# Notes on the Ableton Reference Manual Version 11

I thought I’d finally get around to reading the Ableton Reference Manual. Here are some notes on things I learned, chapter by chapter. Keyboard shortcuts use Mac notation.

Since these are my personal notes, I’m mostly writing things down because I didn’t already know them, or to summarize a bunch of facts at once. I skipped several sections wholesale (where I didn’t think I’d get much value out of them), and even in the sections I did take notes on, I’ve likely skipped over some things you might not know. So, if you find helpful things in here, I’d recommend reading the manual yourself to discover even more.

## 1. Welcome to Live

Just some updates about what’s new in this version. I’ll mention some of them later as they come up.

## 2. First Steps

• W opens a second window (can split across monitors). My initial favorite way to use this is to have Arrangement View and Device View on one screen and Clip View full-size on another. Seeing clips and the device they relate to at the same time is great.

## 3. Authorizing Live

Authorization, pretty boring.

## 4. Live Concepts

• The mixer has a crossfader (View > Crossfader) that lets you A/B across multiple tracks at once.
• The quantization chooser lets you pick when launch quantization happens
• Clip envelopes can be unlinked from clips, then selected independently

## 5. Managing Files and Sets

• Packs that are available but not installed show up under Packs for install
• Esc clears the search field
• Press Q to hot-swap
• Decoded sample files are cached; it’s possible to change cache settings to preserve free disk space etc. (but I’ve never had to)
• Render stems quickly with Include Return and Master Effects
• Invoke two rendering passes with Render as Loop—effects bleed over to the start of the loop
• Normalize renders with peak amplitude at max, eliminating headroom (wish I’d known this earlier, would definitely have turned it on)
• You can export video! (and apparently arrange video clips along with audio tracks)

## 6. Arrangement View

• and drag to pan
• Double click the beat-time ruler to snap zoom to current selection
• Revert to a previous zoom by pressing X. This works multiple times (like undo)
• and scroll vertically to zoom a track
• fn or double-clicking the stop button jumps to beat 1.1.1
• space plays from the last-stopped position instead of from the insert marker
• Add info text (notes) to a locator with a click
• and arrow up/down to double/halve loop brace length
• and drag a clip’s wave or midi to move clip contents within clip bounds
• Declicking fades of 4ms turn on with the Record/Warp/Lanuch Preferences > Create Fades on Clip Edges option. I had noticed these fades before (e.g. when they would remove the clickiness of a super clicky kick) but didn’t know they could be turned off.
• U folds and unfolds a track
• Reversing in an audio track operates on a selection; it doesn’t matter whether there are multiple clips
• 1 doubles grid density
• 2 halves grid density
• 3 turns on triplet mode
• 4 turns off grid snapping
• 5 toggles fixed or adaptive grid mode
• Linking tracks lets you edit them simultaneously

## 7. Session View

There are a lot of features I didn’t know about in Session View, but I rarely touch it so didn’t go too deep here.

• while resizing a track will resize all tracks
• Scenes have tempo and time signature individually configurable, drag left on the master track to show this

## 8. Clip View

• Double-click the title bar to minimize a panel
• 1 switches to Audio/Notes
• 2 switches to Envelopes
• 3 switches to Note Expression
• The little box next to the clip title (de)activates the clip
• The Z/X zoom/reset keys work for clips as well
• Grooves are hot-swappable
• Grooves come with a “commit” button that rewrites the clip and removes that groove
• Save clip settings along with a sample as “default clip”
• Clips can send custom bank change/program messages
• RAM mode controls whether audio is pre-loaded or read from disk
• Not sure exactly what this means, but the new Hi-Q algorithm provides up to ~19 semitones transposition before aliasing becomes audible
• Type a note name in the midi Transpose slider to set the lowest note (or use - before the note name to set the highest)
• There’s a randomize button (with range) as well as a velocity range baked into the midi Notes tab

