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download the full Ableton Reference Manual from the Ableton website1. The full-version The Record/Warp/Launch Preferences allow customizing the default state for new Live To hide one of Live’s views and free up screen space, click on the triangle-shaped button next to it. To restore the view, click the button again. Oct 15,  · Mastering with Ableton Live Effects TUTORiAL-FANTASTiC — Warp Academy — Free download. Quickly and easily master your own music using only the built-in effects in Ableton Live. Learn the nuts and bolts of mastering using only the effects in Ableton Live. Whatever your genre, this course will leave you with supreme confidence in your music. Ableton live free download. Multimedia tools downloads – Ableton Live by Ableton AG and many more programs are available for instant and free download.
 
 

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Oct 15,  · Mastering with Ableton Live Effects TUTORiAL-FANTASTiC — Warp Academy — Free download. Quickly and easily master your own music using only the built-in effects in Ableton Live. Learn the nuts and bolts of mastering using only the effects in Ableton Live. Whatever your genre, this course will leave you with supreme confidence in your music. Ableton live free download. Multimedia tools downloads – Ableton Live by Ableton AG and many more programs are available for instant and free download. download the full Ableton Reference Manual from the Ableton website1. The full-version The Record/Warp/Launch Preferences allow customizing the default state for new Live To hide one of Live’s views and free up screen space, click on the triangle-shaped button next to it. To restore the view, click the button again.
 
 
 
 

This happens without affecting the pitch, which can be changed independently. Mixing and matching audio from different origins is therefore extremely easy. You can even automate the tempo see For maximum tempo control during performance, you can MIDI map see Chapter 29 separate controllers to the Tempo field on both sides of the decimal point.

Setting one knob to control coarse tempo in BPM and another to control fine tempo in hundredths of a BPM allows for enough precision to adjust to live performers or other unsynchronized sources. You can have an external sequencer or drum machine play along with Live or have Live play along with the sequencer. Please refer to the chapter on synchronization see Chapter 32 for details.

You can also assign the Tap button to a computer key instead of using the mouse. The assignment will take effect immediately. The Tap button can also be assigned to a MIDI note or controller, like a foot switch, in a similar fashion. Although Live responds to your tapping immediately, it does apply some degree of inertia to prevent sluggish behavior in the software.

The more taps Live receives in a row, the more precisely it will be able to conclude the desired tempo. This ensures that those apps remain tempo synced, and also at the correct position in the musical phrase. This is useful for samples that have no inherent rhythmic structure: percussion hits, atmospheres, sound effects, spoken word and the like.

Turn the Warp switch on to play rhythmically structured samples such as sample loops, music recordings, complete music pieces, etc. If you would rather have Live default to playing long samples as they are, disengage this preference. Any number of clips can be set as tempo leaders , but only one clip at a time can actually be the tempo leader.

This distinction is always granted to the bottom-most, currently playing clip in the Arrangement View. The clip that is the current tempo leader will play as if warping was off , but with one important difference — the rest of the Live Set will be warped so that it plays in sync with the current tempo leader. This is achieved by adding tempo automation to the Master track for the duration of the tempo leader clip.

All clips will then be set to Follower, but the tempo automation will remain in place. Think of a sample as a rubber-band that you want to pin to a musical time ruler. In Live, the pins are called Warp Markers.

A Warp Marker locks a specific point in the sample to a specific place in the measure. They can then be dragged or moved with the arrow keys to different points in time. When working with your clip, you can have Live scroll the Sample Display to follow playback.

Note that Follow will pause if you make an edit in the Sample Editor. Follow will start again once you stop or restart playback, or click in the Arrangement or clip scrub area. It also might be helpful to vertically resize the Sample Display by dragging on the split line between the Clip View and the Session View track area. When you first load a sample into Live, Live automatically analyzes the audio and finds its transients.

These are the points in the audio where notes or events begin, and are usually good places to put Warp Markers. Transients appear as small markers at the top of the sample display after zooming in. Double-clicking or dragging a pseudo Warp Marker creates an actual Warp Marker or, if there are no Warp Markers later in the clip, changes the tempo for the clip segment.

Holding the Shift modifier while clicking on a pseudo Warp Marker allows you to drag the transient to a new position. Once a Warp Marker has been created, holding Shift while dragging the Warp Marker will move the waveform beneath the marker, rather than the marker itself.

If there are no transients within your time selection, a Warp Marker will be created at the end of the selection. Although Live usually does a good job of placing transients in the right places, you can delete and create transients as well, via the corresponding commands in the Create menu.

