf you will be recording MIDI, you have the option of automatically quantizing M

CHAPTER 14. RECORDING NEW CLIPS 18614.7 Setting up File TypesThe following Preferences from the Record/Warp/Launch tab are relevant to the sample les

CHAPTER 14. RECORDING NEW CLIPS 187The Scene Up/DownButtons.One key is used to jump to the next scene...A Track Launch Button... and another key to s

CHAPTER 3. UNLOCKING LIVE 17You can always choose to show a product again later, and then try out its features by usingthem in Demo Mode.3.3.6 What Do

188Chapter 15Working with Instruments andEffectsEvery track in Live can host a number of devices. These devices can be of three differentsorts:MIDI ef

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 189Devices in the TrackView.The Track View is where you insert, view and adjust the devices for the s

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 19015.1 Using the Live DevicesThe Live Device Browser.Click on the Device Browser selector to access

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 191MIDI and Audio TrackArm ButtonsThis is how you would play live instruments through effects on a tr

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 192A MIDI Track's DeviceChain Can Contain AllThree Device Types.To remove a device from the chai

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 193The Level MetersBetween Devices in aChain.Note that no clipping can occur between devices because

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 194Presets in the DeviceBrowser.You can browse and load presets quickly with the computer keyboard:Sc

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 195Saving PresetsYou can create and save any number of your own presets in the Device Browser.The Sav

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 196The Plug-In DeviceBrowser.Audio Units and VST Plug-ins are browsed and imported using the Plug-In

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 197You can also rescan if you believe that your plug-in database has somehow become cor-rupted. Holdi

Live Version 6.0 for Windows and Mac OSCreated by Bernd Roggendorf, Gerhard Behles, Robert Henke, Awi, Reiner Rudolph, StefanHaller, Stefan Franke, Fr

18Chapter 4Live ConceptsThis chapter introduces the essential concepts of Live. We advise you to read this chapterearly in your Live career, as a soli

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 198Once a plug-in is placed in a track, you can use it just like a Live device:You can edit all of it

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 199You can use the View menu's Show/Hide Plug-In Windows command or theCtrlAltP(PC) /AltP(Mac) s

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 200have to tell Live about the location of the VST Plug-in folder containing the devices youwant to u

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 201and local directories: /Library/Audio/Plug-Ins/VST. You can turn Live's use ofthese plug-ins

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 202The VST Plug-InProgram Chooser.To select a program from the plug-in's bank, use the chooser b

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 20315.4 Audio Units Plug-InsAudio Units Plug-ins are only available in Mac OS X. In most respects, th

CHAPTER 15. WORKING WITH INSTRUMENTS AND EFFECTS 204Opening an Audio UnitsPlug-In Window.Audio Units have presets that function just like those for th

205Chapter 16Instrument and Effect RacksAn Audio Effect Rack.A Rack is a exible tool for working with effects, plug-ins and instruments in a track&ap

CHAPTER 16. INSTRUMENT AND EFFECT RACKS 20616.1 An Overview of Racks16.1.1 Signal Flow and Parallel Device ChainsIn any of Live's tracks, devices

CHAPTER 16. INSTRUMENT AND EFFECT RACKS 207exotic, multi-parameter morphs of rhythm and timbre; or for constructing a mega-synth,and hiding it away be

CHAPTER 4. LIVE CONCEPTS 19Selecting the Library bookmark in Live's File Browser will take you to the Live Library ofcreative tools. There are a

CHAPTER 16. INSTRUMENT AND EFFECT RACKS 20816.3 Looking at Racks54321Components of a Rack.1. Racks have three distinct views that can be shown or hidd

CHAPTER 16. INSTRUMENT AND EFFECT RACKS 209Racks Can Be VeryCompact.If you would like to locate a particular device in a Rack without searching manual

CHAPTER 16. INSTRUMENT AND EFFECT RACKS 21016.4 Chain ListThe Chain List.As signals enter a Rack, they are rst greeted by the Chain List. We will the

CHAPTER 16. INSTRUMENT AND EFFECT RACKS 21116.4.1 Auto SelectWhen the Auto Select switch is activated, every chain that is currently processing signal

CHAPTER 16. INSTRUMENT AND EFFECT RACKS 2123. Before any MIDI data can enter a device chain, it must be able to pass throughevery zone in that chain.

CHAPTER 16. INSTRUMENT AND EFFECT RACKS 21316.5.3 Velocity ZonesThe Velocity Zone Editor.Each chain in an Instrument Rack or MIDI Effect Rack also has

CHAPTER 16. INSTRUMENT AND EFFECT RACKS 214a scale of 0-127, similar to the Velocity Zone Editor. Above the value scale, however, youwill nd a dragga

CHAPTER 16. INSTRUMENT AND EFFECT RACKS 215a hands-on experience, we have MIDI-mapped the Chain selector to an encoder on anexternal control surface

CHAPTER 16. INSTRUMENT AND EFFECT RACKS 21616.6 Using the Macro ControlsMaking Macro ControlAssignments in MapMode.With the potential for developing s

CHAPTER 16. INSTRUMENT AND EFFECT RACKS 2175. Select another device parameter if you'd like to create more mappings, or clickon the Map Mode butt

