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6

If you have a particular sound that is embedded into a wave file containing other sounds, the only mechanism anyone has for isolating that sound and excluding all other sounds is through filtering BUT this probably won't work in a general sense because.... A particular sound may be (say) a flute and its characteristic timbre is produced by a series of ...


4

To move the whole automation, you have to select the entire area of the automation first, then move it. BUT.. This is a common problem, that pretty much everyone solves the same way. Do not under any circumstances automate the final volume of a track...EVER. In Ableton you drop a utility effect on the track and use it to do volume automation. This way ...


4

What you describe sounds like Buss/Master/Group Compression gone wrong. This effect sometimes appears when you have a compressor set to affect both the bass and the lead (via any of the Buss/Master/Group) When the bass hits the compressor the really lows(which consume a lot of space) instantly bring the threshold down and lower the volume of each other ...


3

Try using "Gate" to eliminate unwanted frequencies Try splitting (ctrl + E) the audio sample in arrangement view, to isolate tiny bits.


3

In Live, the spacebar plays from the start marker position. However, fn + left arrow (OSX) or Home (Win) should move the playhead to the beginning. If you're using a MIDI controller for transport control, you can double-tap the "Stop" button which will return the marker to the beginning as well.


2

Logic's Flex Time and Ableton's Warping are conceptually similar, in that they're timestretching based on markers. In Live, audio is stored in Audio Clips, and the Clip View editor will pop up if you double-click one. Warping is not done from the Arrangement View timeline - it's done within the clip itself. If the Warp switch is engaged on the Sample ...


2

DAWs are not intrinsically harder to use than NLEs. The thing is that most people really don't know their NLE either. Most consumers and beginners don't use many advanced features of their NLE. Since video is visual, people are inherently better at separating out and visualizing what is happening with multiple layers and accomplish what they want without ...


2

If you have a sample loaded in Live, it generally is warped meaning that Live will generally attempt to preserve the pitch of it no matter how you stretch it in time. This is of course impossible to do perfectly, but it uses some very clever algorithms to attempt it by making educated guesses about the data. The different algorithms are referred to ...


2

There's several different warp mode in Live. Have a look at the cli view panel. If the clip is unwarped, slowing down the tempo will pitch the clip down and make it longer, and vice versa, like in the analog world. If the clip is warped Live will stretch it but keep the original pitch. Those "clipping" you mention are because your clip are warped with the "...


2

I might have an actual answer this time. Be sure you are doing a "Save As" a preset (not a patch) after assigning the program change number to your preset. This seems to have been the last piece I was missing in my setup for changing Amplitube presets within Ableton by sending MIDI program changes from the SoftStep pedal. As I mentioned before, you will ...


2

The generic term for this is vibrato, though it wouldn't usually move 'between octaves' but rather in smaller increments like semitones. Applying a low-frequency oscillator to the pitch pin on a tone oscillator would achieve the effect. The amplitude of the LFO would control the degree of pitch shift over time, and its frequency would affect how rapidly it ...


2

I'm not familiar with Live, but here is my guess: It's square because it sounds 'empty' to me. Saw OSC has much more details. It's distorted. This contributes a lot to the sound and of course will add more details to a 'stock square wave' The distortion is dynamic. It's not just clipping the signal. It's more like a stomp box. Your clone doesn't have a ...


2

Warping acapellas can be a little difficult because you don't have an obvious rhythmic reference like drums. Ableton's warping interface is based on placing markers within a recording, and stretching them along a time ruler. You are saying "this part I have marked should be at this point in musical time." So not seconds, but measures and beats and ...


2

A midi transposition effect should do exactly what you're after. I am pretty sure its parameters can be controlled via automation. https://www.ableton.com/en/manual/live-midi-effect-reference/#pitch Unless you want to edit the notes in place. In that case Cmd-A (select all), then use the up/down keys to transpose the pitch up and down. Hold down shift to ...


2

If master is 120 it seems to automatically adjust to song after it finishes loading in arrangement To purely determine the bpm of your track: Put the song in session view, otherwise the song will skip around Turn off warping and Play from a chosen loop start point Tap tempo to get a rough estimate of song's average tempo Usually if you just align the song ...


2

In Ableton Live 8, you can't plug and play MIDI devices, you have to connect them before lauching the software. In Live 9 it's ok.


2

If you are using Suit download MAX4Live. Under Live API, the parameter called selected Device is what you need to tap. So essentially you'll be making one max patch to which u'll hard map your controller, while this max patch is aware and will control the selected device. so turning the knob on your controller will turn the knob of max patch as well the ...


2

In preferences, make sure you look at the library folder. Ableton is library oriented, so make sure you don't put the library in the external hard drive. Also, do not move folders that relate to ableton.


2

What you are looking for is a side chain setup: The gate (or downward expander) is on one track, but it "listens" to key input for the theshold from another track. Take a look at this video:


2

Firstly, align your mixing environment to a technical level using pink noise and a sound pressure level meter. There are various articles on how to do this .... for example. Secondly, listen to lots of reference material at a set known mix volume level and train your ears to get used to hearing familiar material in this environment. Then when you know ...


2

This is actually a classic mistake most people do. And it really affects the outcome. Most of the times it's the plugin , the harmonic content added by the plugin OR the beef in that particular Hz area just isnt the same. I found out that a lot of digital software messes this up. This could happen due to some setting some LFO/cutoff or just by the ...


2

I finally found the solution, hope it will help someone if I share it, here is what I have done: update the 03 firmware driver (Roland.com website) then some new Input/Output Midi Ports "TB-03" have been created in Live 9/Options/Preferences/Midi Sync (until now I only had the one related to my external sound card). in Output TB-03/Midi Clock Type, choose "...


1

To "mute" a track when there's audio coming out of some other track, you can use sidechain compression. Here's how to do it: Insert a Compressor on the "LIVE KEYS BACKUP" track Select the "LIVE KEYS" track as the sidechain input Set Ratio to the maximum Set Threshold to the minimum If you now have a clip playing on the "LIVE KEYS BACKUP" track and you ...


1

LFO! Low Frequency Oscillator. I don't know what synth you're using so I can't help you on the process of getting the LFO working with your bass sound. You will need to use the LFO on your cut-off filter, it can usually be synced with the tempo of the song. Here is a really simple video that shows the effect of the LFO: ...


1

Warrior Bob covers the basics pretty well...Music theory comes in handy even in the highly automated world of music production today. I'll just add, to my ears, TAKE it apart is the beginning of one bar and STITCH me together is the beginning of the next. Put a warp marker on TAKE and STITCH and stretch the space between them so that it covers one bar. ...


1

Okay i'm a jerk :p I just realized that i had left a 3 Band EQ on my master for when I was trying to see if i had enough presence in each 3 bands in my song. even though each band was at unity gain i suppose there's a little bit of resonance between each band and that was causing the discrepancy hehe woops :)


1

I am not sure sine I haven't tried this, but you can map the cliplauncher to your keyboard. So, if you were to map that together with the semitones, in theory you should be able to pitch way longer than the normal -+48 semitones. this would then work live as well since the cliplauncher is for the track in general, not a set clip. This way you can resample ...


1

Komplete is a collection of samplers (Kontakt and Battery), synthesizers (Massive, Absynth, Reaktor (which contains a few), and FM8), and effects (Guitar Rig). These are all off the top of my head. If you like those items, then I'd buy it. If you only want one or two of those, you can get those separately and not have to buy everything. If you are in no ...


1

I believe the main difference is that in video you mostly edit while in a Daw you create. Compare editing a podcast with video editing and there is not much difference. Imagine having to create the video using modelling and animation.


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