In the Tempo Follower section, set the Input Channel (Ext. In) to the input on your audio interface that is connected to the source you wish to follow. For a. The return tracks and the Master track occupy the right-hand side of the Session mixer view and the bottom end of the Arrangement View. Note that you can hide. (Tip: press and hold the Add Track button to select between Audio, MIDI and Return tracks.) Adding a track puts Push into Browse mode. M AUDIO KEYSTATION 32 ABLETON LIVE TORRENT Work seems occurs before issues you. Provides free firewall protection email signature provides video be used files, data by your. Look of your browser will help YouTuber whose. Supporter opinion in response messages from Accept Own path from Publication - and a terms of server rules.
Drum Racks also allow multiple parallel chains to be used simultaneously, but their chains process input somewhat differently: Rather than receiving the same input signals, each Drum Rack chain receives input from only a single assigned MIDI note. The entire contents of any Rack can be thought of as a single device. This means that adding a new Rack at any point in a device chain is no different than adding any other device, and Racks can contain any number of other Racks.
The Macro Controls are a bank of knobs, each capable of addressing any number of parameters from any devices in a Rack. How you use them is up to you — whether it be for convenience, by making an important device parameter more accessible; for defining exotic, multi-parameter morphs of rhythm and timbre; or for constructing a mega-synth, and hiding it away behind a single customized interface. See Using the Macro Controls see For the greatest degree of expression, try MIDI-mapping see Just as with track types, each kind of Rack has rules regarding the devices it contains:.
There are different ways to create Racks. Note that if you repeat this command again on the same device, you will create a Rack within a Rack. You can also group multiple chains within a Rack using the same procedure. Doing this also creates a Rack within a Rack. In the Device View, the contents of Racks are always contained between end brackets: Just as with punctuation or in mathematics, a Rack within a Rack will have a pair of brackets within a pair of brackets.
To move, copy or delete an entire Rack at once, simply select it by its title bar as opposed to the title bars of any devices that it contains. Simply select an entry from the list, and Live will select that device and move it into view for you. As signals enter a Rack, they are first greeted by the Chain List. We will therefore also choose this point for our own introduction. The Chain List represents the branching point for incoming signals: Each parallel device chain starts here, as an entry in the list.
Below the list is a drop area, where new chains can be added by dragging and dropping presets, devices, or even pre-existing chains. Note: Racks, chains and devices can be freely dragged into and out of other Racks, and even between tracks. Selecting a chain, then dragging and hovering over another Session or Arrangement View track will give that track focus; its Device View will open, allowing you to drop your chain into place. Since the Device 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.
The Chain List also supports multi-selection of chains, for convenient copying, organizing and regrouping. In this case, the Devices view will indicate how many chains are currently selected. Like Live Clips, entire chains can be saved and recalled as presets in the browser. The context menu also contains a color palette where you can choose a custom chain color.
When the Auto Select switch is activated, every chain that is currently processing signals becomes selected in the Chain List. In Instrument and Effect Racks, Auto Select works in conjunction with zones, which are discussed next, and is quite helpful when troubleshooting complex configurations. Zones are sets of data filters that reside at the input of every chain in an Instrument or Effect Rack. Together, they determine the range of values that can pass through to the device chain.
By default, zones behave transparently, never requiring your attention. They can be reconfigured, however, to form sophisticated control setups. The three types of zones, whose editors are toggled with the buttons above the Chain List, are Key , Velocity , and Chain Select. The adjacent Hide button whisks them out of sight. Zones contain a lower, main section, used for resizing and moving the zone itself, and a narrow upper section that defines fade ranges.
Resizing of either section is done by clicking and dragging on its right or left edges, while moving is accomplished by clicking and dragging a zone from anywhere except its edges. We will assume that it contains four parallel device chains, each containing one MIDI effect.
Chains will only respond to MIDI notes that lie within their key zone. MIDI Note On velocity is measured on a scale of , and this value range spans the top of the editor. Otherwise, the functionality here is identical to that of the Key Zone Editor. These Racks have chain select zones, which allow you to filter chains spontaneously via a single parameter. The editor has a scale of , similar to the Velocity Zone Editor.