## 9. Audio Clips, Tempo, and Warping

• The vertical line buttons near the set tempo are called Phase Nudge Up/Down
• Hold while creating a warp marker from a transient will create warp markers at adjacent transients
• Holding while moving a pseudo warp marker moves the marker itself (not the waveform)
• Can auto-warp a selected part of a larger sample
• Warp From Here runs auto-warp forwards in time from the starting marker
• Straight warp provides a single warp marker based on the file’s tempo
• Warp X BPM From Here warps to a single warp marker, with a pre-set tempo
• Warp markers work across multi-selected clips
• Warp modes work via granular resynthesis—repeating or skipping grains of the sample
• Loop Forward and Loop Back-and-Forth transient loop modes both search for zero-crossings near the middle of a segment to loop from
• Transient Envelope is just a volume fade with different timing
• Tones Mode works well for basslines and monophonic instruments
• Texture Mode’s Grain Size differs from Tones Mode in that Live uses the setting as-is
• Re-Pitch is a playback rate adjustment
• Complex Mode takes about 10x the CPU as prior warp modes
• Complex Pro’s Envelope may work better with low envelope at high frequencies, and vice versa
• REX Mode is a thing

## 10. Editing MIDI Notes and Velocities

• There’s a thing called the Chance Editor Lane/Probability Lane
• toggles draw mode between free-hand melodic drawing and single-key-track-locked drawing
• Toggle scale highlighting with K
• The piano roll has a setting for sharps/flats notation
• Notes will snap to an additional offset from the original position of the note relative to the grid (preserving original groove)
• Draw linear velocity changes in Draw Mode by holding and drawing in the Velocity Editor
• Draw mode lets you draw notes and velocities at the same time while holding
• Hold and drag a velocity marker vertically to adjust velocity range. Double-click the marker to reset to 0 range
• Note-off velocity is supported via context menu
• Note stretch markers scale notes in time (and appear when a time range is selected)
• Crop Clip to delete midi outside the loop brace
• You can view/edit notes from multiple midi clips at the same time! Not sure how I didn’t discover this already
• Press N while multi-clip editing to enter Focus Mode. This allows seeing all midi at once, but focusing on editing that of a single clip

## 11. Editing MPE

I don’t use midi polyphonic expression often, but this chapter was still interesting.

• Clip View’s Note Expression tab lets you adjust Pitch, Slide, Pressure, Velocity, and Release Velocity dimensions of MPE
• Use expression lanes to control these dimensions. Except, Pitch appears on notes themselves
• Set exact values with right-click, Edit Value
• Draw mode seems like a good fit for natural expression

## 12. Converting Audio to MIDI

• Slice to midi divides an audio sequence into midi notes by length of time. It creates a drum rack with each chromatic note triggering a Simpler
• Convert Harmony/Melody to new midi track can grab the notes from an audio clip—works well for changing instruments/sound design. (Convert Melody especially seems like an easy way to convert improved singing/humming to midi)
• Convert Drums also seems to work okay with my (terrible) beatboxing, which opens up a more free-form creative flow

## 13. Using Grooves

• Quantize operates pre-groove
• Groove sliders allow negative velocities, which has an inversion effect
• There’s a Global Groove Amount Slider
• Grooves with only Quantize (and Base) applied can do non-destructive quantization
• On a doubling, groove randomness applied to one track out of two can make the double more realistic

## 14. Launching Clips

More session view stuff, so more skimming.

• Launch Mode chooser allows Trigger, Gate, Toggle, Repeat on an event
• Lots of discussion of Follow Actions in here

## 15. Routing and I/O

• Switching monitoring to In makes the Activator blue
• Routing a stereo track to mono output adds left and right signals and attenuates by 6 dB
• When playing midi from computer keyboard, Z and X adjust octave, C and V adjust velocity by chunks of 20
• Send midi and return audio in one track with the External Instrument device
• Setting an audio track to Resampling means it’s routed to from Master output, but doesn’t output while resampling
• Many-to-one: route from (changing “Audio To”). One-to-many: route to (changing “Audio From”). Instrument layering is one-to-many (midi to instrument tracks, e.g.)
• Rack return chains can have internal routing

## 16. Mixing

• The Session mixer has peak level indicators, a preview volume setting, and tick marks
• Live’s internal audio engine has “enormous” amounts of headroom beyond 0 dB, but e.g. playing these signals over an actual output device does cause clipping
• Return tracks have a Pre/Post switch for whether mixing happens before or after
• Turning off Solo in Place means soloing happens without return track output
• Device delay compensation is on by default

