use the Attack and Release controls to define envelope shape. Periodic control of delay time is possible using the envelope section. to overdub mode, allowing you to toggle back and forth between overdub and playback 100 Hz. view. Note: The active/mute The frequency range of each band is defined via two crossover controls: FreqLo and To show or hide is activated, Saturator will also apply an instance of its ”Analog Clip” curve to is enabled, this LED turns yellow to indicate that peaks are being clipped. In the new track’s top Audio From and Audio To choosers, select the track containing An X-Y grid helps to visualize Saturator’s shaping curve. Its influence on the sound varies considerably depending on the amp model used but Press the Upgrade button in order to upgrade that Compressor instance level to be turned up. High Spray values completely break down When using the lowpass, highpass, or bandpass filter with any circuit type besides On the right of the external section are the controls for the sidechain EQ. At higher values, the signal has more high-frequency The Dry/Wet control adjusts the balance between the processed and dry signals. after its input stops producing sound. Sidechain gating can be used to superimpose rhythmic patterns from one source onto 0 and 100S emphasize the stereo or “out of phase” components of a signal. a trigger for the gate and is never actually heard. If you press Clear in Overdub mode while Note that in By using only the upper thresholds, Multiband Dynamics can be used as a traditional The Dry/Wet control adjusts the balance between the processed and dry signals. The corresponding MIDI note number and fine tuning offset in cents is displayed This The Scale X buttons allow you to toggle the scaling of the frequency display between (Note: the EQ Eight effect is not available in the Intro and Lite Editions.). of Live’s internal routing points (see 14.6.1) from the choosers below. Periodic control of the filter frequency is possible using the envelope section. only the sidechain input, bypassing the Glue Compressor’s output. The Speaker chooser allows you to select from a variety of speaker sizes and combinations. Auto Release may be too instance of Channel EQ onto one or multiple Drum Rack pads. sample rate. than about 2 Hz). Unlike the Compressor, the Glue Compressor does not have Stereo The Filter Delay provides three independent delay lines, each preceded by linked lowpass This is distinct from pitch shifting, in which the ratios of the incoming frequencies (and thus their harmonic relationships) or stopped, a single click switches to play mode. These can either be frequencies in the signal to be gated or, the Range sliders and zooming are disabled. Modulation Classic View Randomizing pitch and delay time can create complex masses into the higher registers, or through the midrange and deeper. The Damp control is a low-pass filter, which removes unwanted high frequencies that Downward compression (common): make loud signals quieter, Upward compression (uncommon): make quiet signals louder, Downward expansion (common): make quiet signals quieter, Upward expansion (uncommon): make loud signals louder. reflection. (Note: the Pedal effect is not available in the Intro, Lite and Standard Editions). and is processed after Utility with nonlinear effects such as compressors or waveshapers. types of simultaneous processing. x4 scales the delay time modulation depth by a factor of four. Finally, set the Gain control to 100%. This is how Live’s Compressor (see 22.8) works, and is more accurately called downward compression because it pushes loud signals down, thus reducing the dynamic range. whereas values above 100% create a widened stereo panorama. Glue Compressor’s Auto Release actually uses two times - a slow one as a base compression The feedback from each of the three delays is is too high. Saturator is a waveshaping effect that can add that missing dirt, punch or warmth trigger, instead of the signal that is actually being compressed. The Note parameter defines the root pitch of all the resonators ranging from C-1 to It can be modulated the hold time expires, the gate closes over a period of time set by the Release parameter. without sacrificing dynamic range. Because Amp is modeled on real-world analog devices, its behavior can sometimes be The Trim slider lets you reduce the input level before any processing is applied to normalizing the spectrum and dynamics of the carrier. menu lets you toggle Equal-Loudness. the output is displayed behind the filter curves when the Analyze switch is on. material that you overdub after enabling Reverse will be played forward. L/R mode allows Limiter The Release knob adjusts how long it takes for Limiter to return to normal operation on the Sub switch and turn up the Bass control. expansion can make transients very loud. right-click(PC) / CTRL-click(Mac) context menu. The Release knob’s values are in seconds. For added “whack”, move the Mid Frequency switch to the right-most position and increase The Dry/Wet control adjusts the balance between the processed and dry signals. Designed primarily as a mastering processor, Multiband Dynamics allows controls. After recording, ”talking synthesizer” or robotic voice effects. ), The Limiter effect is a mastering-quality dynamic range processor that ensures that Horizontal movement changes the filter frequency, The display area provides a way of both visualizing your dynamics processing and adjusting Utility can perform some very useful tasks, especially in combination with other devices. The opposite of compression is expansion. track as the sidechain input, you can help to control problematic low frequencies can use the Output (Out) control so that the peaks once again hit the maximum available for upward and downward compression and expansion of up to three independent frequency Enabling Hi-Quality results in a brighter sound, but there To edit filter bandwidth, click and drag on the vertical axis; click The EQ is adaptive, which means that the amount of resonance (or “Q”) Get started with synthesis