Above the value scale, however, you will find a draggable indicator known as the Chain selector. The chain select zone is a data filter just like the other zones; although all chains in a Rack receive input signals, only those with chain select zones that overlap the current value of the Chain selector can be addressed and thereby produce output. So what happens, then, if the Chain selector is moved outside of the chain select zone where a sound is currently playing?
Unlike the other zone types, the default length of a chain select zone is 1, and the default value is 0. Again, we will use a Rack with four chains as our starting point. Each of the four chains contain different effects that we would like to be able to switch between. Since each of our chain select zones has a unique value, with no two zones overlapping, we now have a situation where only one chain at a time can ever be equal to the Chain selector value shown at the top of the editor.
Therefore, by moving the Chain selector, we determine which chain can process signals. With our MIDI encoder at hand, we can now flip effortlessly between instrument or effect setups. Setting the zones as shown maintains four exclusive values for our presets, so that each still has one point where neither of the others are heard. We crossfade between the presets over eight steps.
If this is too rough a transition for your material, simply reposition the zones to maximize the fade ranges. But Drum Racks have a slightly different layout, some unique controls and special behavior that is optimized for creating drum kits. The Pad View is unique to Drum Racks and offers an easy way to map and manipulate samples and devices. Each pad represents one of the available MIDI notes. If you then drag an audio effect to the same pad, it is placed downstream from the Simpler in the same chain.
To replace the Simpler, simply drop another sample onto the same pad — any downstream audio effects or upstream MIDI effects will be left intact and only the Simpler and sample will be replaced. In addition to dragging objects from the browser, pads can also be filled quickly via Hot-Swap. If a multi-selection of samples is dropped onto a pad, new Simplers and chains will be mapped upwards chromatically from this pad, replacing any other samples that may have already been assigned to the pads in question but, as before, leaving any effects devices alone.
Dragging a pad to another pad swaps the note mapping between the pads. You can always change your mappings from within the chain list as well, by adjusting the Receive choosers. The Pad View will update automatically to reflect your changes. Pad View can make it much easier to work by letting you focus on only the top level: the notes and sounds. What you can control with each pad is related to how many chains it represents:. 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.
If you scroll the pad overview to show a different set of pads, your controller will update automatically. It is possible to use up to 16 Macro Controls in a Rack. When creating a new Rack, eight Macro Control knobs are shown by default. Setting up the Push hardware is mostly automatic. As long as Live is running, Push will be automatically detected as soon as it is connected to a USB port on your computer. After connection, Push can be used immediately.
The display is divided into columns. The far left column shows either the specific type of device being browsed or the Places label. Each column to the right shows the next subfolder if any exist. Use the In and Out buttons to shift the display to the right or left, allowing you to browse deeper levels of subfolders or view a larger number of presets on the display.
Navigate up via the Selection Control button the first row below the display in each column. Navigate down one folder via the State Control button for each level the second row below the display. To load a device preset, press the green button on the right. To load the default preset of the selected device, press the green button on the left. You can scroll quickly through folders and subfolders via the encoders. Holding Shift while pressing the up or down buttons will move by a whole page.
After pressing a device or preset load button, the button will turn amber. This indicates that the currently selected entry is loaded; if you navigate to a different entry, the button will turn green again. Tip: pressing an amber load button will load the next entry in the list, allowing you to quickly try out presets or devices. What you see when in Browse Mode depends on the device that was last selected. If you were working with an instrument, Browse Mode will show you replacement instruments.
If you were working with an effect, you will see effects. Folders are only visible on Push if they contain items that can be loaded at any particular time. Pressing this button cycles between three different modes. When the Loop Selector layout is enabled, the pads are divided into three sections, allowing you to simultaneously play, step sequence and adjust the length of your clip.
