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 23. LIVE INSTRUMENT REFERENCE 402
with low resonance settings. The 24 dB lter modes attenuate the ltered frequencies to a
much greater degree than the 12 dB modes. The Ladder and SVF lters provide additional
lter architectures.
Filter Frequency (Freq) This denes the center or cutoff frequency of the lter. Note that
the resulting frequency may also be modulated by note velocity and by the lter envelope.
Filter Resonance (Res) This denes the resonance around the lter frequency of the lowpass
and highpass lters, and the width of the bandpass and notch lters.
Envelope / Filter Switches These switches toggle the display between the lter's envelope
and its frequency response.
Filter Frequency<Velocity (Freq<Vel) Filter frequency is modulated by note velocity ac-
cording to this setting.
Filter Frequency<Key (Freq<Key) Filter frequency is modulated by note pitch according
to this setting. A value of 100% means that the frequency doubles per octave. The center
point for this function is C3.
Filter Envelope Rates<Velocity (Time<Vel) This parameter exists for lter, pitch, LFO and
volume envelopes. It is therefore listed in the section on envelopes.
Filter Frequency<Envelope (Envelope) Filter frequency is modulated by the lter envelope
according to this setting. A value of 100% means that the envelope can create a maximum
frequency shift of approximately 9 octaves.
Shaper This chooser selects the curve for the lter's waveshaper.
Drive This boosts or attenuates the signal level being sent to the waveshaper.
Dry/Wet This adjusts the balance between the dry signal and the signal processed by the
waveshaper.
LFO Shell and Display
LFO On This turns the LFO (low-frequency oscillator) on and off. Turning it off when it is
unused saves some CPU power.