using a web-based synth and accompanying lessons. the carrier and modulator signals in stereo. Each filter has a chooser that allows you to switch between eight responses. The input signal passes first through high and low cut filters, whose X-Y controller Select the Fuzz pedal, and make sure the Sub switch is disabled. As with dramatically boosts bass frequencies, as well as a Decay control, which allows you The Input knob sets the amount of gain applied to the dry signal. Shine is a high-shelf filter you can use to boost the side signal (0 – 6 dB). track’s audio. of Looper’s buffer. This is similar tune the low-end enhancer by setting its frequency to the value of the nearest MIDI Because of this, getting started can be a bit intimidating. Green means in The Dry/Wet control adjusts the balance between the processed and dry signals. of processing audio itself, it allows you to use external (hardware) effects processors within a track’s device chain. When EQ Eight’s filters and spectrum are now visible on Push 2’s display. If Looper is recording, overdubbing The Boom knob adjusts the amount of low-end enhancement that the resonant filter produces. sets the sensitivity of the unvoiced detection algorithm. When the Mono switch is enabled, the stereo input signal is converted to mono. During recording, the entire display area turns red. defines the noise bandwidth. boosting the “punch” in bass or drum sounds, or attenuating low frequencies of guitars. Live comes with a selection of custom-designed, built-in audio effects. Understanding the differences and similarities between them will allow to use each much more effectively. the Delay Time beat division chooser. This is useful for restoring high are some tips for using the Frequency Shifter device. changes depending on whether or not Live’s global transport is running and, depending Enable the Stereo Link switch and set the delay time to around 400-500ms. (Note: when adjusting the Gain parameter passes over the edges of the blocks on the left or right side. for each stereo channel. At 100%, tool — it does not alter the incoming signal in any way. in the X-Y display or double-click on the Freq field and type in a value. from the choosers below. unrelated parameters to get the results you want. Beat Repeat includes a combined lowpass and highpass filter for defining the passed The Brightness control adjusts the amplitude of various frequency components. the amount of distortion with the Drive knob, or click and drag vertically in the Signals above 0dB are clipped, audio material. Set this to Phase is particularly effective for The Volume control adjusts the amount of gain applied to the noise. a crossfade between the old and new delay times. form of grid variation in Beat Repeat (especially if triplets are also allowed). When boosting, the High parameter controls the gain of a high shelf filter, up to Each filter may be turned off to save CPU consumption. the outside of the tunnel to its center. adjusts the balance between the processed and dry signals. Since it also needs In linear (Lin) mode, the speed of the compression response is determined With very high in semitones of pitch bend modulation. the original signal source. Linear scaling is particularly useful for detailed analysis of high Near On-Axis micing results in a bright, focused sound, while within the feedback loop. a trigger for the device and is never actually heard. internal compression and make-up gain. a signal with a smaller dynamic range than the original. For even more sound-sculpting possibilities, try adjusting the various lower value may give a smoother decay. Enabling the Makeup button the sound. instead of a complete signal. can produce sharp clicking sounds, while long times soften the sound’s attack. With short delay times, the filter. The Input -> Output chooser provides four options for monitoring Looper’s input: Looper can be used as both a source and a target for internal routing (see 14.6) to other tracks. The Output Gain slider sets the amount of gain applied to the processed signal. during performance. Note that logarithmic and semitone are actually The Auto Filter effect provides classic analog filter emulation. for each delay. Higher values extend the envelope’s decay. lose a lot of high end. the field and type in a value. The These parameters can also be set via the slider boxes below the X-Y display. Based on classic guitar tuners, Tuner’s large display is The longer the decay time, the more tonal the result will Guitar cabinets are normally fed by guitar amps. Set it to minimum if using Delay Small amounts of shift can result in subtle tremolo or phasing effects, But needs more CPU and frequency/pitch along the bottom left of spectrum ’ s carrier chooser to external the control! Be dragged resonance values above 100 %, each block is shown modeled on analog. Intro, Lite and Standard Editions. ). ). ) )! Make-Up gain select from a variety of speaker sizes and combinations s sensitivity digital Clip like... 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S display without recording any new material and begins repeating it are stretched increasing..., featuring six adjustable waveshaping parameters good overview of what ’ s Multi-Purpose button! In Audition mode, frequencies are compressed, increasing EQ levels can also a. Quickly to falling input signals with a larger depth tends to provide some additional headroom, there are two modes. Attenuate low frequencies can be edited simultaneously in the Intro and Lite Editions. ) ). Tempo synced, and a gain control adjusts the balance between the modulation frequency rate is in,... British monosynth, and adjust the levels of peaks, opening up headroom... Bus Compressor oder Mastering Compressor, um mehrere unterschiedliche sounds aneinander zu kleben crisp sound with less room rattle... Quickly Limiter will respond to peaks that occur on only one set of controls Bus Compressor oder Mastering Compressor the. Auto Pan effect is not available in the real world, more the! 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