## 17. Recording New Clips

• Most external devices (microphones, guitars) aren’t at line level, so need a preamp
• Hold with the record button to change whether it starts immediately or waits for the play button, then starts
• Midi clips allow for overdubbing (recording on top of what already exists). This is the plus sign button next to the record button
• Midi step recording is possible independent of track timing: arm the track and use the right arrow key to jump along the grid
• The mixer’s Preview Volume adjust metronome volume
• The metronome has a setting to enable it only while recording
• The capture midi button captures what was just played on armed midi tracks (if e.g. you forget to record)

## 18. Comping

• Record multiple takes and pick between the versions
• U or click Show Take Lanes in track header context menu
• T to insert a take lane
• + and - resize take lanes vertically
• T to audition a take lane, then Enter to copy selected material to the main lane

## 19. Working with Instruments and Effects

• Saving a device’s settings in the Defaults folder will make it load as the new default for that device
• Live shows up to the first 64 parameters for a plugin, otherwise you can configure which ones show up yourself
• Hold when opening a new plugin window to keep existing plugin windows open
• P to show/hide open plugin windows
• Some plugins support sidechaining, which shows up in a panel on the left
• Apparently VSTs can support a bank of presets Live can pick up, but I don’t recall using many plugins that actually do this

## 20. Instrument, Drum, and Effect Racks

• Press - or + to fold or unfold a rack
• Auto Select selects chains from the chain list based on drum input midi or instrument/effect zones
• Zones let you apply parts of a chain differently based on different incoming information
• Zone types are key, velocity, and chain select
• Pressing D in hot swap mode toggles between the full drum rack target and the last selected pad
• Dragging a pad onto another swaps their note mapping
• Increase the number of macro knobs with the plus/minus buttons
• Randomize all macro controls in a rack with the Rand button
• Macro controls can have Variations, presets for how each macro should be set. Re-save them with the snapshot button
• Chains can be dragged from parent racks to an independent track

## 21. Automation and Editing Envelopes

• Hold while in draw mode to draw freehand animation (usually locked to grid step size)
• During breakpoint drawing, moving the cursor slightly away from the line lets you drag the whole line rather than create a new breakpoint. Can also hold to do this
• Hold to restrict lock breakpoint motion to horizontal/vertical axis
• Hover over a time selection to see selection automation handles
• Corner handles let you skew an animation
• Simplify Envelope command seems good for simplifying animation curves created by tracking manual changes to a parameter

## 22. Clip Envelopes

• Sample offset modulation is a thing, seems interesting
• Two modulation envelopes affect volume: Clip Gain and Track Volume
• Unlinking automation from samples lets you either loop a sample and automate for a long time, or loop an automation on a long sample
• Warp markers affect clip envelopes

## 23. Working with Video

Another thing I don’t really do. Learned that Live has a video viewer/editor built in

## 24. Live Audio Effect Reference

### Amp

• Seven presets
• Clean - “Brilliant” channel of 60s amp
• Boost - “Tremolo” channel
• Blues - bright 70s guitar amp
• Rock - 45 watt 60s amp
• Lead - “Modern” channel of high-gain amp used for metal
• Heavy - “Vintage” channel
• Bass - 70s amp with strong lows and some fuzz
• Gain control is the main way to affect distortion
• Presence knob is for mid/highs
• Designed to be used along with the companion Cabinet effect
• Because of physical modeling, energy is limited, e.g. turning up Treble might reduce level of bass/mids

### Auto Filter

• Each filter can have either 12 or 24 dB slope
• Circuit options, not sure what all this means but can hear the differences
• Clean - same as filters in EQ Eight
• OSR - state-variable with resonance and hard-clipping
• MS2 - soft clipping, less resonance
• SMP - custom
• Drive control for any circuit besides Clean
• Morph filter control sweeps around lowpass, bandpass, highpass, notch, repeat
• Auto Filter can be sidechained
• Sample and Hold generates random positive/negative modulation values
• Spin detunes LFO speeds relative to each other

### Auto Pan

• Phase is good for producing vibrato

### Beat Repeat

• Captures material every Interval (with some Chance based on that param) and repeats it
• Gate determines the length of repetitions in sixteenths
• The Repeat button captures immediately and repeats indefinitely
• No Triples makes grid division binary
• Variation changes the Grid Size
• Pitch Decay makes each slice play lower than the previous one
• Pitch Decay plus the Repeat button at the right time can make some cool downlift effects (that’s from experimenting, not the manual)
• Signal modes
• Mix adds repetitions but passes original signal
• Insert mutes original signal while repetitions are playing
• Gate passes repetitions only (useful for return tracks)