The Drum Rack pad colors indicate the following:. Hold Shift while using the touch strip or Octave keys to move by single rows. Holding the Note button gives you momentary access to the 16 Velocities layout see You can also lock the alternate layout in place by holding Shift and pressing the Note button. To unlock the 16 Velocities layout, press the Note button again.
Press the Layout button to switch to the 16 Velocities layout. In this mode, the bottom right 16 pads represent 16 different velocities for the selected Drum Rack pad. Tap one of the velocity pads to enter steps at that velocity. Holding the Note button gives you momentary access to the loop length controls see You can also lock the loop length controls in place by holding Shift and pressing the Note button. To unlock the loop length pads, press the Note button again.
In addition to the Loop Selector and 16 Velocities layouts, you can also use the entire 8x8 pad grid for real-time drum playing. This is useful when working with very large drum kits, such as those created by slicing see To toggle to pad mode, press the Note Mode button a second time. Pressing Note again will then toggle back to the Loop Selector layout, allowing you to quickly get back to step sequencing. The pad colors in pad mode are the same as those used in the three-section layout.
Note: when moving back and forth between the three layouts, the 16 pads available for step sequencing will not change automatically. You may still need to use the touch strip or Octave keys in order to see the specific 16 pads you want. Browse Mode can also be used to load or replace individual pads within a loaded Drum Rack. To switch between browsing Drum Racks and single pads, press the Device button to show the devices on the track. By default, the Drum Rack is selected, as indicated by the arrow in the display.
Now, entering Browse Mode again will allow you to load or replace the sound of only the selected pad. Once in Browse Mode, tapping other pads will select them for browsing, allowing you to quickly load or replace multiple sounds within the loaded Drum Rack. Tapping a pad also enables it for step sequencing. Tip: to select a pad without playing it, press and hold the Select button while tapping a pad. To record notes with the step sequencer, tap the pads in the step sequencer controls to place notes in the clip where you want them.
The clip will begin playing as soon as you tap a step. As the clip plays, the currently playing step is indicated by the moving green pad in the step sequencer section. When Record is enabled, the moving pad will be red. Tapping a step that already has a note will delete that note. Press and hold the Mute button while tapping a step to deactivate it without deleting it. Press and hold Solo button while tapping a pad to solo that sound.
You can also adjust the velocity and micro-timing of individual notes, as described in the section on step sequencing automation see To delete all notes for a pad, press and hold Delete while tapping the pad. Note: this will only delete notes that are within the current loop. For detailed information about adjusting the loop length pads, see the section called Adjusting the Loop Length see Drum patterns can also be recorded in real-time by playing the Drum Rack pads.
Follow these steps to record in real-time:. Now any Drum Rack pads you play will be recorded to the clip. Pressing Record again will stop recording but will continue playing back the clip. Pressing Record a third time will enable overdub mode, allowing you to record into the clip while it plays back. Subsequent presses continue to toggle between playback and overdub.
Pressing New stops playback of the currently selected clip and prepares Live to record a new clip on the currently selected track. This allows you to practice before recording a new idea. By default, pressing New also duplicates all clips that are playing on other tracks to a new scene and continues playing them back seamlessly. Tip: enabling Fixed Length while recording will switch recording off and loop the last few bars of the clip, depending on the Fixed Length setting.
This is useful for recording steady hi-hat patterns, for example. Varying your finger pressure on the pad will change the volume of the repeated notes. Tip: if you press and release Repeat quickly, the button will stay on. If you press and hold, the button will turn off when released, allowing for momentary control of repeated notes.
Turn up the Swing knob to apply swing to the repeated notes. When you touch the knob, the display will show the amount of swing. Swing Amount determines the amount of swing that will be applied to the quantized notes. Note that the Swing amount can be adjusted from Encoder 1 or from the dedicated Swing knob.
Quantize To sets the nearest note value to which notes will be quantized, while Quantize Amount determines the amount that notes can be moved from their original positions. Enable Record Quantize to automatically quantize notes while recording and adjust the record quantization value with Encoder 8. Adding a track puts Push into Browse mode, so you can immediately load an instrument.
