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 the new release we’ve updated our series of video tutorials that show 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 the 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. Free for Live 9 users Live 9. Learn Live and Push Alongside the new release we’ve updated our series of video tutorials that show how to use some of the key features of Live and Push. News Live 9.

 
 

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Downloadd linked-track editing see 6. The automation comes with them, making it easier than ever to move from improvising to arranging and back. Save Save Ableton Live 9 Suite 9. Launchpad Pro has dedicated buttons that get you closer to the Ableton Live 23 ….

 

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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. Learn Live Setting up an audio interface.

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

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.

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