Copyright Ableton AG. All rights reserved. Made in Germany. This manual, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. The content of this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Ableton. Every effort has been made to ensure that the information in this manual is приведенная ссылка. Ableton assumes no responsibility or liability for any errors or inaccuracies that may appear in this book.

Except as permitted by such license, no part of this publication may be reproduced, edited, stored in a retrieval system or transmitted, in any перейти на источник or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of Ableton. Finder is a trademark of Apple Inc. Windows is a registered trademark of Microsoft Corporation in the United States and other countries.

Intel is a registered trademark of Intel Corporation or its subsidiaries in the United States and other countries.

All увидеть больше product and company names are trademarks or registered trademarks of their respective holders. Time Commands 6. Mixing Live is the result of musicians wanting по этой ссылке better way to create, produce and perform music using a computer. A great deal of effort has been put into making Live easy and fun to use, yet at the same time capable of helping you create music with unlimited depth and sophistication.

This effort continues even as you read these lines Please check on our website now1, or choose the Check for Updates command from the Help menu. We hope you enjoy using Live and that it enhances your creative process.

Your Ableton Team. Live can now be viewed on two monitors at the same time. Automation can now be recorded, drawn, and edited in Session View clips page Automation effects chingliu multilanguage final cc download free 12.2.0.52 after adobe appear in a clips Device and Control Choosers, alongside modulation envelopes.

Http://replace.me/19172.txt in Session clips becomes timeline automation when recording from the Session to the Arrangement, and vice versa when bringing Arrangement clips back to the Session.

Envelope breakpoints are now created by single-clicking on the envelope. When hovering over the envelope, a pseudo-breakpoint appears to show where the breakpoint will be placed after clicking. Hovering near the envelope or holding читать далее [Shift] modifier while clicking on an envelope segment a portion of the envelope between breakpoints now selects the entire segment. Clip Envelopes in Linked mode will now respond to changes in the clips Warp Markers page It is now possible to create convex and concave curves in all breakpoint envelopes in both the Arrangement timeline and in clips.

A new set of transform tools page allows for fast manipulation of a MIDI clips contents. Transpose, reverse, invert, or apply legato in a single click.

MIDI notes can now be moved and resized freely without a modifier, even while off the grid is active. It is also possible to adjust note lengths while in Draw Mode page Holding [B] while editing with the mouse toggles Draw Mode temporarily.

The currently selected tracks, devices, notes or clips can be activated or deactivated with the [0] key. If the loop brace is selected, pressing [Enter] will switch the selection to the time within the loop brace.

Lives new browser page 53 features a two-pane view that shows all of Lives devices and Packs clearly separated. A search field in the browser filters results as you type. You can navigate between the search field and the filtered entries using your computer keyboards arrow keys. The browsers Preview Tab now previews Lives instrument presets, by playing a short example sound when presets are selected.

Three new commands page allow you to extract the musical ableton live 9 suite manual pdf free from audio clips and place it into MIDI clips on new tracks: Convert Harmony to MIDI extracts the notes from polyphonic audio and is designed for reimagining samples or loops. The new MIDI track will contain a Drum Rack with the kick, snare, and hihat notes from the посетить страницу audio playing the appropriate instruments.

The Consolidate Ableton live 9 suite manual pdf free to New Scene command consolidates the material http://replace.me/15326.txt the selected time range in the Arrangement View to one new clip per track. The new clips are placed into a new Session View scene below the previously selected scene. Tuner page analyzes and displays the incoming monophonic pitch as well as its distance from the nearest semitone.

EQ Eight page now ссылка на продолжение improved filters, a detachable display that shows the frequency spectrum of the output signal and allows multiple filter dots to be adjusted simultaneously, optional Adaptive Q and Audition modes, and a number of other improvements.

Compressor page now has an Auto Release mode, which automatically adjusts the release time based on the incoming audio. The Ratio can be set belowfor upward expansion. The shape of the envelope follower can be switched between linear and logarithmic. Finally, a new display shows input and output levels, making it easier to adjust parameters.