CHAPTER 4. LIVE CONCEPTS 20The Arrangement View and the Session View interact in useful (though potentially confusing)ways. One can, for instance, imp

CHAPTER 16. INSTRUMENT AND EFFECT RACKS 218between tracks! Selecting a chain, then dragging and hovering over another Session orArrangement View track

219Chapter 17Automation and Editing EnvelopesOften, when working with Live's mixer and devices, you will want the controls' movementsto beco

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 220Volume, Pan and theTrack Activator SwitchHave Been Automated.17.2 Deleting AutomationTo delete automat

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 2212. You can click on it to reactivate all automation and thereby return to the automa-tion state as it

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 22217.4.1 Drawing EnvelopesWith Draw Mode enabled, you can click and drag to draw an envelope curve.The

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 223To Move all BreakpointsWithin the Selection,Drag Any One of Them.Your movement is constrained by the n

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 224The Lock EnvelopesSwitch.17.4.4 Edit Menu CommandsThere are a number of useful Edit menu commands for

CHAPTER 17. AUTOMATION AND EDITING ENVELOPES 225When adjusting the tempo envelope, you might want to scale the value axis display, whichis the functio

226Chapter 18Clip EnvelopesEvery clip in Live can have its own clip envelopes. The aspects of a clip that are inuenced byclip envelopes change depend

CHAPTER 18. CLIP ENVELOPES 22718.1 The Clip Envelope EditorUse the Clip V iew BoxSelector to Bring up theEnvelopes Box.To work with clip envelopes, br

CHAPTER 4. LIVE CONCEPTS 21The exclusivity of clips in a track also implies that, at any on time, a track will either play aSession clip or an Arrange

CHAPTER 18. CLIP ENVELOPES 228The bottom menu, the Control chooser, selects among the controls of the item chosen inthe top menu. In both the Device a

CHAPTER 18. CLIP ENVELOPES 229clips, you can create an abundance of interesting variations from the same clip in real time anything from subtle corre

CHAPTER 18. CLIP ENVELOPES 230The TranspositionEnvelope with Steps(Top) and Ramps(Bottom).Note that the warp settings determine how accurately Live&ap

CHAPTER 18. CLIP ENVELOPES 23118.2.3 Muting or Attenuating Notes in a SampleClick on the Volume quick-chooser to access an audio clip's volume en

CHAPTER 18. CLIP ENVELOPES 232than centimeters: A vertical grid line is worth a sixteenth note of offset and the modulationcan reach from plus eight s

CHAPTER 18. CLIP ENVELOPES 23318.3 Mixer and Device Clip EnvelopesClip envelopes can be used to modulate mixer and device controls. Since mixer anddev

CHAPTER 18. CLIP ENVELOPES 234percentage: The clip envelope cannot open the send further than the Send knob, but it canreduce the actual send value to

CHAPTER 18. CLIP ENVELOPES 235while recording new clips: Names of controllers that already have clip envelopes appearwith a little LED in the Control

CHAPTER 18. CLIP ENVELOPES 2361342Using a Clip Envelope toCreate a Fade-Out OverSeveral Repetitions of aLoop.1. Choose the Clip Volume envelope, and u

CHAPTER 18. CLIP ENVELOPES 23718.5.2 Creating Long Loops from Short LoopsLet us take this a step further. For a different part of your set, you would

CHAPTER 4. LIVE CONCEPTS 22Audio signals are recorded and played back using audio tracks, and MIDI signals arerecorded and played back using MIDI trac

CHAPTER 18. CLIP ENVELOPES 23818.5.3 Imposing Rhythm Patterns onto SamplesSo far, we have been talking about imposing long envelopes onto small loops.

239Chapter 19Working with VideoLive's exible architecture makes it the perfect choice for scoring to video. You can trimvideo clips to select pa

CHAPTER 19. WORKING WITH VIDEO 24019.2 The Appearance of Video in Live19.2.1 Video Clips in the Arrangement ViewA video clip in the Arrangement View l

CHAPTER 19. WORKING WITH VIDEO 24119.2.2 The Video WindowThe Video Window is a separate, oating window that always remains above Live's mainwind

CHAPTER 19. WORKING WITH VIDEO 242music will sync to. Note that a video clip's Warp switch needs to be activated in order forthe clip to be set a

CHAPTER 19. WORKING WITH VIDEO 2431. Make sure that Live's Arrangement View is visible. Your computer keyboard'skey will toggle between the

CHAPTER 19. WORKING WITH VIDEO 244more natural for the movie action to start at song time 1.1.1 and SMPTE time 00:00:00:00.This can be accommodated by

CHAPTER 19. WORKING WITH VIDEO 245The Video Clip and theFinal Clip of Music.Now, we click on the video clip's title bar (to deselect everything e

246Chapter 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 247There are four different lter types: lowpass, highpass, bandpass and notch. For each type,the X-Y controll

CHAPTER 4. LIVE CONCEPTS 23An Audio Clip'sProperties as Displayedin the Clip V iew.Many powerful manipulations arise from Live's warping cap

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 248Spin detunes the two LFO speeds relative to each other. Each stereo channel is modulatedat a different freq

