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Reference Manual by Dennis DeSantis, Ian Gallagher, Kevin Haywood, •Support for Ableton Push (page ), an instrument for song creation that provides. Live Versions: All Operating System: All You can read the Live manual online. You can also download a PDF version of the manual below.


Ableton live 9 suite user manual free download


Packed with improvements for Push, Live 9. New sampling features and workflows mean making beats is better than ever, and even more is possible without taking your hands off Push. The latest free update for Live 9 users brings more sample slicing options, a new drum layout and on-screen display improvements to the hardware. Plus you can now route audio or MIDI right from the unit, alongside other features. Find out more and watch the feature demos. Powered by Simpler, the new slicing functions can be used in all editions of Live 9.

They also work with the first Push — for full details of the new features, c heck out the release notes. Note that the Output Channel chooser now offers a selection of destinations: We can either feed the new track’s output into the input of the pad track, or we can directly address the Simpler. This can be easily remedied by cutting the clips from the pad track and pasting them into a third track that can be independently muted and that can hold its own MIDI effects.

Soloing a track that taps one of Impulse’s sample slots will still allow you to hear the output of that slot. A multi-timbral instrument is like several instruments in one, with each component part or whatever term the manufacturer uses receiving MIDI on a separate MIDI channel. Page Some vocoder plug-ins include a built-in synthesizer to generate the carrier signal.

In this case, the only difference from the above procedure is that the vocoder instrument is dragged into a MIDI track. Feeding the side-chain audio input works as described above. Please note that Ableton’s Auto Filter, Compressor, Perhaps you wonder why this works, given that the string track’s output is audio and not MIDI.

Page Chapter 14 Mixing In the Arrangement View, the mixer appears as a horizontal strip to the right of the track area. To display all mixer controls for a track, unfold the track using the button next to its name, and adjust its height accordingly. The Session View is a standard vertical mixer layout.

You’ll likely nd the Session View mixer more intuitive than the Arrangement mixer, which comes in handy when you work with automation. Note that the Tab key toggles between the Arrangement and Session Views. The View menu options listed below show or hide mixer components. The Meter shows the track’s RMS average and peak output level.

While moni- toring, however, it shows the input level. The Volume control adjusts the track’s output level. With multiple tracks selected, adjusting the volume of one of them will adjust the others as well. The Mixer section of the Session Mixer has several additional features that are not visible by default.

The mixer is resizable, and dragging upwards on the top of the mixer will extend the height of the track meters, adding tick marks, a numeric volume eld and resettable peak level indicators. MIXING particular knob or slider parameter volume, for example , this difference will be maintained as you adjust the parameter. If you drag a track’s title bar to the Browser it will be saved as a new Set. If a track contains audio clips, Live will manage the copying of the referenced sampled into this new location based on the selection in the Collect Samples on Export You can also use a Group Track purely as a folder track by rerouting the outputs of the contained tracks to some other destination..

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

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

MIXING In order to set Live up for cueing, you must be using an audio interface with at least four dedicated outputs or two dedicated stereo outputs. The respective settings are accessible in the Session View mixer. The control allows delaying or pre- delaying the output of tracks in milliseconds in order to compensate for human, acoustic, hardware and other real-world delays.

This section of the interface can be shown or hidden using its respective Mixer Section selector. Note that this is a different kind of recording than the capturing of Session clips into the Arrangement. For successful audio recording, please make sure the audio preferences are set up properly.

For more on this, please see the built-in program lesson on setting up Audio Preferences. Recording commences when the Control Bar’s Record button is activated and the Play button is pressed. Recording creates new clips in all tracks that have their Arm button on. When the Overdub switch is on, the new clips contain a mix of the signal already in the track and the new input signal.

Set the Global Quantization chooser to any value other than None to obtain correctly cut clips. Activate the Arm button for the tracks onto which you want to record. Clip Record buttons will appear in the empty slots of the armed tracks. Using Live’s Impulse instrument and the following technique, you can successively build up drum patterns while listening to the result.