Lives Gate effect page now responds more accurately. There is also a new Return control also known as hysteresis to help reduce chatter when the level changes quickly near the threshold, as адрес as a sidechain EQ.

The Multiband Dynamics device page now has a sidechain circuit, allowing it to be triggered based on the level of another signal. Additionally, an improved export dialog groups related controls together, making it easier to see and adjust ableton live 9 suite manual pdf free export settings. Live comes with a set of interactive lessons to take you step by step through the key features of the program. The lessons are organized in a table of contents, which can be opened directly in the program via the Help menu.

We highly recommend following the lessons. Many users нажмите чтобы перейти told us that the lessons helped them become familiar with the program very quickly. We also recommend that you read the Live Concepts chapter page 35which encapsulates everything that Live is and can do, and is therefore a worthwhile read for both beginners and experienced users. The remaining chapters of this manual serve as in-depth reference for the material introduced in Live Concepts.

Lives Info View tells you the name and function of whatever you place the mouse over. For certain items, you can create your own text and it will appear in this window. If you require more information on a specific user interface element or topic, please consult this reference manual. The index, found at the end of the manual, contains the names of all user interface elements and will lead you to the relevant сомневаюсь download microsoft edge for windows 10 32 bit вам. Lives Preferences window is where you can find various settings that determine how Live looks, behaves and interfaces with the outside world.

This window is accessed from the Preferences command, which in Windows is available in the Options menu and in OS Ableton live 9 suite manual pdf free is available in the Live menu. The Audio Preferences are used to set up Lives audio connections with ableton live 9 suite manual pdf free outside world via an audio interface.

To access the lesson, use the Help View command from the Help menu. Controlling parts of the interface remotely. Syncing the program with an external sequencer or drum machine, either as a master http://replace.me/2649.txt a slave. Note: Sync is not available in Live Lite. The Library Preferences allow you to specify a default location for various types of installed files, including Packs and your User Library, as well as whether or not samples and ableton live 9 suite manual pdf free files are self-contained when saving Sets page Most of your work in Live happens in the main Live screen.

This screen consists of a number of views, and each view manages a specific aspect of your Live Set, which is the type of document.

If you have multiple monitors or even one very large monitoryou can open a second window to display all of Lives views at the same time. Each one of the selector buttons at the screen borders calls up a specific view; clicking this one, for instance, opens and closes Lives browser:. The Browser Selector. On Windows and versions of OS X prior to When using OS X version You can turn Full Screen Mode on by clicking the arrows in the top right corner.

You can turn Full Screen Mode off by clicking the arrows on the right side of the menu bar. If Lives browser is open, you can adjust the main windows horizontal split by dragging. Authorizing Live Live is protected against illegal use by a copy protection scheme.

This scheme has been designed to meet the highest security standards while avoiding hassles for our customers. If you find this procedure to ableton live 9 suite manual pdf free an inconvenience, please understand that the copy protection secures your investment: It allows Ableton to provide you with support and to continue developing Live.

Please be aware that the standard Live license grants you the right to use Live on only one computer at a time. You can, however, authorize Live more than once under the legal and technical conditions described later page The first time you ableton live 9 suite manual pdf free Live, you will be prompted to complete the authorization process. The software will walk you through the steps.

If the computer that you wish to authorize is connected to the internet, you can authorize immediately by pressing the appropriate button in the dialog box. If you do not have an internet connection, press the No internet on this computer button and follow the instructions. If you do not yet own Live or its add-on products, you can still try them out, but saving and exporting will be disabled.

If trying Live or another product raises your interest in purchasing it, please visit the Ableton webshop2. This site contains information about Abletons distributor and dealer network. It also offers you the opportunity to buy Ableton products online. If you change your computer components ableton live 9 suite manual pdf free some reason, Live may indeed ask you to authorize the software another time. Live does not need to be reauthorized when computer peripherals are replaced audio or MIDI hardware, printers, modems.