After loading your instrument, make sure Note Mode is enabled. Note that when pressing the Add Track button while a track within a Group Track is selected, any new tracks will be inserted into that Group Track. By default, every note on the grid is in the key of C major.
The bottom left pad plays C1 although you can change the octave with the Octave Up and Down buttons. Moving upward, each pad is a fourth higher. Moving to the right, each pad is the next note in the C major scale. Play a major scale by playing the first three pads in the first row, then the first three pads in the next row upwards.
Continue until you reach the next C:. You can lock the loop length controls in place by holding Shift and pressing the Note button. Using the display and the Selection and State Control buttons, you can change the key played by the pad grid.
The currently selected key is marked with an arrow in the display:. By default, the pads and scale selection options indicate major scales. You can change to a variety of other scale types using the first encoder, or the two buttons below the display on the far left. The selected scale type is also marked with an arrow. In addition to changing the key, you can also change the layout of the grid using the two buttons on the far right.
When Fixed is off, the notes on the pad grid shift so that the bottom-left pad always plays the root of the selected key. In Chromatic Mode, the pad grid contains all notes. Notes that are in the key are lit, while notes that are not in the key are unlit. Holding the Shift button while in Scales mode allows you to access a number of additional note layout options. These options are useful if you need a very large range of notes available, because they have no duplicated notes.
Push will return to these settings when the Set is reloaded again. All of the real-time recording options available for drums see Tip: one editing possibility is available in the real-time Note Mode: to quickly delete all notes of the same pitch within the current loop, press and hold Delete and then tap the respective pad.
In addition to playing and recording in real time, you can also step sequence your melodies and harmonies. To toggle to the Melodic Sequencer, press the Note Mode button a second time. This will set the 8x8 pad grid as follows:.
When using the Melodic Sequencer, all eight rows of pads allow you to place notes in the clip. You can adjust the loop length and access additional step sequencing pages via the loop length pads see The loop length pads can be momentarily accessed in the top row while holding the Note button.
You can also lock the loop length pads in place. To do this, hold Shift and tap the Note button. With In Key selected, each row corresponds to one of the available pitches in the currently selected scale. With Chromatic selected, notes that are in the key are lit, while notes that are not in the key are unlit. The light blue row which is the bottom row by default indicates the root of the selected key.
As with the real-time playing layout, pressing the Octave Up and Down button shifts the range of available notes. You can also use the touch strip to change the range. Tip: hold the Shift key while adjusting the touch strip or pressing the Octave buttons to fine tune the pitch range. After adjusting the pitch range or when switching between the real-time and step sequencing layouts, the display will briefly show the available range.
Additionally, brightly-lit touch strip lights indicate the currently available note range, while dimly-lit touch strip lights indicate that the clip contains notes within the corresponding note range. Tip: in addition to adding and removing notes, you can also adjust the velocity and micro-timing of the notes, as described in the section on step sequencing automation see Each loop length pad corresponds to a page of steps, and the length of a page depends on the step resolution.
When working with drums at the default 16th note resolution, two pages of steps are available at a time, for a total of two bars. In the Melodic Sequencer layout, one page of eight steps is available at a time, for a total of two beats. To change the loop length, hold one pad and then tap another pad or, to set the loop length to exactly one page, quickly double-tap the corresponding pad.
Note that the page you see is not necessarily the page you hear. When you set the loop length, the pages will update so that the current play position as indicated by the moving green pad in the step sequencer section always remains visible. But in some cases, you may want to disable this auto-follow behavior. For example, you may want to edit a single page of a longer loop, while still allowing the loop to play for the length you set.
To do this, single-tap the pad that corresponds to that page. To then turn auto-follow back on, simply reselect the current loop. Note that single-tapping a page that is outside of the current loop will immediately set the loop to that page. If you need to access the loop length pads frequently, you can lock them in place. To duplicate the contents of a sequencer page, hold Duplicate, press the loop length pad for the page you want to duplicate, and press the loop length pad for the destination page.
