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 28. SYNCHRONIZATION AND REWIRE 480
pronounced percussive sounds. While listening to the output from both, adjust the Sync
Delay control until both sounds are in perfect sync.
Adjusting Sync Delay.
28.2 Connecting via ReWire
Live supports the ReWire interface for connecting with another ReWire-compatible audio
program running on the same computer.
The ReWire technology, developed by Propellerhead Software, provides ReWire-compatible
programs with:
common access to the audio hardware;
shared transport functionality;
synchronization to audio word clock and song positioning;
exchange of audio streams.
The programs in a ReWire connection play distinct roles: The ReWire master accesses the
audio hardware and provides mixing facilities; the ReWire slave(s) have no direct link to the
audio hardware, but instead send their audio output into the Master's mixer.
Common ReW ire master applications are Digidesign Pro Tools, Steinberg Cubase and Nu-
endo, Emagic Logic Audio, MOTU Digital Performer, Cakewalk Sonar and Cycling 74 Max/
MSP. Common ReWire slave applications are Propellerheads Rebirth, Propellerheads Rea-
son, Arturia Storm, Cakewalk Project 5 and Cycling 74 Max/MSP. Live can act as both a
ReWire master and slave.
Note that the ReWire protocol itself does not consume much CPU power. However, as
expected, running two audio-intensive programs on the same computer requires more