But you ableton live 9 suite manual pdf free need to authorize again if the ableton live 9 suite manual pdf free, processor or network card is replaced. On some computers, reformatting a hard drive will require a new authorization.

 
 

 

Welcome to Live — Ableton Reference Manual Version 11 | Ableton

 

A menu will appear, asking how you want the audio to be sliced. By default, one slice is created per transient, which is perfect — all we need to do is to tell Live to use our new slicing preset. In Places, select the User Library, then, in the Browser Content Pane, click the arrow next to the Defaults folder to see its contents. Drag your new Drum Rack into the Slicing folder.

A preset will appear in the folder, with its name automatically selected ready for you to enter. Drag Vintage break. For example, turning the Sustain macro down to -inf dB will result in a tighter drum sound, and we can further tweak the tightening effect by turning the Decay macro up or down. Audio: Tighter beat. This technique is particularly useful with EQ, enabling you to high-pass each slice with its own cutoff frequency — great for cleaning up classic funk breaks.

Audio: Reverb slice. With this active yellow-green rather than grey , whenever a new note is triggered, the previous note will be stopped dead.

Turn on the metronome and click the Clip Launch button on the Congasbpm clip. Set the Quantization menu back to 1 Bar and turn the metronome off. Now open the Electronic folder in the Browser Content Pane and drag the first five clips to the top of the second track.

Click the Clip Launch button on the Hats and Snare Stepbpm clip and it will start playing on the downbeat of the next bar. You can change when new clips start playing with the Quantization menu. At the start of the next bar, the Deep House beat will start playing in time with the Conga loop.

Stop the Conga loop by clicking one of the Clip Stop buttons on the first track, and the Deep House beat will carry on playing.

Click the one on row 3 to launch all the clips on that row together. This triggers any Clip Stop buttons in the Scene, too — click the Scene Launch button on row 5 and the clip playing on the first track will stop.

Your jam has been recorded, but all the clips are greyed out. To activate them, click the orange Back to Arrangement button to the right of the scrub area. Thankfully, the Capture and Insert Scene function can help you stay on top of it all. So, whenever you come up with a cool combination of clips, make sure you Capture and Insert Scene so that you can return to it.

This can be useful when building up complex drum parts, layering melodies over the top of chords, or creating fills. To turn off overdub mode, simply click the button again. Looping a section is a cool way to build up a complex pattern layer by layer. Also on the transport bar is the Re-Enable Automation button. Whenever you manually adjust an automated parameter, the automation is overridden, but clicking this button reverts the tweaked control to the automation in the Arrangement or Session clips.

To find out more about automation, see Automating parameters on p Start by dragging Piano note. This gives the piano note a long tail, lasting for about two bars. Click the Arm Arrangement Recording button on an audio track, then click the Record button and record a few seconds of your voice, an instrument or whatever else you like. You can find specific instructions for these in Sends and returns on p Live integrates the functionality of a hardware mixing desk directly into its Session and Arrangement views This will deactivate the track, silencing it.

On the original track, click the Output Type, and select 2-Audio from the menu that appears. To return it to its default setting of 0dB, select it and press the Delete key.

Sweep the Track Pan to move the position of the track around in the stereo panorama. You can route an unlimited number of sources to a track in this fashion, enabling busses to be set up without using groups see Working with grouped tracks on p More complex pieces could require dozens of tweaks, sometimes necessitating pages of notes and even multiple sets of hands to get the knobs, faders and buttons into the right positions.

These days, our DAWs can automate parameter changes to a level of precision that would have been unimaginable a few decades ago. This enables us to create insane effects and sophisticated mix transitions, so getting your head around automation is a must if you want to make the most of your music. Rather than having you search through lists of automatable parameters like some DAWs do, Live will automatically bring up the automation envelope for any selected parameter.