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 249LFOs will be perfectly out of phase (180 degrees apart), so that when one reaches its peak,the other is at

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 250Interval and Offset.Activating the Repeat button bypasses all of the above controls, immediately capturingm

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 25120.4 ChorusThe Chorus Effect.The Chorus effect uses two parallel time-modulated delays to create chorus (th

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 252while the Polarity switch sets (surprise!) the polarity. Polarity changes have the most effectwith high amo

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 253capable of destroying its dynamic structure. This is something that cannot be undone inlater production ste

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 254dynamic processing applications including limiting and loudness maximization. CompressorII's design is

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 25520.7 Dynamic TubeThe Dynamic TubeEffect.The Dynamic Tube effect infuses sounds with the peculiarities of tu

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 256to volume changes in the input signal. Together, they shape the dynamic nature of thedistortions. Note that

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 257Bell curve (boosts or cuts over a range of frequencies);Low shelf (boosts or cuts frequencies lower than th

CHAPTER 4. LIVE CONCEPTS 24MIDI Files Are Draggedin from Live's FileBrowsers.As you'd expect, a MIDI clip's contents can be accessed an

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 258If you have ever used a good DJ mixer you will know what this is: An EQ that allows you toadjust the level

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 25920.10 ErosionThe Erosion Effect.The Erosion effect degrades the input signal by modulating a short delay wi

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 26020.11 Filter DelayThe Filter Delay Effect.The Filter Delay provides three independent delay lines, each pre

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 261value.The Feedback parameter sets how much of the output signal returns to the delay line input.Very high v

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 262The LFOs have six possible waveform shapes: sine, square, triangle, sawtooth up, sawtoothdown and random. T

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 263The 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 264sounds and textures, as well as getting rid of unwelcome house guests, or terrifying smallpets (just kiddin

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 26520.15 PhaserThe Phaser Effect.Phaser uses a series of all-pass lters to create a phase shift in the freque

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 266LFOs will be perfectly out of phase (180 degrees apart), so that when one reaches its peak,the other is at

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 267time, click and drag up or down in the Delay Time eld, or click in the eld and type in avalue.The Feedbac

CHAPTER 4. LIVE CONCEPTS 25The Track V iewDisplaying a MIDI Track'sDevice Chain.Live's built-in audio effects, MIDI effects and instruments

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 268and the more deconstructed the sound. Downsampling is like applying a mosaic effectto an image: There&apo

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 269The input signal passes rst through a lter, and then into the resonators. There are fourinput lter types

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 27020.19 ReverbThe Reverb Effect.20.19.1 Input ProcessingThe input signal passes rst through high and low cut

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 271higher value can sometimes improve the source's intelligibility, while a lower value may givea smoothe

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 272adding to the frozen reverberation; when off, the input signal will contribute to the diffusedamplitude. Fl

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 273An X-Y grid helps to visualize Saturator's shaping curve. The shaper's input and output valuesare

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 274The second lter, essentially an equalizer, is used for controlling higher frequencies. It isshaped with th

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 275The Dry/Wet control adjusts the balance between the processed and dry signals. Set it to100 percent when us

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 276either Left or Right have been chosen in the Channel Mode chooser, the Width control hasno function and is

CHAPTER 20. LIVE AUDIO EFFECT REFERENCE 277Tracing Model and Pinch.There are two distortion modes: Soft and Hard. The Soft Mode simulates the sound of

CHAPTER 4. LIVE CONCEPTS 26Plug-In Devices AreAvailable from thePlug-In Device Browser.Consider an audio clip playing in an audio track. The audio sig

278Chapter 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 279controlled by the device, which also provides a full complement of both classic and originalarpeggiator feat

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 280Con & Diverge.Pinky Up and PinkyUpDown.Thumb Up andThumb UpDown.Play Order places notes in the

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 281pressed. When Hold is active and any of the original keys also remain physically held, notescan be added to

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 282The dynamics of Arpeggiator are controlled using the velocity section. With Velocity setto On and Target s

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 283semitone shift added with the Shift 6 control.Note that no two notes of the same pitch can contribute to the

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 284On/Off Balance  This determines the velocity of the output note. It is a balance betweenthe incoming note&a

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 28521.5 RandomThe Random Effect.Random adds an element of the unknown to the otherwise commonplace pitch parame

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 28621.6 ScaleThe Scale Effect.Scale alters incoming note pitch based on a scale mapping. Each incoming note is

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 28721.7 VelocityThe Velocity Effect.Velocity re-maps the 127 MIDI note velocity values. It can function on MIDI

CHAPTER 4. LIVE CONCEPTS 27each track makes to the input of any return tracks. Return tracks only host effects, and notclips. Via their sends, all tra

CHAPTER 21. LIVE MIDI EFFECT REFERENCE 288pand is a simultaneous expanding and compressing tool. When set to values greater thanzero, it forces incomi

289Chapter 22Live Instrument ReferenceLive comes with a selection of custom-designed, built-in instruments. The Working withInstruments and Effects

CHAPTER 22. LIVE INSTRUMENT REFERENCE 29022.1 ImpulseThe Impulse Instrument.Impulse is a drum sampler with complex modulation capabilities. The eight