Or, using an instrument such as Simpler, which allows for chromatic playing, you can build up melodies or harmonies, note by note. This process, known as step recording, allows you to enter notes at your own pace, without needing to listen to a metronome or guide track. In fact, Live allows you to change the tempo at any time before, after and even during recording.

The Record Quantization chooser in the Edit menu allows selecting the meter subdivisions with which your recorded notes will align.

When recording into Session slots into the One key is used to jump to the next scene A Track Launch Button.. You can also map the step recording navigators. Ctrl Devices Can Be Folded. Click on the Device Browser selector to access the palette of Live’s built-in devices. You will notice that MIDI effects, audio effects and instruments each have their own folders in the Browser.

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

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

If you have already saved a default preset for a particular device, Live will ask you before overwriting it. Please see the previous section, Using the Live Devices, for details. The Plug-In Device Browser. You can also rescan if you believe that your plug-in database has somehow become cor- rupted. To assign any two plug-in parameters to the Live panel X-Y eld, use the drop-down menus directly beneath it.

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

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

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

By default, the Track View displays only a single chain, but there is actually no limit to the number of chains contained within a track.

How you use them is up to you whether it be for convenience, by making an important device parameter more accessible; Note that if you repeat one of these commands again on the same device, you will create a Rack within a Rack. Macro Controls 3. Chain List. In Drum Racks, this view can include both drum chains and return chains.

Devices 5. Racks are also identi able by their round corners, which bracket and enclose their content. As signals enter a Rack, they are rst greeted by the Chain List. We will therefore also choose this point for our own introduction.

Since the Track View can show only one device chain at a time, the Chain List also serves as a navigational aid: The list selection determines what will be shown in the adjacent Devices view when enabled. When the Auto Select switch is activated, every chain that is currently processing signals becomes selected in the Chain List. Chains will only respond to MIDI notes that lie within their key zone.

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

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

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

In the factory Slicing presets, these include basic envelope controls and parameters to adjust the loop and crossfade properties of each slice.

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

Page Chapter 18 Automation and Editing Envelopes Often, when working with Live’s mixer and devices, you will want the controls’ movements to become part of the music. The movement of a control across the song timeline is called automation; a control whose value changes in the course of this timeline is automated. Practically all mixer and device controls in Live can be automated, including the song tempo.

The automation LED disappears, and the control’s value stays constant across the entire song. You can click on it to reactivate all automation and thereby return to the automa- tion state as it is written on tape. It also provides you with an overview of which devices actually have automation by showing an LED next to their labels.

You can make things clearer still by selecting Show Automated Parameters Only from the bottom of the chooser.

Drawing creates steps as wide as the visible grid, which you can modify using a number of handy shortcuts. If the line segment is in the current selection, the envelope is moved vertically across the selected timespan.

Any edit commands applied to an envelope selection within a single lane will only apply to this envelope. The clip itself will be unaffected.

The aspects of a clip that are in uenced by clip envelopes change depending upon clip type and setup; clip envelopes can do anything from representing MIDI controller data to modulating device parameters. In this chapter, we will rst look at how all clip envelopes are drawn and edited, and then get into the details of their various applications.

The Envelopes box contains two choosers for selecting an envelope to view and edit. The Clip View’s Envelopes Box. Enclose the desired selection in the loop brace, and click the brace so that it is selected. This will execute the Edit menu’s Select Loop command, which selects all material in the loop.

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

In envelope Draw Mode, set steps to non-zero values to hear the loop scrambled. What is going on? Imagine the audio is read out by a tape head, the position of which is modulated by the envelope.