You can add as many of these lanes as you like, making it easy to edit and keep track of all the automation in a project. Creating and editing automation envelopes 1 In the Arrangement view, drag Stabs. Live automatically loops the audio clip, so we can drag its right-hand edge to elongate it.

Drag it out so that the clip lasts for eight bars. Add Auto Filter from the Audio Effects folder to the track. This prevents automation from being affected when you edit clips. You can edit automation but not the associated clip by selecting an area, right-clicking and selecting Cut, Copy, Delete or Duplicate Envelope. To add a breakpoint to the envelope, click it. Copy the upward ramp movement shown here to create a filter sweep. To create an automation curve, hold the Alt key and drag on the envelope between two breakpoints.

Recording or drawing in automation is usually preferable to adding breakpoints manually when you require smooth, complex movements. Creating and applying grooves 1 Drag Straight house beat. Open Drums and drag Kit-Core onto the track, too. This returns the beat to its original rigid feel.

Now drag Funky perc. Audio: MPC house. Rightclick the audio clip and select Extract Groove s. This applies the groove from the percussion clip to the MIDI notes, so that the beats sit together in a much more satisfying way. Audio: Perc groove. Of course, using a single unit meant it was only possible to use one effect setting at a time per return channel to process all those tracks, but it was at least possible to control the amount of effect applied to each track by adjusting its send level.

For one thing, they made it possible to process the effected signal further without altering its source. This meant that the producer could route a bassline channel to a reverb on a return, then place a high-pass filter after the reverb to stop its low end from clogging up the mix, without taking the low end out of the unprocessed bass.

This involves turning the send level to a delay plugin up at a particular moment in order to apply delay to a specific part of a track — the end of a sung phrase, for example. However, thanks to its unique capabilities, the return channel is still a wholly relevant inclusion in all DAWs. Live can host up to 12 return channels, though only the most complex and involved projects would require that many. Feedback effects with send and return channels 1 Drag the Testing Click two different points on the envelope to create two breakpoints, and move them into the positions illustrated above.

As only the last word is delayed, we end up with a much cleaner-sounding effect. Audio: Clean delay. Audio: Full delay. So, rather than having feedback in just the delay effect, we can create our own custom feedback loop, involving as many effects as we like! The send fader is disabled as a safety precaution to prevent excessive feedback. The send level now controls the amount of feedback; set it to -6dB. Audio: Frequency shifting. Access the expanded view by clicking the triangular Toggle Display Location button at the top of the interface.

The delays take their input from the left, right and mid channels, and output to the same positions unless their Pan controls are adjusted. This useful for getting rid of background noise on audio tracks when nothing is playing, as well as tightening parts up. EQ THREE This simplified threeband equaliser is primarily designed for live use, although it does have a few useful niceties for studio work. However, the delays are much shorter, delivering comb filtering effects.

Try using it with a low Feedback setting and synced Rate to make mono percussion loops stereo in a fairly transparent manner. EROSION An unusual lo-fi effect, Erosion degrades the input signal by modulating a short delay with filtered noise or a sine wave, resulting in a unique, digital-sounding distortion.

For enhanced stereo width, try Wide Noise mode, which uses independent noise generators for the left and right channels. Simply add the External Audio Effect device to a track and select the audio interface inputs and outputs to which your gear is connected. You can even enter a Hardware Latency value to ensure everything remains perfectly in sync. The sidechain input makes it ideal for ducking effects, too.

A spectral analyser with automatic Y-axis scaling, Spectrum is ideal for visualising the frequency content of a signal. For more detailed examination, you can enlarge it by clicking the Toggle Display Location button, which pops the Spectrum Display out into its own panel. This is particularly handy for identifying the frequencies of specific partials. Vinyl Distortion creates even harmonic distortion and adds crackles to the source signal.

It even comes with adjustable intensity, making it easy to get the perfect retro effect. To create the classic robo-voice effect, put it on an audio track with a vocal on it, set the Carrier input to External, and pick a track with a synth on it in the Audio From panel. Try automating the Bandwidth and Formant controls for bizarre morphing effects, and activate the Enhance button to get a brighter sound.

