User Manual
Table Of Contents
- Welcome to Live
 - First Steps
 - Authorizing Live
 - Live Concepts
 - Managing Files and Sets
- Working with the File Browsers
 - Sample Files
 - MIDI Files
 - Live Clips
 - Live Sets
 - Live Projects
 - The Live Library
 - Locating Missing Samples
 - Collecting External Samples
 - Aggregated Locating and Collecting
 - Finding Unused Samples
 - Packing Projects into Live Packs
 - File Management FAQs
- How Do I Create a Project?
 - How Can I Save Presets Into My Current Project?
 - Can I Work On Multiple Versions of a Set?
 - Where Should I Save My Live Sets?
 - Where Should I Save My Live Clips?
 - Can I Use My Own Folder Structure Within a Project Folder?
 - How Do I Export A Project to the Library and Maintain My Own Folder Structure?
 
 
 - Arrangement View
 - Session View
 - Clip View
 - Tempo Control and Warping
 - Editing MIDI Notes and Velocities
 - Using Grooves
 - Launching Clips
 - Routing and I/O
 - Mixing
 - Recording New Clips
 - Working with Instruments and Effects
 - Instrument, Drum and Effect Racks
 - Automation and Editing Envelopes
 - Clip Envelopes
 - Working with Video
 - Live Audio Effect Reference
- Auto Filter
 - Auto Pan
 - Beat Repeat
 - Chorus
 - Compressor
 - Corpus
 - Dynamic Tube
 - EQ Eight
 - EQ Three
 - Erosion
 - External Audio Effect
 - Filter Delay
 - Flanger
 - Frequency Shifter
 - Gate
 - Grain Delay
 - Limiter
 - Looper
 - Multiband Dynamics
 - Overdrive
 - Phaser
 - Ping Pong Delay
 - Redux
 - Resonators
 - Reverb
 - Saturator
 - Simple Delay
 - Spectrum
 - Utility
 - Vinyl Distortion
 - Vocoder
 
 - Live MIDI Effect Reference
 - Live Instrument Reference
 - Max For Live
 - Sharing Live Sets
 - MIDI and Key Remote Control
 - Using the APC40
 - Synchronization and ReWire
 - Computer Audio Resources and Strategies
 - Audio Fact Sheet
 - MIDI Fact Sheet
 - Live Keyboard Shortcuts
- Showing and Hiding Views
 - Accessing Menus
 - Adjusting Values
 - Browsing
 - Transport
 - Editing
 - Loop Brace and Start/End Markers
 - Session View Commands
 - Arrangement View Commands
 - Commands for Tracks
 - Commands for Breakpoint Envelopes
 - Key/MIDI Map Mode and the Computer MIDI Keyboard
 - Zooming, Display and Selections
 - Clip View Sample Display
 - Clip View MIDI Editor
 - Grid Snapping and Drawing
 - Global Quantization
 - Working with Sets and the Program
 - Working with Plug-Ins and Devices
 - Using the Context Menu
 
 - Index
 
CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 290
real-world mallet instruments such as a marimbas and glockenspiels behave. At 100%, the
resonance is muted immediately at note off, regardless of the Decay time.
You can hide or show the Sidechain parameters by toggling the button in Corpus's title
bar. This button will light up if the sidechain is active.
Corpus contains a Low Frequency Oscillator to modulate the resonant frequency. The
Amount control sets how much the LFO affects the frequency.
The Rate control species the LFO speed. It can be set in terms of Hertz, or synced to the
song tempo, allowing for controlled rhythmic modulation.
Available LFO waveform shapes are sine (creates smooth modulations with rounded peaks
and valleys), square, triangle, sawtooth up, sawtooth down and two types of noise (stepped
and smooth).
Although only one set of LFO controls is visible, there are actually two LFOs, one for each
stereo channel. The Phase and Spin controls dene the relationship between these two
LFOs.
Phase (available only when the LFOs are synced to song tempo) keeps both LFOs at the
same frequency, but can set the two LFO waveforms out of phase with each other, creating
stereo movement. Set to 180, the LFO outputs are 180 degrees apart, so that when one
LFO reaches its peak, the other is at its minimum. With Phase set to 360 or 0 the two
LFOs run in sync.
Spin (only available when the LFOs are in Hertz mode) detunes the two LFO speeds relative
to each other. Each stereo channel is modulated at a different frequency, as determined by
the Spin amount.
For the noise wavefor ms, the Phase and Spin controls are not relevant and do not affect the
sound.
Spread detunes the two resonators in relation to each other. Positive values raise the pitch
of the left resonator while lowering the pitch of the right one, while negative values do the
opposite. At 0%, the resonators are tuned the same.
The type chooser allows you to select from seven types of physically modeled resonant
objects:
Beam simulates the resonance properties of beams of different materials and sizes.










