Ableton live 10 suite manual free download

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Groove Files in the Browser. The Hot-Swap Groove Button. Grooves can be applied to both audio and MIDI clips. In audio clips, grooves work by adjusting the clip’s warping behavior, and thus only works on clips with Warp enabled.

You can also save and hot-swap grooves via the buttons next to the Groove’s name. You can then convert the edited clip back into a groove, via the process below. In this example, we’d extract the snare chain, creating a new clip and track that contained only the snare notes. Then we could apply a different groove to this new clip.

Page Chapter 12 Launching Clips The Live Session View is set apart by the fact that it gives you, the musician, a spontaneous environment that encourages performance and improvisation. An important part of how you take advantage of the Session View lies within how you con gure your various Session View clips. Note that you can edit the launch settings of more than one clip at the same time by rst selecting the clips and then opening the Clip View.

The Clip Quantization chooser lets you adjust an onset timing correction for clip triggering. To disable clip quantization, choose None. For more on playing clips via MIDI, see the respective section. A group is de ned by clips arranged in successive slots of the same track.

Tracks can have an unlimited number of groups, separated by empty slots. The Follow Action Controls. Play Last Clip launches the last bottom clip in a group. Play Any Clip plays any clip in the group. Play Other Clip is similar to Play Any Clip, but as long as the current clip is not alone in the group, no clip will play consecutively. Set up Follow Actions for the rst clip. You will want to make Follow Action Time equal to the clip’s length.

But now, imagine a group consisting of one single clip. Return tracks receive their input from the respective sends. This setting effectively turns the track into what is called an Aux on some systems: the track is not used for recording but for bringing in a signal from elsewhere for instance, a ReWire slave program. Note that the Audio Preferences also provide access to the Channel Con guration dialogs, which determine which inputs and outputs are used, and whether they are available to Live as mono or stereo pairs.

All available input and output ports are listed here. To prevent this, you can turn the computer MIDI keyboard off when it is not needed. MIDI messages that are used for remote-controlling Live’s user-interface ele- ments; 3. MIDI messages that are mapped to remote-control Live’s user-interface elements are eaten up by the remote control assignment and will not be passed on to the MIDI tracks.

The Output Channel chooser presents you with a list of the instruments that you currently have in your Reason rack; select the instrument you want to address. Select Reason from the audio track’s Input Type chooser. Resampling can be a fun and useful tool, as it lets you create samples from what is currently happening in a Live Set that can then be immediately integrated.

Both approaches result in Track A’s output being fed into Track B. Therefore, changes that are made to the tapped track’s devices or mixer have no effect on the tapped signal. If a track contains one or more Drum Racks, internal routing points will be available for any Post-Effects Recording Let’s say that you are feeding a guitar into Live, building up a song track by track, overlaying take onto take.

A single MIDI note can prompt, for example, Native Instruments’ Absynth to produce something that sounds more like a piece of music than a single tone.

Suppose we have the individual drums of a drum kit coming in on separate tracks for multitrack recording.

In the mix, we can easily change the volumes of the individual drums, but adjusting the volume of the entire drum kit against the rest of the music is less convenient. 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. New audios can be recorded, customized and then played on stage. Usually it is used by DJs for equalizing or making the music compatible with the environment. Ableton Live 10 Suite, the popular digital audio workstation, is back, and is better, much better. Always in favor of immediacy and a fluid working method, Ableton Live 10 Suite brings new tools, as well as improving other known ones. One of the best attributes of Ableton Live Suite, which improves version after version, is the speed and flexibility with which it allows you to capture a musical idea in just a few minutes or seconds.

The Berlin company has earned its popularity among the great DAW software because of how simple and satisfying it is to produce a song, create beats, or improvise in a live session -among many other actions that you surely know. Being a software that has been with us for several years now, what can we expect in the new version of Ableton Live Suite? Without abandoning its minimalist and sharp look, the browser icons are more eye-catching and the transport controls record, play display a slightly larger size.

The most noticeable visual improvement affects the view of arrangements. And there we see that the clips have a flatter and more minimalist look, being highlighted when you select them.

In the case of audio clips and with the track enlarged, drag points appear to create cross-fades between clips. Thus, in one stroke, the fade option in each audio track has disappeared from the automation mode. By taking a closer look at the editing aspects of Ableton Live 10 Suite, manipulation of audio clips is now more immediate and straightforward.

Want to get the latest news from Ableton? Our newsletter gives you the latest tutorials, downloads, and special offers. Further information is available in our Privacy Policy. You will receive the download links shortly. Watch: What is Live? Ableton Live lets you easily create, produce and perform music within one intuitive interface.

Live keeps everything in sync and works in real-time, so you can play and modify your musical ideas without interrupting the creative flow.

 
 

 

Live 10 Lite | Ableton.Welcome to Live — Ableton Reference Manual Version 11 | Ableton

 
The manual is also included in Live as a PDF. To open it, You can also download a PDF version of the manual below. Live 10 English manual. The manual is also included in Live as a PDF. To open it, You can also download a PDF version of the manual below. Live 10 English manual. Upon purchase, you will receive the Ableton Live Suite Edition 10 Code Download Registration PDF from our sales team!