Check out the EP Faceplant preset for an example of how these effects can be used in conjunction with Electric in the Instrument Effects rack to create a classic vintage sound.

Live even adjusts for latency, making it a truly viable way to make your old-school kit useful again. The parameters are divided into four sections, the first of which contains the Start, Transpose and Stretch controls. Using these, you can adjust the start point of the sample, change its pitch, and even timestretch it with a choice of two algorithms. The third section, a resonant filter, features low-pass, high-pass and band-pass modes, each with a choice of slopes, plus a notch mode.

Finally, the Pan and Volume section includes those eponymous controls plus a Decay time setting with two modes: Trigger has the sample beginning to decay with the note-on message, while Gate starts to decay upon receiving a note-off message.

At the right-hand side of the fourth panel are global controls for Volume, Time controlling both Decay and Stretch and Transpose. Key and velocity splits can be set up for each chain, and you can control which chains are playing directly using the blue Chain range bar and Chain Selector parameter. Like the Effect Rack, the Instrument Rack features eight Macro knobs, each of which can be freely assigned to multiple parameters.

It features eight slots onto which samples can be dragged from the Browser or the arrangement, which are triggered on consecutive white notes from C3 up. Each sample slot has its own individual set of parameters, many of which can be modulated via velocity or randomised. This powerful arp can take chordal input and turn it into monophonic sequences in any of 18 styles. The most important parameters are Steps, which controls how many octaves the sequence plays on, and Rate, which determines how fast the sequence plays.

In Time mode, it changes all notes to a specific duration in milliseconds, while Sync mode lets you select from 64th-note to quarter-note resolutions.

It can also be triggered by MIDI note-on or note-off messages. Chord is great for adding octaves and fifths to parts, and generating ravey chord sequences. The only limit is your imagination! Oh, and the maximum polyphony of the instrument being triggered by it, of course. Random transposes the incoming note pitch within the range defined by the Choices knob, which can be multiplied by the Scale parameter.

You can edit these and even create your own scales using the intuitive Note Matrix. For example, try putting a Chord with multiple voices active in front of an Arpeggiator set to a few Steps and a fast Rate for insane melodic synth riffs playable with just a single finger — ideal for those chiptune moments!

These are then sculpted with filters, which attenuate specific frequency ranges. FM works the other way around, typically starting with a simple sine waveform that only has a single harmonic.

The amplitude of the partials is determined by the level of the modulating operator, and by using an envelope to adjust it, we can create sounds that change in timbre over time — much like using an envelope to control the filter cutoff of a subtractive synth. Audio: Sine tone. The higher it goes, the harsher the timbre becomes. Audio: Pitched modulator.

Any oscillators on the bottom row only A in this case are voiced, and the rest are unvoiced. Audio: Simple FM. Audio: Techy bass. Audio: Deep house bass. Click the fourth one in from the left to select it. This heavily alters the sound, because Oscillator C is now modulating Oscillator A directly, rather than via Oscillator B.

Audio: Alternative algorithm. Click the Filter panel on the right-hand side of the interface, then, in the central panel, set the Shaper mode to 4Bit and turn the Drive up to 9. That should grunge up the patch nicely. Audio: Lofi synth. It can also be assigned to a secondary destination, including the amplitude level of any one of the four oscillators.

Sampler is the perfect instrument for creatively twisting and processing audio, thanks to its multiplicity of features, including morphing filters, a choice of looping modes, waveshaper, modulation oscillator, and the ability to create key and velocity splits for multisampling.

For more, check out Key Zone splits with Sampler on p Before we get started, you might find it useful to know that any instance of Simpler can be converted into a Sampler by right-clicking its Device Title Bar and selecting Simpler»Sampler.

In the Sustain Mode panel, click the second button from the left to switch to Loop mode. Now, the sample should fade out as smoothly as it fades in. Audio: Lazy release. Drag the Loop Start to around and the Loop End to about Audio: Straight loop. Turning it up to or so vastly improves the smoothness of the loop.