CHAPTER 22. LIVE INSTRUMENT REFERENCE 291this behavior also denes how Impulse reacts to parameter changes from clip envelopes orautomation, which are

CHAPTER 22. LIVE INSTRUMENT REFERENCE 29222.1.4 Saturator and EnvelopeThe Saturator gives the sample a fatter, rounder, more analog sound, and can be

CHAPTER 22. LIVE INSTRUMENT REFERENCE 293this signal to a separate track. Please see the Routing chapter to learn how to accomplishthis for Impulse&ap

CHAPTER 22. LIVE INSTRUMENT REFERENCE 294from top to bottom, the LFO, the lter section, the pitch section and the global parameters.If you change one

CHAPTER 22. LIVE INSTRUMENT REFERENCE 295Typically, FM synthesis makes use of pure sine waves, creating more complex waveformsvia modulation. However,

CHAPTER 22. LIVE INSTRUMENT REFERENCE 296but a looping noise sample. For more statistical noise, one could modulate the noiseoscillator with another

CHAPTER 22. LIVE INSTRUMENT REFERENCE 297is the adjacent quantize control. If this control is activated, the frequency will only move inwhole numbers,

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

CHAPTER 4. LIVE CONCEPTS 28The Mixer for a MIDITrack without anInstrument.4.8 Presets and RacksEvery Live device can store and retrieve particular set

CHAPTER 22. LIVE INSTRUMENT REFERENCE 298The LFO offers a choice of classic LFO waveforms, sample and hold (S&H), and noise.Sample and hold uses r

CHAPTER 22. LIVE INSTRUMENT REFERENCE 299the display. If an envelope in Operator is in Loop Mode and reaches sustain level while thenote is still bein

CHAPTER 22. LIVE INSTRUMENT REFERENCE 30022.2.5 Filter SectionOperator's Filter Section.As mentioned earlier, the lters are not the main focus o

CHAPTER 22. LIVE INSTRUMENT REFERENCE 301means that the envelopes will not be retriggered from voice to voice, and only pitch willchange.A high qualit

CHAPTER 22. LIVE INSTRUMENT REFERENCE 302Tip: Whether or not spread is applied to a particular note depends upon the setting ofthe Spread parameter du

CHAPTER 22. LIVE INSTRUMENT REFERENCE 303Operator) directly from the software by placing the mouse over the control and reading thetext that appears i

CHAPTER 22. LIVE INSTRUMENT REFERENCE 304Pitch Shell and DisplayPitch Envelope On  This turns the pitch envelope on and off. Turning it off if it is

CHAPTER 22. LIVE INSTRUMENT REFERENCE 305Filter Type  Lowpass, bandpass and highpass are second order lters with resonance. Theirnames imply the par

CHAPTER 22. LIVE INSTRUMENT REFERENCE 306LFO Rate (Rate)  This sets the rate of the LFO. The actual frequency also depends on thesetting of the LFO R

CHAPTER 22. LIVE INSTRUMENT REFERENCE 307Osc Output Level (Level)  This sets the output level of the oscillator. If this oscillator ismodulating anot

CHAPTER 4. LIVE CONCEPTS 29Track Routing Is Set upUsing the In/Out Sectionin the Arrangement (Left)or Session View (Right).Signals from the tracks can

CHAPTER 22. LIVE INSTRUMENT REFERENCE 308Envelope Release Time (Release)  This is the time it takes for a complete fade-out of a noteafter a note-off

CHAPTER 22. LIVE INSTRUMENT REFERENCE 30922.3 SamplerThe Sampler Instrument.Sampler is a sleek yet formidable multisampling instrument that takes full

CHAPTER 22. LIVE INSTRUMENT REFERENCE 31022.3.1 MultisamplingBefore going on, let's introduce the concept of multisampling. This technique is use

CHAPTER 22. LIVE INSTRUMENT REFERENCE 311Mounting AKAI Multisample CDsTo import multisamples from AKAI-formatted CD-ROMs, you rst have to mount the C

CHAPTER 22. LIVE INSTRUMENT REFERENCE 31222.3.3 The Zone TabThe Key Zone Editor.Clicking on the Zone tab toggles the display of Sampler's Zone Ed

CHAPTER 22. LIVE INSTRUMENT REFERENCE 313The Sample Layer ListAll samples contained in the currently loaded multisample are listed here, with each sam

CHAPTER 22. LIVE INSTRUMENT REFERENCE 314The Velocity Zone Editor, when toggled, replaces the Key Zone Editor alongside the samplelayer list. Velocity

CHAPTER 22. LIVE INSTRUMENT REFERENCE 315Sample  Displays the name of the current sample layer, and can be used to quickly selectfrom among the sampl

CHAPTER 22. LIVE INSTRUMENT REFERENCE 316Sustain Loop Enabled  Playback proceeds linearly until Loop End is reached, when itjumps immediately to Loop

CHAPTER 22. LIVE INSTRUMENT REFERENCE 317demands on your CPU.RAM Mode (RAM)  This is also a global control that loads the entire multisample into RAM

CHAPTER 4. LIVE CONCEPTS 30these commences recording. Clicking the Clip Record button again denes the end ofthe recording and launches the new clip.