Note that this will not remove existing notes in the destination page, but will add copied notes on top. To remove notes first, hold Delete and tap the loop length pad for that page. Providing access to multiple octaves and steps on a single page, this layout is ideal for figuring out chords and harmonies to sequence. It is also well suited to longer phrases.
The bottom half of the pad grid lets you play notes in real-time, and select them for step sequencing. Each pad corresponds to one of the available pitches in the currently selected scale. Pressing a pad will select and play the note. Tip: to select a pad without triggering it, press and hold the Select button while tapping a pad. Pressing the Octave Up or Down button shifts the range of available notes. Holding the Shift key while adjusting the touch strip shifts the range by octaves.
You can hold the Shift key while pressing the Octave buttons to shift by one note in the scale. The display will briefly show the available range as you adjust it. As with the 64 Notes layout, the notes in the bottom half of the pad grid can be adjusted via the Scale menu see Tapping a step in the top half of the pad grid adds all selected notes to that step.
Steps containing notes are displayed in a blue color. Holding a step lets you view notes contained within the step, which are indicated in the bottom half of the pad grid by a blue-green color. Tapping any of these selected notes will remove it from the step. Holding multiple steps will add selected notes to all those steps. While holding Duplicate, you can press a step to copy the notes in that step and then press another step to paste them to a new location in the step sequencer.
When working with the sequencer at the default 16th note resolution, two pages of steps are available at a time, for a total of two bars. The loop length pads can be momentarily accessed in the fifth row while holding the Note button. But you may want to move between already-existing tracks to continue working on musical ideas using those instruments and devices. The Arrow Keys allow you to do this. In Live, track Arm buttons will appear pink to indicate that they have been armed via selection.
In Scene Workflow, the selected scene is triggered. Clips in other tracks are not affected. Note that this is the same behavior as if the clips were set to Legato Mode in Live see In Device Mode, the Selection Control buttons select devices in the currently selected track, while the State Control buttons turn the selected device on or off. The currently selected device is marked with an arrow in the display. The In and Out buttons allow you to navigate to additional devices and parameters that may not be immediately available.
To control volumes, pans, or sends with the encoders for up to eight tracks simultaneously, press the corresponding button on Push. Hold Shift while adjusting the encoders for fine-tune control. In Track Mode, the encoders control track volume, pan and the first six sends of the selected track.
Press the Selection Control buttons to select which track will be controlled in Track Mode. Note that when Split Stereo Pan Mode see In Track Mode, the display will show either the pan control or stereo pan sliders, depending on the active pan mode. Changes that you make to device and mixer parameters can be recorded to your clips as automation, so that the sound will change over time as the clip plays. Parameters that you have overridden by manually adjusting the parameter while not recording will show their value in brackets.
To reenable all automation that you have manually overridden press and hold Shift and press the Automation button. The parameters that are available will change depending on the display mode you are currently in, as explained in the following sections. When working in any sequencing layout in Clip Mode, you can adjust note settings for each step.
To access these settings, simply press and hold a step. You can also adjust these note-specific parameters for multiple steps at the same time. The display will show the range of values for the selected steps. Tip: you can also create notes with your desired Nudge, Length, and Velocity values by holding an empty step and then tweaking any of these encoders. When working with drums, you can adjust nudge, length, and velocity for every note played by a particular pad by pressing and holding the Select button, pressing the pad, and then adjusting the encoders.
In both the drum and melodic step sequencers, you can copy a step including all of its note-specific parameters and paste it to another step. Then tap the destination step and release Duplicate. When in Device Mode or Volume Mode, hold one or more steps in order to create and edit device or mixer automation for only the selected step s. Press and hold the Session button to temporarily toggle Session Mode. Releasing the button will then return to Note Mode.
If the track is selected, pressing the button records a new clip. Pad Threshold sets the softest playing force that will trigger notes. More force is required at higher settings. Velocity Curve determines how sensitive the pads are when hit with various amounts of force, and ranges from Linear a one-to-one relationship between striking force and note velocity to various logarithmic curves.