The next thing we need to contend with is the fact that the patch stops dead when the instrument receives a note-off message. Audio: Crossfade loop. This might be desirable with hi-hats, but it sounds unnatural with our pad sound. Click the Retrigger R button at the bottom right-hand side of the interface to deactivate it.

We can now trigger new notes without killing the previous ones. In the Filter panel, drag the Freq filter cutoff frequency fader down to Hz, and in the F. Env filter envelope panel, set the Amount to Audio: Wide pad. Click the Osc button to activate the modulation oscillator. Audio: Frequency modulation. Interpolation is what a sampler does when it transposes notes, and the algorithm used to do it will affect the character of all transposed notes.

This difference is particularly noticeable on sounds with a lot of high-frequency content, such as cymbals. Select a mode from the Interpol menu in the Sample page. Typing a word or phrase into the field searches the currently selected Browser category for anything containing that text, which can be useful for quickly locating specific instruments, audio effects and presets, as well as samples and clips.

Another helpful aspect of the Browser is that it includes a Current Project folder location in the Places panel. Drag Beat. To select both tracks, click the first, hold Shift, then click the second. Drag over the seventh beat on the Group track. This highlights the Group track and both Audio tracks, indicating that any edits we perform will affect everything in the Group. We can now process both tracks as a single, grouped signal. You can add more tracks to the Group by dragging them onto the Group track, and disband the Group by right-clicking it and selecting Ungroup Tracks.

The easiest way to create a tempo change for a specific region is to set it to loop, set the Tempo parameter to the desired value, click Record, then click Stop once the region has finished recording. Tempo and time signature changes Drag Arp. The Time Signature Numerator sets the number of beats in a bar, and the Denominator determines the note value of those beats.

Note that all assignments are saved with Live Sets and reset when you create a new Set. You can assign a key to anything coloured brown in Key Map mode. Click the clip at the top left-hand corner of the Session view, and press Q to assign the key to that clip. Click the purple button or parameter you want to control, then move a control on your hardware to assign it.

You can also use any of these methods to exit Full Screen Mode, and Windows users get a small arrow button at the bottom right of the screen that returns the DAW to windowed mode when clicked.

You can also add a Locator at the current playback position by clicking the Set button to the right of the Arrangement. To select a Locator, click it. When a Locator has been selected, the Set button will change into a Del delete button, which will remove the Locator when clicked. To activate playback from a Locator, simply doubleclick it, or single-click it if the project is already playing.

Racks make it possible to create selfcontained chains of instruments and effects, which can be saved as presets and very quickly added to new projects. Given all this power, you might imagine that Racks would be tricky to work with, but their sensible design makes it easy to both build and control complex instrument and effect setups. Another cool feature of Racks is the ability to restrict chains to particular key and velocity ranges, making it possible to create velocity and note splits — just the thing for live performers and designers of sophisticated stacked instruments.

You can also assign a Chain Select range to each chain, and use the dedicated Chain Select Ruler parameter to determine which chains are active at any given time — handy for varying a sound using a MIDI controller knob or automation. Building a formant filter in an Effect Rack Drag Hoover. This causes the Macro Controls to appear on the left-hand side of the Rack, with the first knob assigned to cutoff Frequency. Now, both Filter Cutoff parameters will be assigned to the first Macro knob.

This creates another chain. An update to the Softtube libraries may cause subtle sound changes in the Amp and Cabinet audio effects. Follow Actions can now be assigned to scenes via the new Scene View. Clip Follow Actions will continue to run when a scene Follow Action is created or scheduled, however scene Follow Actions take precedence when triggered.

This button is disabled by default, and can be toggled using the Shift – Enter keyboard shortcut. When disabled, no Follow Actions will occur in the Live Set.