CHAPTER 22. LIVE INSTRUMENT REFERENCE 31822.3.6 The Filter/Global TabThe Filter/Global Tab.The FilterSampler features a powerful, morphable lter with

CHAPTER 22. LIVE INSTRUMENT REFERENCE 31922.3.7 The Modulation TabThe Modulation Tab.The Modulation tab offers an additional loopable envelope, plus t

CHAPTER 22. LIVE INSTRUMENT REFERENCE 32022.4 SimplerThe Simpler Instrument.Simpler is an instrument that integrates the basic elements of a sampler w

CHAPTER 22. LIVE INSTRUMENT REFERENCE 321The Start and Length controls work together to specify where Simpler begins and ends itssweep of the sample.

CHAPTER 22. LIVE INSTRUMENT REFERENCE 32222.4.4 EnvelopeSimpler contains three classic ADSR envelopes, as seen in most synthesizers, for shapingthe dy

CHAPTER 22. LIVE INSTRUMENT REFERENCE 323The Key parameter scales each LFO's Rate in proportion to the pitch of incoming notes. Ahigh Key setting

CHAPTER 22. LIVE INSTRUMENT REFERENCE 324stealing will take place, in which the oldest voice(s) will be dropped in favor of those thatare new. For ex

CHAPTER 22. LIVE INSTRUMENT REFERENCE 325Note  The Essential Instrument Collection is not included with downloadable purchases.Download customers can

CHAPTER 22. LIVE INSTRUMENT REFERENCE 326Orchestral Strings  Solo Strings (legato): Double Bass, Cello, Viola, Violin; EnsembleStrings (legato, pizzi

327Chapter 23MIDI and Key Remote ControlTo liberate the musician from the mouse, most of Live's controls can be remote-controlledwith an external

CHAPTER 4. LIVE CONCEPTS 314.12 Clip EnvelopesEnvelopes are found not only in tracks but also in clips. Clip envelopes are used to modulatedevice and

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 32823.1 MIDI Remote ControlLive can be controlled remotely by exter nal MIDI control surfaces, such as MIDI ke

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 329listed here, don't fret  it can still be enabled manually in the next section, Manual ControlSurface

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 330Control Surfaces CanFollow Device Selection.In addition to following device selection, natively supported c

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 33123.1.2 Manual Control Surface SetupIf your MIDI control surface is not listed in the MIDI/Sync Preferences&

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 33223.1.3 Take-Over ModeMIDI ControllerTake-Over Mode.When MIDI controls that send absolute values (such as fa

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 33323.2 The Mapping BrowserThe Mapping Browserand Selector.All manual MIDI, computer keyboard and Macro Contro

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 33423.2.1 Assigning MIDI Remote ControlThe MIDI Map ModeSwitch.Once your remote control setup has been dened

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 335note is assigned a discrete value, equally spaced over the parameter's range of values.Hint: Session V

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 336imagine that you have assigned the pan knob on your control surface to the pan parameterof a track in Live.

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 337Please consult the documentation that came with your MIDI controller if you need furtherinformation on rela

CHAPTER 4. LIVE CONCEPTS 32The Key/MIDI MapControls.Session clips, switches, buttons and radio buttons can be mapped to computer keyboardkeys as well.

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 338Mapping to Clip View ControlsThe Clip View displays the settings for whichever clip happens to be currently

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 339Keys assigned to switches will toggle switch states.Keys assigned to radio buttons will toggle through the

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 34023.3.1 Channel StripsThe Eight Channel Stripsand the Master Strip.The Mackie Control's eight channel s

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 3411. Arm  By default, this arms the track for recording in exclusion of all other tracks.To arm the track no

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 34223.3.2 V-Pots and Assignment SwitchesThe V-Pots andAssignment Switches.The Mackie Control's V-Pots hav

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 343switch) pressing a V-Pot toggles the options.There are six assignment switches to the right of the channel

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 34423.3.3 Bank/Channel and Flip/ReturnBank, Channel, Flip andReturn Buttons.1. Bank  If more than eight track

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 345button while pressing these.2. Channel  You can use the channel + and - buttons to scroll through thea

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 34623.3.4 TransportThe Transport Controls.1. Previous/Next Locator  Using these buttons, you can skip forward

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 3472. Loop On/Off  Toggles the Arrangement Loop switch on/off.3. Punch-In/Punch-Out  Toggles Live's Pun

CHAPTER 4. LIVE CONCEPTS 33A Live Clip in the FileBrowser.Live Clips are a very powerful way of storing ideas, as they save not only the clip's C

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 348Control's Options button while pressing this.12. Jog Wheel  In the Session View, the jog wheel scroll

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 34923.3.5 Software-Specic ControlsThe Software-SpecicControls.1. Shift, Option, Control, Alt  Used to acces

CHAPTER 23. MIDI AND KEY REMOTE CONTROL 350meters appear only when pan assignment mode is active.4. F-Keys  These keys can be mapped freely to contro

351Chapter 24Synchronization and ReWire24.1 Synchronizing via MIDIThe MIDI protocol denes two ways to synchronize sequencers, both of which are suppo