### Cabinet

• Physical modeling of a few different classic guitar cabinets
• 4x12 means four 12-inch speakers

### Channel EQ

• Comes with highpass 80 Hz switch
• Mid has a sweepable bell filter, can set center frequency between 120 Hz and 7.5 kHz

### Chorus

• Superseded by Chorus-Ensemble
• Two parallel time-modulated delays
• First delay has a highpass filter
• Second delay has Off, Fix (only modulate first delay), and Mod (modulate both) modes
• The link button (=) sets both delay times to that of the first delay
• The *20 button multiplies modulation frequency by 20
• Comes with polarity switch

### Chorus-Ensemble

• Classic, Ensemble, and Vibrato modes
• Classic - two time-modulated delayed signals
• Ensemble - three-delay line chorus with evenly split modulation phases
• Vibrato - makes pitch variation. The shape can morph between sine and triangle waves
• The Warmth control just adds some distortion and filtering

### Compressor

• The Makeup button automatically adjusts output level to take up available headroom
• The Knee control helps start compression gradually as the threshold is approached
• Transfer Curve view can be helpful for setting Knee
• Activity view can show Gain Reduction or Output
• Linear mode has compression response determined linearly by Attack and Release, Logarithmic mode has faster release times for strongly compressed peaks
• Automatic Makeup is turned off when sidechaining is on
• Sidechaining with a lowpass EQ can help isolate kicks and duck other sounds when they hit

### Corpus

• Physically models seven kinds of resonant objects
• Sidechain section lets you use incoming midi to affect resonance tuning etc.
• Last/Low switch picks whether most recent or lowest note has priority (in case of incoming midi chord)
• PB range sets semitone range for pitch bend modulation
• Inharm compresses frequencies and negative values, and extends them at higher ones, to change the pitch of resonator harmonics
• Pipe Opening affects one end between fully closed and fully open
• There’s a built-in limiter

### Delay

• The numbers are simply a number of 16th notes
• Feedback has two independent loops, for each stereo channel
• Bandpass filter is applied before the delay

### Drum Buss

• Comp applies a pre-defined compressor prior to distortion
• Three kinds of distortion
• Soft - waveshaping
• Medium - limiting
• Hard - clipping with bass boost
• Controls are split into Mid-High (Crunch, Damp, Transients) and Low end (Boom, Decay)
• Crunch is a sine-shaped distortion on mids and highs
• Damp is a low-pass filter
• Transients operates on frequencies above 100 Hz. Both negative and positive add attack. Positive adds sustain, negative decreases it.

### Dynamic Tube

• Three tube models: A, B, and C
• Tone controls spectral distribution, whether distortions are pitched higher or lower
• Bias controls intensity, towards nonlinear distortion

### Echo

• Sync Modes: Notes, Triplet, Dotted, 16th
• Delay offset can be adjusted even when Stereo Link is enabled
• D button applies distortion to the dry signal
• Ø button inverts output signal before adding back to input (on a per-channel basis)
• White dots in Echo Tunnel tab represent an 8th note grid
• Character tab has effect ducking when original input is beyond the threshold
• Wobble modulates delay time irregularly
• Echo turns itself off to save CPU after at least eight seconds (unless Noise and Gate are on)

### EQ Eight

• Adaptive Q increases Q as amount of boost or cut increases
• Scale adjusts gain of all filters
• Right click for Oversampling, which smooths out filters at higher frequencies
• The Analyze button seems not to work when I tried it?

### EQ Three

• Like a DJ mixer’s EQ
• Signal presence lights have a threshold of -24 dB
• 24 dB / 48 dB switch determines how sharp the filters are
• Filters are designed to act like analog filter cascades so can affect sound even at 0 db (this kind of explains why a bunch of stacked EQ Threes produce a disperser effect)

### External Audio Effect

I don’t have external hardware to produce effects with, but good to know they can be inserted in device chains like any other effect

### Filter Delay

• Three delay lines (L, L+R, R) with lowpass and highpass filters
• Set Dry to minimum for return tracks

### Frequency Shifter

• Superseded by Shifter
• Moves incoming audio frequencies by amounts in Hz
• Shift mode adds or subtracts, Ring mode does both
• Drive is only available in Ring mode
• Wide inverts Spread polarity for the right channel
• Remember that adding frequencies in Hz is different from pitch shifting (which maintains ratios)
• Useful for drum tuning