Your Warp Markers will automatically be saved with the Live Set, but you may also want to save them with the sample file itself, so that they are reconstructed anytime you drag the file into Live. Note that if a sample has a saved set of Warp Markers see 5. In the following sections, we will look at a couple of applications for time-warping samples. Warping is, of course, an optional property of clips.

When you import a sample that represents a well-cut musical loop of 1,2,4 or 8 bars in length, Live usually makes the correct assumptions to play the loop in sync with the chosen tempo. The Seg. When importing a loop that has not been edited into a well-cut loop, Live will play it out of sync. Suppose there is a portion of silence at the sample beginning, prior to the first beat.

You can easily correct this by placing a Warp Marker at the beginning of the audio and dragging it so that it lines up with the beginning of bar one in the timeline. If you import a sample that contains a seven-bar loop, Live initially assumes the loop is eight bars long or four, depending on its length and plays it out of sync.

For correct playback, the marker at the end of the sample needs to be at the beginning of bar eight, not bar nine. To fix this, simply drag the ending marker to the correct position. In that case, you can drag the Warp Marker at the end toward the right until the eight becomes visible. You can now create any number of Warp Markers by double-clicking within the clip or on transient locations. Warp Markers really serve two purposes:. If a single event in a percussive audio loop comes late, just pin a Warp Marker to it and drag the marker to the correct beat position.

You may want to pin the adjacent events as well, to avoid affecting neighboring regions in the sample. Please note that not all of these file formats can be played in the Intro and Lite Editions. Note that when using the Import Audio File When using the command in the Session View, the file will be inserted in the currently selected clip slot. Note that, for the auto-warp mechanism to work, files which are being imported into the program for the first time will need to undergo a first-time analysis process and will not be immediately available for playing or editing.

However, if Auto-Warp does not quite do what you want, you can control its results. Remember that the metronome in the Control Bar will probably come in handy as you warp longer pieces.

It might happen that Auto-Warp guesses the tempo correctly but gets the downbeat wrong. To remedy this, you can do one of the following:. Directing Auto-Warp is also relatively simple when you have imported a perfectly cut loop.

You can also direct Auto-Warp to work on a selected portion of a sample. Then use the Warp Selection As Live will make its best guess about the correct loop length, set the loop markers to match, and then warp the selection so that it fits in this time. Sometimes more accurate control of Auto-Warp is necessary. The best way to go about warping a clip that requires more detailed attention is in sections, working gradually from left to right. The four Warp From Here commands provide various ways of resetting Warp Markers to the right of the selected grid marker or Warp Marker, leaving Warp Markers to the left untouched.

These commands are also available from the start marker. When clips of equal length are multi-selected, adding or changing Warp Markers for one clip will apply identical Warp Markers to all. This is convenient in any situation where several tracks have the same rhythm, and you wish to alter the timing of each recording in the same way. In the previous section, you learned how to adjust the timing of events in audio files by manually dragging Warp Markers along the timeline.

But it is also possible to automatically snap the entire sample to the grid at once by using the Quantize command. This will quantize using default settings, or the settings that you previously applied.

To adjust your quantization parameters, open the Quantization Settings dialog from the Edit menu. Using the options presented here, you can select either the current grid size or a specific meter value for quantization.

Live offers a number of time-stretching modes to accommodate all sorts of audio material. The warp modes are different varieties of granular resynthesis techniques. The warp modes differ in the selection of grains, as well as in the details of overlapping and crossfading between grains. Beats Mode works best for material where rhythm is dominant e.

The granulation process is optimized to preserve transients in the audio material. Use the Preserve control to preserve divisions in the sample as boundaries when warping. For the most accurate results, particularly with percussive material, choose Transients. This setting uses the positions of the analyzed or user-created transients to determine warping behavior. For some interesting rhythmic artifacts, choose large note values in conjunction with pitch transposition.

Loop Off — Each segment of audio between transients plays to its end and then stops. Any remaining time between the end of a segment and the next transient will be silent. Loop Forward — Each segment of audio between transients plays to its end. Playback then jumps back to a zero-crossing near the middle of the segment and continues looping until the time when the next transient occurs. Loop Back-and-Forth — Each segment of audio between transients plays to its end.

Playback then reverses until it reaches a zero-crossing near the middle of the segment, and then proceeds again towards the end of the segment. This pattern continues until the time when the next transient occurs. This mode, in conjunction with the Preserve Transients selection, can often result in very good quality at slower tempos. The Transient Envelope slider applies a volume fade to each segment of audio. At , there is no fade.

At 0, each segment decays very quickly. Long envelope times can help to smooth clicks at the end of segments, while short times can be used to apply rhythmic gating effects. Tones Mode serves well for stretching material with a more or less clear pitch structure, such as vocals, monophonic instruments and basslines.