User manual ABLETON LIVE 8.2 REFERENCE MANUAL 2010

[. . . ] Ableton Reference Manual Version 8 Live Version 8. 2 for Windows and Mac OS Created by Bernd Roggendorf, Gerhard Behles, Robert Henke, Awi, Reiner Rudolph, Stefan Haller, Stefan Franke, Frank Hoffmann, Andreas Zapf, Ralf Suckow, Gregor Klinke, Matthias Mayrock, Friedemann Schautz, Ingo Koehne, Jakob Rang, Pablo Sara, Nicholas Allen, Henrik Lafrenz, Jan Buchholz, Kevin Haywood, Dominik Wilms, Christian Kleine, Amaury Groc, Daniel Büttner, Alex Koch, Henrik Hahn, Simon Frontzek, Torsten Wendland, Torsten Slama, Eduard Müller, Jeremy Bernstein, Bernard Chavonnet, Carl Seleborg, Claes Johanson, Bernhard Bockelbrink, Nico Starke, Jörg Kluÿmann, Stefan Brunner, Tobias Hahn, Stefan von der Mark, Carsten Henÿinger, Stephan Diehl, David Talbot, Robert Feldbinder, Diez Roggisch, Justine Lera, Dennis DeSantis, Ian Gallagher, Philipp Gries, Marie Hoffmann, Marian Kalus, Stephan Krohn, Michael Dühr, Dennis Fischer. Reference Manual by Dennis DeSantis, Ian Gallagher, Kevin Haywood, Rose Knudsen, Gerhard Behles, Jakob Rang, Robert Henke, Torsten Slama. Content provided by: SONiVOX www. sonivoxrocks. com Chocolate Audio www. chocolateaudio. com Puremagnetik www. puremagnetik. com Cycling '74 www. cycling74. com SonArte www. sonarte. ca e-instruments www. e-instruments. com Zero-G www. zero-g. co. uk Physical Modeling technology provided by: Applied Acoustics Systems www. applied-acoustics. com Copyright 2010 Ableton AG. 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. [. . . ] If the Mode control is set to Noise, this works in conjunction with the Width control, which de nes the noise bandwidth. Lower values lead to more selective distortion frequencies, while higher values affect the entire input signal. Width has no effect in Sine Mode. CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 303 Noise and Sine use a single modulation generator. However, Wide Noise has independent noise generators for the left and right channels, which creates a subtle stereo enhancement. 21. 13 External Audio Effect The External Audio Effect. 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. The Audio To chooser selects the outputs on your computer's audio hardware that will go to your external device, while the Audio From chooser selects the inputs that will bring the processed signal back into Live. As with the track inputs and outputs, the list of available inputs and outputs depends on the Audio Preferences, which can be reached via the Con gure. . . Below each chooser is a Peak level indicator that shows the highest audio level attained. The Gain knobs next to the choosers adjust the levels going out of and back into Live. These levels should be set carefully to avoid clipping, both in your external hardware and when returning the audio to your computer. The Dry/Wet control adjusts the balance between the processed and dry signals. Set it to 100 percent if using the External Audio Effect in a return track. The Invert button inverts the phase of the processed signal coming back into Live. CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 304 Since hardware effects introduce latency that Live cannot automatically detect, you can manually compensate for any delays by adjusting the Hardware Latency slider. The button next to this slider allows you to set your latency compensation amount in either milliseconds or samples. 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. 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. Note that adjusting in samples gives you ner control, so even in cases when you're working with analog devices, you may want to ne tune your latency in samples in order to achieve the lowest possible latency. In this case, be sure to switch back to milliseconds before changing your sample rate. Note: If the Delay Compensation option is unchecked in the Options menu, the Hardware Latency slider is disabled. For instructions on how to accurately set up latency compensation for your hardware, please see the Driver Error Compensation lesson. 21. 14 Filter Delay The Filter Delay Effect. The Filter Delay provides three independent delay lines, each preceded by linked lowpass and highpass lters. [. . . ] see Clip Nudge buttons Parent Folder item . 33 Paste Time command O in the Arrangement . 393 quick-chooser buttons aliasing and Tone . see mapping to MIDI/keys Rename command in the Browser . [. . . ]