All clip settings, including the envelopes, will remain unaltered; only the sample will be replaced. Since mixer and device controls can also be controlled by the Arrangement’s automation envelopes, this is Modulating the track’s Send controls is just as easy. Again, the modulation is a relative percentage: The clip envelope cannot open the send further than the Send knob, but it can Modulating a Send. You can create new clip envelopes for any of the listed controllers by drawing steps or using breakpoints.

You can also edit clip envelope representations of controller data that is imported as part of your MIDI les or is created while recording new clips: Names of controllers that already have clip envelopes appear with an adjacent LED in the Control chooser. Suppose you are setting up a Live Set and wish to program a fade-out over eight bars to occur when a speci c clip is launched but all you have is a one-bar loop. To return to the previous state, please use the Edit menu’s Undo command.

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

You can trim video clips to select parts of them and use Warp Markers to visually align music in the Arrangement View with the video. You can then render your edited video le along with your audio.

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

Now, we click on the video clip’s title bar to deselect everything else , then drag the video clip’s left edge to the left as far as possible to reveal the pre-roll again.

Page Chapter 21 Live Audio Effect Reference Live comes with a selection of custom-designed, built-in audio effects. The Working with Instruments and Effects chapter explains the basics of using effects in Live. The Auto Filter effect provides classic analog lter emulation. For each type, the X-Y controller adjusts frequency to adjust, click and drag on the X-axis and Q also called resonance; to adjust, click and drag on the Y-axis.

You can also click on the Freq and Q numeric displays and type in exact values. The respective Amount control sets how much the LFO affects the lter. This can be used in conjunction with or instead of the envelope follower. The Rate control speci es the LFO speed. It can be set in terms of hertz, or synced to the song tempo, allowing for controlled rhythmic ltering.

Auto Pan’s LFOs modulate the amplitude of the left and right stereo channels with sine, triangle, sawtooth down or random waveforms. The Offset control shifts the point de ned by Interval forward in time. You can turn the lter on and off, and set the center frequency and width of the passed frequency band, using the respective controls.

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

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

Less is often more here. Because compression reduces the volume of loud signals and opens up headroom, you can use the Output slider so that the peaks once again hit the maximum available headroom. The Output meter shows the output signal’s level. Page Note that, for reasons of quantum physics, Lookahead and external sidechaining are disabled when using the FB model; Ableton’s engineers are hard at work developing code that will allow our software to predict the future, but we don’t anticipate having this available until at least the next major release.

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

Corpus is an effect that simulates the acoustic characteristics of seven types of resonant objects. Developed in collaboration with Applied Acoustics Systems, Corpus uses physical modelling technology to provide a wide range of parameters and modulation options. The full version of Corpus is not included with the standard version of Live, but is bundled with the Collision You can hide or show the Sidechain parameters by toggling the button in Corpus’s title bar.

Inharmonics adjusts the pitch of the resonator’s harmonics. At negative values, frequencies are compressed, increasing the amount of lower partials. At positive values, frequencies are stretched, increasing the amount of upper partials.

This parameter is not used with the Pipe or Tube resonators. The Dynamic Tube effect infuses sounds with the peculiarities of tube saturation. An in- tegrated envelope follower generates dynamic tonal variations related to the level of the input signal.

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

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

The Pan controls at the right can override the delay channels’ outputs; otherwise each delay outputs on the channel from which it derives its input.

Each delay channel’s lter has an associated On switch, located to the left of each X-Y controller. Flanger uses two parallel time-modulated delays to create anging effects. Flanger’s delays can be adjusted with the Delay Time control. Set it to percent if using Flanger in a return track. Drive is only available in Ring mode. Enabling the Wide button creates a stereo effect by inverting the polarity of the Spread value for the right channel. Here are some tips for using the Frequency Shifter device.

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

Randomizing pitch and delay time can create complex masses of sound and rhythm that seem to bear little relationship to the source. This can be very useful in creating new sounds and textures, as well as getting rid of unwelcome house guests, or terrifying small pets just kidding! The Limiter effect is a mastering-quality dynamic range processor that ensures that the output does not exceed a speci ed level.