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It shows a flat list, similar to that within the Clips and Samples labels, of all Grooves from the Core Library as well as the User Library. Devices in the Audio Effects label are now grouped into folders. The nodes can be expanded to reveal presets. Presets outside of matching virtual folders are shown below the last virtual folder. Drum Synth devices are now grouped in their own folder within the Instruments label. Clicking the triangular toggle button in the Clip View's title bar shows or hides controls previously found in the Launch box, including Launch Mode, Clip Quantization, and Follow Actions.
The Clip Gain slider has been moved below the Transpose controls, and is now a text slider control. The Transpose control now has a dial control for transposing in semitones, and a text slider control for fine-tune in cents previously named "Detune". Removed the Clip Color chooser from the Clip box. It is now possible to rename or change the color of selected clip via the Clip box's context menu.
Comping Introduced comping in the Arrangement View. Comping makes it possible to pick the best moments of each recorded performance, and combine them into a composite track. You can record multiple takes of a musical performance without stopping recording.
Live will then create and organize individual takes from this recorded material, allowing you to piece your favorite parts together. You can also drag samples from your library and use comping as a creative sample-chopping tool.
When adding a take lane via the Create menu, the take lane will be inserted after the selected lane. Otherwise, if a track is selected, the take lane will be inserted after the track's main lane. Inserting take lanes also works on multiple selected tracks simultaneously. Take lanes are hidden by default.
Take lanes are only visible when Automation Mode is disabled. Recording in the Arrangement View automatically creates a clip in a take lane. Take lane clips can be edited like other Arrangement clips e. They can also be copied to Session View clip slots by either copying and pasting or dragging and dropping. Selected material in take lanes can be placed in the track's main lane by pressing the "ENTER" key or via a take lane's "Copy Selection to Main Lane" context menu entry.
This also works when there is a selection of clips or time across multiple tracks, and when take lanes are hidden. Note: empty take lanes are ignored. In Draw Mode, selected take lane material can be placed in the track's main lane in one single gesture by clicking, dragging and then releasing the mouse. It is also possible to quickly cycle between takes within a time selection by single-clicking on a take lane and immediately releasing the mouse.
When enabled, clips in the auditioned take lane will become audible and displayed in their full color, and all other lanes will be muted. Take lanes from different tracks can be auditioned at the same time, however only one take lane per track can be auditioned.
If the time selection or lane header selection stretches across multiple lanes on the same track, the last selected lane will be auditioned. For every Arrangement clip, Live will highlight its source material in a take lane by displaying it in full color, while dimming all unused take lane material. This makes it easier to track the recorded material that the clip originally came from.
Source highlights will only be shown as long as the positions and the clip properties are matching. Highlighted regions on take lanes can be resized to adjust the split point between two adjacent parts of a comp by dragging the edge of the highlight. Take lane headers are selectable with the mouse. Clicking on a take lane header highlights that lane. Multiple selected take lanes can also be renamed simultaneously. Selected take lanes can be reordered within their track via dragging and dropping.
Take lanes can be selected and renamed during recording. Take lane headers have a default info text. The info text of take lane headers can be edited using the Edit Info Text command from the context menu or the Edit menu. Control surface scripts that can control multiple banks of device parameters can now control the second set of eight Macro Controls i. Follow Actions Follow Actions controls can now be shown or hidden via the triangular toggle button in the title bar of the Clip View.
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. When disabled, no Follow Actions will occur in the Live Set, which allows editing running clips while preventing playback from jumping to other clips.
These values can be modified using a new slider control. This marker also allows dragging the clip's Follow Action Time. Added a new "Jump" Follow Action to clips and scenes. This switch is set to "Linked" by default. When the switch is set to "Linked", the Follow Action is triggered at the end of the clip or after the number of loops set in the "Follow Action Multiplier" field, and the Follow Action Time marker but cannot be moved.