### Gate

• Return (or hysteresis) reduces gate crossings by another, lower threshold to turn the gate back off
• Can be sidechained, which makes the gate activate on the other track’s signal

### Glue Compressor

• Has a non-user-definable knee that gets sharper as ration increases
• Range sets how much compression happens. -60 to -70 dB is close to original hardware
• Makeup close to the display needle’s level is approximately the pre-compression level
• Soft clip distorts sounds and makes maximum output level -0.5 dB. Level can still pass 0 dB if Oversampling is on

### Grain Delay

• Effect name buttons are used for mapping the X-Y controller
• Spray adds random changes to delay times per grain
• Frequency controls the size and duration of grains

### Hybrid Reverb

• In the main display, convolution reverb has yellow controls, algorithmic has blue
• Send affects gain of the signal that goes into the reverb; the dry signal still passes through
• Can pick one reverb engine, or to combine them in serial or parallel. Blend knob blends between the two (convolution first)
• Freeze disables reverb engine input and sets decay time to infinite, Freeze In adds input signal which causes a build-up
• There are a bunch of reverb algorithms: Dark Hall, Quartz, Shimmer, Tides, and Prism
• Controls named with X affect crossover frequency
• The included EQ can go before or after the reverb engines (after by default)
• EQ slope can scale all the way to 96 dB/octave
• From experimenting: a reversed sample with Textures convolution reverb with very wet reverb creates a cool atmosphere

### Limiter

• Mastering-quality dynamic range processor
• Compressor with infinite ratio

### Looper

• Real-time looper, seems like it’s mostly useful for live performances?
• Can overdub or just play what it recorded
• Drag a clip to use it as an audio clip elsewhere
• The multi-purpose transport button basically does everything (with double clicks or long presses)

### Multiband Dynamics

Most of this section is kind of theoretical. Multiband Dynamics basically just allows upward/downward compression/expansion along frequency bands

### Overdrive

• Bandpass precedes distortion
• Tone is a post-distortion EQ affecting high-frequency content
• Dynamics affects compression amount as distortion increases

### Pedal

• Three pedal types
• Overdrive - warm and smooth
• Distortion - tight and aggressive
• Fuzz - unstable, broken amp sound
• Has a post-distortion EQ

### Phaser

• Superseded by Phaser-Flanger
• Poles creates a number of notches across the frequency spectrum
• Feedback can invert the waveform and make notches into peaks
• Space/Earth change the spacing of notches along the spectrum

### Phaser-Flanger

• Phaser, Flanger, and Doubler modes
• Phaser feeds a phase-shifted input into the input, creating notch filters by using modulated all-passes. The display shows notch positions
• Flanger creates a comb filter using a time-modulated delay with feedback. The display shows modulation signal effects
• Doubler stacks time-modulated delayed signals, giving the feeling of multiple stacked takes. The display shows delay time from left to right
• Duty Cycle changes the time scale of the waveform, compressing towards the left or light of its cycle
• Feedback can be inverted with the Ø button
• Safe Bass is a high-pass

### Redux

• Downsampler and bit reducer
• Rate sets the sample rate. Lower values mean more inharmonics
• Jitter adds noise to the downsampler’s clock
• Filter can be Pre or Post
• Bit reduction affects noise, distortion, dynamic range, etc.
• Shape creates a finer resolution for smaller amplitudes
• DC Shift does an amplitude offset before quantization

### Resonators

• Five parallel resonators that add tonal character
• First resonator defines a root pitch, the others are tuned relative to it
• Filter happens before resonators are fed
• Color affects resultant sound brightness

### Reverb

• Signal goes through high and low cut first
• Early reflections are echoes that lack some of the diffusion of the eventual reverb tail
• Shape control affects early reflections, changing the difference between when reflections come back and the onset of diffusion. Lower values tend to give smoother results
• Decay time refers to time for tail amplitude to drop to 1/1000th (-60 dB) of original
• High shelf is similar to sound absorption by material in a room
• Freeze keeps the diffuse response going
• Cut keeps the input from adding to a frozen reverb
• Flat bypasses the high/low shelf filters
• Echo Density and Scale affect the room’s color

### Saturator

• Input on the X axis, output on the Y
• Signal clipping is softened except in Analog/Digital Clip modes
• Waveshaper controls
• Drive - how much input signal feeds in
• Lin - changes linear portion of shaping curve
• Curve - adds harmonics to the input signal
• Damp - flattens signal near the origin (like a noise gate)
• Depth - controls amplitude of a superimposed sine
• Period - density of superimposed sine
• DC Button activates a filter that can remove DC offsets

### Shifter

• Superseded Frequency Shifter
• Pitch and frequency shifting, as well as ring modulation
• LFO has Duty Cycle, Phase, Spin, Width

### Spectral Resonator, Spectral Time

These entire sections (and their main ideas) were totally new to me, so I’ll just say they start on page 482 and I should go read them again later.