These values can be modified using a new slider control. The Follow Action Chance slider now displays a split triangle instead of just a black bar when it is showing multiple different values. This palette makes clips and tracks easier to tell apart with a deuteranopia, protanopia or tritanopia color vision deficiency.

Added an Arm Track command to the Edit menu. If multiple tracks are selected, the command appears as Arm Tracks.

If the selected track is armed, the command is replaced with Disarm Track. It is now possible to arm selected tracks using the C shortcut key. The Groove Pool now opens automatically when loading a groove file from the browser by double-clicking or pressing the Enter key, adding a groove to the Groove Pool, or extracting grooves. You can use the left and right arrow keys to navigate radio buttons anywhere in Live. If you are navigating radio buttons on a device that is inside of a Rack with the left and right arrow keys, you can get back to moving between devices in the Rack using the left and right arrow keys by hitting the ESC key.

In Session and Arrangement View, the Monitor radio buttons now have a default state that can be restored. This option is also accessible via the Edit menu option Return to Default. When enabled, certain MIDI control message types that are not automated for a given clip will automatically reset at the start of a new clip.

Added support for keyboard shortcuts on French keyboard layouts for macOS versions Keyboard shortcuts that have numbers can be accessed without having to press Shift to access the number keys. Introduced linked-track editing see 6.

Linked-track editing makes it possible to use comping workflows and other phase-locked editing operations on multiple tracks at once. Any tracks in the Arrangement View can now be linked so that their content can be edited simultaneously.

There can be multiple instances of linked tracks in a Set, however each track can only belong to one of these instances. The Expression Control device now allows assigning an additional parameter as a mapping target. All Max for Live devices have been moved inside the application bundle previously, they lived in the Core Library , to ensure that using Collect All and Save will not create redundant copies of the devices. When Max fails to load, an error message will be displayed that contains a link to a Knowledge Base article that explains potential causes for the issue and steps to take to resolve it.

A new Scale Mode see 8. By default, key tracks belonging to the selected scale are highlighted in the MIDI Note Editor, and the root note is indicated by a prominent highlight in the piano roll. A new Chance Editor see It is now possible to see and edit a velocity range, from which a velocity value is selected when a note is played.

In the Notes tab, a Velocity Range slider see If no markers are selected, values for all notes will be randomized. The Velocity and Chance Editor lanes can be shown or hidden via the lane selector toggle buttons at the left. When enabled, drawing MIDI notes is constrained to one single key track or pitch at a time, while holding the ALT key allows freehand melodic drawing.

The lowest dot in a meter lights up in a blue color if per-note controller changes pass that meter. The new Focus button enables Focus Mode see Focus Mode can be toggled via the N keyboard shortcut. The Invert button is now enabled in the Notes tab when at least one note is selected, and it is possible to invert selected notes from multiple clips at the same time. Time selection interactions, note selection interactions, and new note editing options have been added to multi-clip editing.

Also some parameters for Hybrid Reverb have been rearranged for easier navigation. Push 2 and MIDI controllers sending polyphonic aftertouch can be used with plug-in devices that support polyphonic aftertouch. When a Rack contains a parameter mapped to one of the new Macro Controls e. Degree symbol icons Push 1 or bullet point icons Push 2 are used to differentiate the Rack from the device. Updated the notification style for scenes, and updated the scene name visualization to include the absolute position, tempo and time signature on Push.

The maximum number of available Macro Controls see Pressing the Rand button in the title bar of a Rack randomizes the values of mapped Macro Controls. Selecting a scene or multiple scenes opens the new Scene View see 7. Clicking this entry cancels the launch of any previously triggered scene. Once it is downloaded, the Status Bar will state that Live must be restarted in order to apply the update.

To avoid incompatibilities, you will be asked to save Live Sets created with an older version of Live as a new file in Live Introduced Tempo Follower see An Input Channel Ext. In chooser allows choosing the channel from which the tempo will be tracked, and displays a level meter for each channel. Welcome to Live 1. We hope you enjoy using Live and that it enhances your creative process.