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

To ensure that your nal output will never clip, place Limiter as the last device in the Master track’s device chain and keep your Master fader below 0 dB. The Play button plays back the current state of Looper’s buffer without recording any new material.

The Stop button stops playback. The behavior of the transport controls changes depending on whether or not Live’s playback is running. Engaging the Reverse button is subject to the Quantization chooser setting. Feedback sets the amount of previously recorded signal that is fed back into Looper when overdubbing. Record at least one pass of material into Looper. Create another audio track. When we use the term compression, we’re typically talking about lowering the level of signals that exceed a threshold.

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

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

Unlike many distortion units, it can be driven extremely hard without sacri cing dynamic range. The distortion stage is preceded by a bandpass lter that can be controlled with an X-Y controller. Phaser uses a series of all-pass lters to create a phase shift in the frequency spectrum of a sound.

The Poles control creates notches in the frequency spectrum. The Feedback control can then be used to invert the waveform and convert these notches into peaks or poles. Spin detunes the two LFO speeds relative to each other. Each lter frequency is then modulated using a different LFO frequency, as determined by the Spin amount.

The Feedback parameter controls how much of the right channel output signal returns to the delay line input. Redux returns us to the Dark Ages of digital by reducing a signal’s sample rate and bit resolution. The Downsample section has two parameters: Downsample and a downsample Mode switch. This device consists of ve parallel resonators that superimpose a tonal character on the input source. It can produce sounds resembling anything from plucked strings to vocoder- like effects. Mode A provides a more realistic sounding resonation, while Mode B offers an effect that is especially interesting when Resonator I’s Note parameter is set to lower pitches.

The brightness of the resulting sound can be adjusted using the Color control. This delays the reverberation relative to the input signal. One’s impression of the size of a real room depends partly on this delay.

Typical values for natural sounds range from 1ms to 25ms. The lowest setting mixes the output signal to mono. Saturator is a waveshaping effect that can add that missing dirt, punch or warmth to your sound. It can coat input signals with a soft saturation or drive them into many different avors of distortion. Setting Drive to zero will negate the effect entirely. The Simple Delay provides two independent delay lines, one for each channel left and right. To refer delay time to the song tempo, activate the Sync switch, which allows using the Delay Time beat division chooser.

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

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

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

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

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

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

With Velocity set to On and Target set to 0, for example, the sequence will gradually fade out, eventually reaching 0 velocity.

The Decay control sets the amount of time Arpeggiator takes to reach the Target velocity. Key Scale The pitch of incoming notes can be used to alter the length of the output notes. Random adds an element of the unknown to the otherwise commonplace pitch parameter.

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

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

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

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

Analog’s two multi-mode lters come equipped with a exible routing architecture, multiple saturation options and a variety of modulation possibilities. As with the oscillators, all parameters can be set independently for each lter. The Asym modes result in asymmetrical saturation. For both mode types, higher numbers result in more distortion. Drive can be switched off entirely by selecting Off in the chooser.

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

With Legato enabled, a new note that is played while another note is already depressed will use the rst note’s envelope, at its current position. Enabling the Free switch causes the envelope to bypass its sustain phase and move directly from the decay phase to the release phase. As with the other sections, each LFO has independent parameters. This is the instrument’s master level, and can boost or attenuate the output of the ampli er sections. The Vib switch turns the vibrato effect on or off, while the percentage slider next to it adjusts the amplitude of the vibrato.

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

Disabling unused sections can save CPU. These model the behavior of a mallet striking a surface, and provide Collision’s fundamental sound. At higher values, there are less low frequencies in the noise. This parameter has no effect if Noise is set to 0. The Mallet section can be toggled on or off via the switch next to its name. When this slider is set to 0, there is no sustain phase. With it set to , there is no decay phase.