CHAPTER 24. SYNCHRONIZATION AND REWIRE 352are explained later in this chapter. With respect to MIDI Timecode, Live can only actas a MIDI sync slave, n

CHAPTER 24. SYNCHRONIZATION AND REWIRE 353The External SyncSwitch.When Live is synced to an external MIDI device, it can accept song position pointers

CHAPTER 24. SYNCHRONIZATION AND REWIRE 354pronounced percussive sounds. While listening to the output from both, adjust the SyncDelay control until bo

CHAPTER 24. SYNCHRONIZATION AND REWIRE 355resources than running a single program.24.2.1 Running Live in ReWire Master ModeThe step-by-step procedure

CHAPTER 24. SYNCHRONIZATION AND REWIRE 35624.2.3 More on ReWireYou can nd tutorials on connecting Live to specic ReWire master programs at the Ablet

357Chapter 25Computer Audio Resources andStrategiesReal-time audio processing is a demanding task for general-purpose computers, which areusually desi

CHAPTER 4. LIVE CONCEPTS 34Choosing the LibraryBookmark.After installation the Library will already contain a few sound ideas, courtesy of Ableton. We

CHAPTER 25. COMPUTER AUDIO RESOURCES AND STRATEGIES 358Fortunately, Live supports multicore and multiprocessor systems, allowing the processingload fr

CHAPTER 25. COMPUTER AUDIO RESOURCES AND STRATEGIES 35925.1.2 CPU Load from Tracks and DevicesGenerally, every track and device being used in Live inc

CHAPTER 25. COMPUTER AUDIO RESOURCES AND STRATEGIES 360Draw and edit mixer automation and mixer clip envelopes;Consolidate;Record Session View clip la

CHAPTER 25. COMPUTER AUDIO RESOURCES AND STRATEGIES 361You can also decide to atten frozen tracks, which completely replaces the original clips andde

362Chapter 26Live Keyboard Shortcuts26.1 Showing and Hiding ViewsWindows MacintoshToggle Full Screen ModeF11CtrlF11Toggle Session/Arrangement V iewTog

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 363Windows MacintoshOpen the PreferencesCtrl,,Close Window/DialogEscEsc26.2 Accessing MenusUnder Windows, you can

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 36426.4 BrowsingIn addition to the shortcuts shown here, editing shortcuts can also be used in the Browser.Windows

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 36526.6 EditingWindows MacintoshCutCtrlXXCopyCtrlCCPasteCtrlVVDuplicateCtrlDDDeleteDeleteUndoCtrlZZRedoCtrlZZRenam

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 36626.7 Loop Brace and Start/End MarkersThe loop brace and start/end markers must rst be selected before any of t

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 36726.9 Arrangement View CommandsThe shortcuts for zooming, snapping/drawing and loop/region settings also work in

35Chapter 5Managing Files and SetsVarious types of les are used in making music with Live, from those containing MIDI andaudio, to more program-speci

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 36826.11 Commands for Breakpoint EnvelopesThe shortcuts for zooming, snapping/drawing and loop/region settings als

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 36926.13 Zooming, Display and SelectionsWindows MacintoshZoom In++Zoom Out--Drag/Click to Append to a SelectionCli

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 37026.15 Clip View MIDI EditorThe shortcuts for zooming, snapping/drawing and loop/region settings also work in th

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 37126.17 Global QuantizationWindows MacintoshSixteenth-Note QuantizationCtrl6 6 Eighth-Note QuantizationCtrl7

CHAPTER 26. LIVE KEYBOARD SHORTCUTS 37226.19 Working with Plug-Ins and DevicesWindows MacintoshShow/Hide Plug-In WindowsCtrlPPOpen Second/Multiple Win

373Chapter 27Index

374IndexAAbletone-mail addressessales . . . . . . . . . . . . . . . . . . . . . . . . . . .16technical support . . . . . . . . . . . . . . 15web addre

INDEX 375automation . . . . . . . . . . . . . . . . . . . . . . 30, 219and grid lines . . . . . . . . . . . . . . . . . . .222drawing . . . . . . . .

INDEX 376scrub area . . . . . . . . . . . . . . . . . . . . . . 103Clip View boxes selector . . .95, 127, 138,227clips . . . . . . . . . . . . . . . .

INDEX 377Delete Locator command . . . . . . . . . . . . 74Delete Scenes command . . . . . . . . . . . . . 89Delete Time command . . . . . . . . . . .

CHAPTER 5. MANAGING FILES AND SETS 36The File BrowserSelector Buttons.Each Browser can point to a different disk location, something that Live will re

INDEX 378Fixed Grid options . . . . . . . . . . . . . . . . . . . 78FLAC les . . . . . . . . . . . . . . . . . . see samplesFlanger effect . . . . .

INDEX 379Key Map Mode switch . . . . . . . . . . . . . . 338Key/MIDI In Indicator . . . . . . . . . . . . . . . 153Key/MIDI Out Indicator . . . . . .

INDEX 380exporting . . . . . . . . . . . . . . . . . . . . . . . . 50quantizing . . . . . . . . . . . . . . . . . 133, 185sending bank/program changes

INDEX 381purchasing . . . . . . . . . . . . . . . . . . . . . 293unlocking . . . . . . . . . . . . . . . . . . . . . . . . . 8Original BPM eld . . .