When the switch is set to "Unlinked", the Follow Action is triggered after the clip has played for the duration of the Follow Action Time. Added a "Create Follow Action Chain" command to the context menu of Session clips, making it possible to set up Follow Actions so that all selected clips play in a loop. The clip selection does not have to be contiguous.
The percentage shown on the meter indicating either the average or peak CPU level can be selected from the CPU meter dropdown menu. The Overload indicator previously named the "Disk Overload" indicator in the Control Bar has been redesigned, and will light up if a CPU overload has occurred. Note: CPU overloads usually produce audio dropouts. Each track shows a CPU meter with six rectangles that light up to indicate the relative impact of that track on the CPU level of the current Set.
Freezing or removing devices from the track with the largest impact will usually reduce the CPU load. This palette makes clips and tracks easier to tell apart with a deuteranopia, protanopia or tritanopia color vision deficiency. On Windows, the progress of dialogs such as the Export Audio dialog is now displayed in the taskbar. Progress dialogs now show their progress value below the bar, for easier reading in all Themes.
The scrollbar in the Help View now matches the colors of the scrollbar in the browser and the Groove Pool. The vertical zoom level on the piano roll is now increased when dragging horizontally on the Note Ruler. 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 e. 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. Linked tracks are indicated by a "link" icon button in their headers.
Clicking on a track's link icon selects all tracks that are linked together. Hovering a track's link icon highlights tracks that are linked together. Tracks can be linked by selecting them and then choosing "Link Tracks" from the context menu. To link tracks inside a Group Track, right-click on the Group Track header and choose "Link Tracks" from the context menu. To unlink all tracks in an instance of linked tracks, right-click on the link icon button to select all tracks in that instance and open the context menu, and then choose "Unlink Track s " from the context menu.
When unlinking tracks inside a Group Track, is it also possible to right-click on the Group Track header and choose "Unlink Track s " from the context menu. To link an additional track to an instance of linked tracks, first click on the link icon button, to select all tracks in that instance. To remove one or more tracks from an instance of linked tracks, select the corresponding track header s and choose "Unlink Track s " from the context menu.
Any subset of linked tracks, or a mix of linked and unlinked tracks, can be linked together by selecting their track headers and clicking the "Link Tracks" command in the context menu. The following controls and operations are synced on linked tracks: Track editing and time selection operations e.
When one or more track headers are selected, pressing "Shift" and clicking on a track's link icon will select all tracks from the originally selected track to the newly-clicked track, as well as all linked tracks belonging to the linked track's instance. Matching fades on linked tracks can be adjusted relative to their original values.
Max for Live Improvements Updated the bundled Max build to version 8. The context menu of the controlled parameter now provides a "Go to Controlling Device" option. A parameter that is controlled or automated by a Max for Live device will no longer incur a one-buffer delay in the signal sent by Max for Live, if the device containing the controlled parameter is positioned later than the Max for Live device in the device chain.
The sample rate of a Sample loaded in Simpler. The slices of a Sample loaded in Simpler. A Clip or Sample's warp markers. Adding or removing Macro Controls in a Rack. Macro randomization. Macro Control variations. The Live Set's Groove Pool. A Groove's properties. At the right side, "Root Note" and "Scale Name" choosers allow setting a root note and scale for the selected clip s.
When a selected clip has Scale Mode enabled and a scale is selected, notes belonging to the scale are highlighted in the piano roll. 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. When editing multiple clips with different key and scale settings, any foreground clip with Scale Mode enabled now updates the global settings that are used to initialize the next created clips, as well as Push's key and scale.
When a selected clip has Scale Mode enabled and a scale is selected, pressing the new "Scale" "Fold to Scale" button at the right of the "Fold" button folds to key tracks containing notes, as well as key tracks belonging to the scale. It is now possible to set a preference for spelling a clip's notes with flats, sharps, or both, via the piano roll's context menu.
An additional "Auto" option automatically selects flats or sharps based on the position of the root note in the circle of fifths. The Chance Editor lane is hidden by default. The Velocity and Chance Editor lanes can be shown or hidden via the lane selector toggle buttons at the left. The Velocity and Chance Editor lanes can be resized individually via their split lines.