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

Each resonator has its own Volume and Pan controls. Pan can also be modulated by note pitch via the K Key slider below the knob. The Bleed control mixes a portion of the original oscillator signal with the resonated signal. At higher values, more of the original signal is applied. The rst noise type steps between random values while the second uses smooth ramps.

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

The Voices chooser sets the available polyphony. Since each voice that’s used requires additional CPU, you may need to experiment with this chooser to nd a good balance between playability and performance, particularly on older machines. After you have installed the Drum Machines Live Pack, you will need to authorize it.

You will nd them as categorized presets within the Drum Rack folder. Drum Machines presets are therefore loaded just like any other device, by dragging a preset from the Browser into an empty MIDI track. The full version of Electric is not included with the standard version of Live, but is a special feature available for purchase separately. The Decay knob adjusts how long it takes for this noise to fade to silence, while the Pitch control sets the center frequency.

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

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

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

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

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

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

With R disabled, the oscillator is free-running. As explained earlier oscillators can modulate each other when set up to do so with the The LFO in Operator can practically be thought of as a fth oscillator. It runs at audio rates, and it modulates the frequency of the other oscillators. It is possible to switch LFO modulation on or off for each individual oscillator and the lter using the Dest. The LFO’s intensity is also affected by its envelope. All envelopes feature some special looping modes.

Addition- ally, the lter and pitch envelopes have adjustable slopes. In Beat Mode, the repeat time is de ned in fractions of song time, but notes are not quantized. If you play a note a bit out of sync, it will repeat perfectly but stay out of sync. In Sync Mode however, the rst repetition is quantized to the nearest 16th note and, as a result, all following repetitions are synced to the song tempo.

Operator’s lters can be very useful for modifying the sonically rich timbres created by the oscillators. And, since the oscillators also provide you with the classic waveforms of analog synthesizers, you can very easily build a subtractive synthesizer with them.

Additionally, the global display area provides a comprehensive set of modulation routing controls. The maximum number of Operator voices notes playing simultaneously can be adjusted with the Voices parameter in the global display. Operator includes a polyphonic glide function. When this function is activated, new notes will start with the pitch of the last note played and then slide gradually to their own played pitch.

Note that turning off the oscillators will not save CPU power. The algorithm de nes the connections between the oscillators and therefore has a signi cant impact on the sound that is created. Voices This sets the maximum number of notes that can sound simultaneously. Spread is a very CPU-intensive effect. Transpose This is the global transposition setting for the instrument.

Changing this pa- rameter will affect notes that are already playing. The 24 dB lter modes attenuate the ltered frequencies to a much greater degree than the 12 dB modes. The Ladder and SVF lters provide additional lter architectures.

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

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

Envelope Sustain Level Sustain This is the sustain level at the end of the note decay. The envelope will stay at this level until note release unless it is in Loop, Sync or Beat Mode.


Ableton Live 11 Video Manual


Packed with improvements for Push, Live 9. New sampling features and workflows mean making beats is better than ever, and even more is possible without taking your hands off Push. The latest free update for Live 9 users brings more sample slicing options, a new drum layout and on-screen display improvements to the hardware.

Plus you can now route audio or MIDI right from the unit, alongside other features. Find out more and watch the feature demos. Powered by Simpler, the new slicing functions can be used in all editions of Live 9. They also work with the first Push — for full details of the new features, c heck out the release notes. Live 9. Alongside downlpad new release we’ve updated our series of video tutorials that нажмите сюда how to use some of the key features of Live and Push.

Watch them at the Learn Live or Learn Push pages. Find out more and watch gree feature demos Features for Push 1 and Live 9 Powered by Simpler, the new slicing functions can be used in all editions of Live 9. Ableton live 9 suite user manual free download for Ableton live 9 suite user manual free download 9 users Live 9. Learn Live and Push Alongside the new release we’ve updated our series of video tutorials dpwnload show how to use some of the key abletom of Live and Push.

News Live 9.