INDEX 382recordingand remote control . . . . . . . . . . . . . 186audio and MIDI . . . . . . . . . . . . . . . . . 178automation . . . . . . . . . . .

INDEX 383collecting . . . . . . . . . . . . . . . . . . . . . . . . 65destructive editing . . . . . . . . . . . . . . . 55nding unused . . . . . . .

INDEX 384Volume . . . . . . . . . . . . . . . . . . . . . . . . . 324Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . .321site or secondary li

INDEX 385UUndo commandand Arrangement editing . . . . . . . 131and automation editing . . . . . . . . .220and recorded clips . . . . . . . . . . . . .

CHAPTER 5. MANAGING FILES AND SETS 37Library Is thisBrowser's Root.The Browser root can easily be changed: The topmost Browser item, called Pa

CHAPTER 1. WELCOME TO LIVE 21.2 What's New in Live 6?1.2.1 Movie ImportImprovise, compose and warp music to picture1.2.2 Live Effects and Instrum

CHAPTER 5. MANAGING FILES AND SETS 38File Browser's selector button will do the same.5.1.2 Browser BookmarksUsing bookmarks, you can quickly save

CHAPTER 5. MANAGING FILES AND SETS 39Activating BrowserSearch Mode.After entering your search terms, begin the search by clicking the Go button or pre

CHAPTER 5. MANAGING FILES AND SETS 40The Rescan Button.Automatic rescanning for new searches can be activated and deactivated in the File/FolderPrefer

CHAPTER 5. MANAGING FILES AND SETS 412) Type your search terms;3)Returnto Go;4) to jump to the search results;5) and to scroll the search results;6)

CHAPTER 5. MANAGING FILES AND SETS 42If your audio hardware offers multiple audio outs, you can privately audition, or cue, lesvia headphones connect

CHAPTER 5. MANAGING FILES AND SETS 43Move les and folders by dragging and dropping, or by copying/cutting and pasting.Copying, cutting and pasting ca

CHAPTER 5. MANAGING FILES AND SETS 44Clicking the Hot-Swap button engages Hot-Swap Mode: Live's Hot-Swap Browser opens,and the Hot-Swap icon appe

CHAPTER 5. MANAGING FILES AND SETS 45A note on using Variable Bit Rate (VBR) les: Please install QuickTime for decoding purposesif you do not already

CHAPTER 5. MANAGING FILES AND SETS 465.2.2 Analysis Files (.asd)An analysis le is a little le that Live creates when a sample le is brought into th

CHAPTER 5. MANAGING FILES AND SETS 475.2.3 File Pre-AnalysisTo avoid waiting for longer samples to be analyzed the rst time they are imported into Li

CHAPTER 1. WELCOME TO LIVE 31.2.5 ReWire and Remote ControlReWire master access to Live's instrumentsInstant mappings for many popular control su

CHAPTER 5. MANAGING FILES AND SETS 48track. All samples will have the same length, making it easy to align them in othermultitrack programs.Individual

CHAPTER 5. MANAGING FILES AND SETS 49Normalize  If this is activated, the sample resulting from the render process will benormalized (i.e., the le w

CHAPTER 5. MANAGING FILES AND SETS 50A MIDI File and itsTracks in the Browser.5.3.1 Exporting MIDI FilesLive MIDI clips can be exported as Standard MI

CHAPTER 5. MANAGING FILES AND SETS 51A Live Clip in theBrowser.Live Clips are a great way of storing your ideas for later use or development, as they

CHAPTER 5. MANAGING FILES AND SETS 525.5.1 Creating, Opening and Saving SetsUse the File menu's New command to create new Live Sets, and the Open

CHAPTER 5. MANAGING FILES AND SETS 53If you prefer to import individual tracks from a Set, you can unfold the Live Set in the FileBrowser just as if i

CHAPTER 5. MANAGING FILES AND SETS 54(Mac) modiers, to select more than one Session View clip. Then, simply drag the clips toa folder in the File Bro

CHAPTER 5. MANAGING FILES AND SETS 55Every Line in the SampleReference List is a DropTarget for Samples.Hot-swap samples  Using the Hot-Swap button a

CHAPTER 5. MANAGING FILES AND SETS 56versions of the Live Set along the way so that you can go back and compare. Perhaps youalso save Live Clips or de

CHAPTER 5. MANAGING FILES AND SETS 57A Second Version of theLive Set Has BeenAdded to the Project.The Tango Project now contains two Live Sets, and it

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

CHAPTER 5. MANAGING FILES AND SETS 58The piece evolves towards something entirely different, and we feel that it should live in aProject of its own. S

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

CHAPTER 5. MANAGING FILES AND SETS 60packing a Project in Live Pack for mat;exporting the Project's contents to the Library.5.7 The Live LibraryT

CHAPTER 5. MANAGING FILES AND SETS 61You can of course also move, remove or rename any les or folders residing in the Library,whether you have put th

CHAPTER 5. MANAGING FILES AND SETS 625.7.2 Importing Projects into the LibraryYou can merge the contents of a Live Project into the Library to make th