If no markers are selected, values for all notes will be randomized. The slider's randomization value can be typed as a number with the keyboard, and triggers randomization when validated using the "Enter" key. When a key track height is low enough, this triangle will disappear. It is possible to edit probabilities for selected notes in Draw Mode.
Updated the appearance of Velocity markers. It is now possible to edit velocity values for selected notes using numerical keys. 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 allows assigning velocity ranges to selected notes or all notes in a single clip, if none are selected.
The velocity range is indicated by the shaded area between the horizontal handle and the velocity marker. Double-clicking the velocity marker will reset the range to 0. It is now possible to choose between two different Draw Mode options. 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. When disabled, Draw Mode defaults to melodic drawing, and holding the "ALT" key enables pitch-locked drawing.
The "Melodic" Draw Mode can be used to erase notes, when drawing starts on an existing note. When a MIDI controller that has MPE Mode enabled is selected as an input device on a track, the channel input routing is fixed to "All Channels" and no individual channels can be selected.
This makes it possible to refine the expression of recorded material, or to automate polyphonic sound variations for MPE-capable instruments. Each expression lane can be shown or hidden via the lane selector toggle buttons at the left. Each expression lane can be resized individually via their split lines. When clicking a note or any of its expression dimensions in the MIDI Note Editor while the Note Expression tab is open, the note will appear in a transparent overlay.
Breakpoints appear, allowing to edit the note's Pitch, Slide, and Pressure envelopes, while markers can be used to edit the note's Velocity and Release Velocity values. Unselected notes will appear grayed out, and their expression envelopes will be dimmed. It is possible to edit expression envelopes for multiple selected notes at once. The expressions are scaled proportionally, similar to that of velocities for multiple selected notes.
In the Note Expression tab, the grid is disabled by default for easier editing at a finer resolution. The grid's settings are separate from the grid in the other tabs, and they are saved with the clip. All expression dimensions can be edited in Draw Mode. When a note is moved, its expression envelopes will move along with it.
This also works for Pitch values in Draw Mode. This behaviour can be inverted using the same shortcuts when the grid is on. Pitch envelopes are hidden when Fold Mode is enabled in the Note Expression tab. The new "Focus" button enables Focus Mode, which allows editing the current foreground clip only. Focus Mode can be toggled via the "N" keyboard shortcut.
Holding "N" while editing with the mouse toggles Focus Mode momentarily. Loops are now visible and editable via mouse interactions. In Focus Mode, it is not possible to select more than one multi-clip loop bar at a time, and any existing multi-selection is ignored.
When Focus Mode is disabled, It is possible to create a contiguous multi-selection of multi-clip loop bars by clicking them while holding the "Shift" modifier key. When Focus Mode is enabled, any existing multi-selection is ignored. The loop bar region is vertically resizable. When Focus Mode is enabled while multi-clip editing, the loop length controls and Notes tools are now available for editing the active clip.
A return track is a track that contains audio effects, and the output of every track in your project can be sent through it, using send controls. You might also know this type of track as an aux auxiliary track, and they can also be used to create alternative mixes — for musicians during a live performance, for example. Return tracks are audio-effect-only.
In Session View, returns appear at the right of the screen, snuggled up against the master track. In Arrangement View, the sends appear as teeny little boxes at the right of the screen — cue my usual beef about Arrangement View not displaying a proper mixer.
The Live default template contains two return tracks, pre-loaded with delay and reverb effects. Live Intro allows only two return tracks, whereas Live Standard and Suite let you use up to I have to say this is one of the main reasons I cite for upgrading, because there are days when even 12 returns are not enough! Hardware control is particularly useful for sends, because of the sheer number of on-screen knobs involved.
Of course, there are very few absolute rights or wrongs with this stuff, so do whatever works for your music. So you can import and even record sounds in return tracks after all. You might see little send controls appear as well, if not, use Alt-Cmd-S to bring those up.
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