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

CHAPTER 5. MANAGING FILES AND SETS 64Automatic RepairOptions in the FileManager.Search Folder  includes a user-dened folder, as well as any sub-fold

CHAPTER 5. MANAGING FILES AND SETS 65For each missing sample, the automatic search function may nd any number of candidates.Let's consider the f

CHAPTER 5. MANAGING FILES AND SETS 66Options for CollectingExternal Samples.Separated by location (the Library, other Projects and elsewhere  sample

CHAPTER 5. MANAGING FILES AND SETS 67The File menu's Collect All and Save command is a shortcut that collects and saves allexternal samples refer

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

CHAPTER 5. MANAGING FILES AND SETS 68of the Live Sets, Live Clips or device presets in the Project. If not, the sample is regarded asunused  even if

CHAPTER 5. MANAGING FILES AND SETS 69Factory Live Packs (those provided by Ableton) will automatically be installed in the LiveLibrary.

70Chapter 6Arrangement ViewThe Arrangement View displays the Arrangement, which contains music laid out along asong timeline, like a multitrack tape.A

CHAPTER 6. ARRANGEMENT VIEW 716.1 NavigationLive offers several fast methods for zooming and scrolling the Arrangement display:134562Navigating theArr

CHAPTER 6. ARRANGEMENT VIEW 72horizontally to scroll the display. Using this method, you can zoom and scroll tofocus around any part of the Arrangemen

CHAPTER 6. ARRANGEMENT VIEW 73the Arrangement the size of the chosen quantization setting will be repeatedlyplayed. With small quantization settings,

CHAPTER 6. ARRANGEMENT VIEW 746.3 Launching the Arrangement with LocatorsUsing Locators toLaunch Play in theArrangement.Locators can be set at any poi

CHAPTER 6. ARRANGEMENT VIEW 75To name a locator, select it by clicking its triangular marker, and choose the Rename Editmenu command (or use theCtrlR(

CHAPTER 6. ARRANGEMENT VIEW 76The Arrangement's LoopBrace.The loop brace can be selected with the mouse and manipulated with commands from thecom

CHAPTER 6. ARRANGEMENT VIEW 77Moving a Clip.Dragging a clip moves it to another song position or track.Changing a Clip'sLength.Dragging a clip&ap

CHAPTER 2. FIRST STEPS 6In the Look/Feel tab, you can make various settings, including the language used fortext display and the color scheme, or ski

CHAPTER 6. ARRANGEMENT VIEW 78Adjusting an UnfoldedTrack's Height.Notice that you can adjust the height of the unfolded track by dragging the spl

CHAPTER 6. ARRANGEMENT VIEW 79The following shortcuts to Options menu commands allow quickly working with the grid:UseCtrl1 (PC) /1 (Mac) to narro

CHAPTER 6. ARRANGEMENT VIEW 80Paste Time places copied time into the Arrangement, thereby increasing its overallduration by the length of time you hav

CHAPTER 6. ARRANGEMENT VIEW 81The Result of Splitting aClip.6.10 Consolidating ClipsThe Consolidate command replaces the material in the Arrangement V

CHAPTER 6. ARRANGEMENT VIEW 82When operating on audio clips, Consolidate actually creates a new sample for every trackin the selection. The new sample

83Chapter 7Session ViewIn Live's Arrangement View, as in all traditional sequencing programs, everything happensalong a xed song timeline. For a

CHAPTER 7. SESSION VIEW 847.1 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 85The ArrangementPosition Fields and theStop Button.7.2 Tracks and ScenesEach vertical column, or track, can play only one cli

CHAPTER 7. SESSION VIEW 86The scene below a launched scene will automatically be selected as the next to be launchedunless the Select Next Scene on La

CHAPTER 7. SESSION VIEW 87... A One-shot SessionClip...The progress-bar icon represents a one-shot (non-looping) Session clip. The value displaysthe r

CHAPTER 2. FIRST STEPS 7usually limited, the Live views can't all be displayed at the same time.Each one of the selector buttons at the screen bo

CHAPTER 7. SESSION VIEW 88If you are dragging multiple clips into the Session View, Live defaults to arrange themvertically, in one track. Hold downCt

CHAPTER 7. SESSION VIEW 897.4.3 Editing ScenesThere are a number of useful commands in the Edit and Insert menus that apply to scenes:Cut Scenes cuts

CHAPTER 7. SESSION VIEW 90changes of those clips' properties;changes of the mixer and the devices' controls, also known as automation.To ni

CHAPTER 7. SESSION VIEW 91To disable all Arrangement clips simultaneously, click on the Stop All Clips button in theMaster Track Status eld. The clip

92Chapter 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 93Clicking 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 94in common:The Clip box contains basic clip settings.The Envelopes box and the Envelope Editor manage the clip's envelopes,

CHAPTER 8. CLIP VIEW 95The 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 968.1 The Clip BoxThe Clip Box.8.1.1 Clip Activator SwitchUsing this switch, you can deactivate a clip so that it does not play w

CHAPTER 8. CLIP VIEW 978.1.3 Clip SignatureUsing the Clip Signature elds, you can specify the signature of an audio clip's sample. Thissetting i