### Spectrum

• Spectrum graphs audio by frequency on the X axis and dB on the Y
• Peak levels stick around until the song is restarted
• Doesn’t alter the signal in any way
• Logarithmic and semitone are the same scaling, thanks to how music works
• Linear scaling helps to dig in on high frequencies

### Tuner

• Shows monophonic nearest-semitone pitch and distance from that pitch
• Target mode was helpful for tuning a piano
• Strobe mode seems kind of odd? Not sure why it exists
• There’s a graph view showing pitch over time

### Utility

Finally, another one where I knew everything the manual has to say.

### Vinyl Distortion

• Crackle effects as well as harmonic distortion, simulating vinyl
• Pinch effect adds harmonics, usually 180 degrees out of phase
• Soft Mode is like a dub plate, Hard Mode is like a standard vinyl record

### Vocoder

• Combines frequency of one signal (carrier) with amplitude of another (modulator)
• Sens sets sensitivity of the detection algorithm
• Precise/Retro changes filter behavior (retro bands are narrower, louder at high frequency)
• Vocoder has many different effect possibilities, like singing synthesizer, format shifter, noise generator/modulator, etc.

## Live MIDI Effect Reference

### Arpeggiator

• The word arpeggiare is Italian for playing notes on a harp
• Random Other mode randomly selects notes from incoming midi, but doesn’t repeat until all other notes have been used
• Random Once creates a random pattern and repeats it until incoming midi changes
• Hold makes the pattern continue after note release, can add notes while playing others, and can remove notes by playing them again

### Chord

• Builds a chord by selecting relative pitches (in semitones) compared to the incoming pitch

### Note Length

• Can double a note’s length, set it to a certain number of milliseconds, or set to some time synced with song tempo
• On/Off Balance is the velocity of the output note
• Decay time affects velocity
• Key Scale can map a note’s pitch to affect its length

### Pitch

• Transposition with a range of ±128 semitones

### Random

• Adds probability to pitch values
• Rnd produces random alterations and Alt produces a cycle around allowed output notes
• Can use Alt to simulate e.g. alternating between upbow and downbow on a stringed instrument
• The Random effect plus the Scale effect creates a simple randomized sequencer

### Scale

• Maps all pitches into notes of a specified scale
• Fold maps notes to a smaller range if their offset exceeds six semitones

### Velocity

• Can squash, translate, or randomize incoming velocities to a different range
• Clip Mode clips velocities to stay in range
• Gate Mode removes notes outside the range
• Fixed Mode means Out Hi is applied to all outgoing velocities
• Compand both expands and compresses depending on whether the value is greater than zero

## Live Instrument Reference

I use external plugins or samples for almost all my instruments, and Live’s instruments seem fairly self-explanatory (if you experiment with all the different settings a bit). Plus this section is over a hundred pages long. Maybe I’ll come back to it someday.

## Max for Live

I haven’t had a need to create any custom Max devices. I imagine if I ever do create something, it’ll most likely be via programming a VST rather than Max (especially using the “patcher” GUI). However, I gave this section a skim to get an idea of what was possible.

## Max for Live Devices

A bunch of instruments and effects you can poke around inside (using Max)

• DS Clang
• DS Clap
• DS Cymbal
• DS FM
• DS HH
• DS Kick
• DS Sampler
• DS Snare
• DS Tom
• Align Delay
• Envelope Follower
• LFO
• Shaper
• Envelope MIDI
• Expression Control
• MPE Control
• Note Echo
• Shaper MIDI

## MIDI and Key Remote Control

Another feature I don’t really use. I do remember mapping a key once to easily A/B two parts. (And, now that I’ve learned the crossfader exists, that wasn’t necessary.) I’ll come back here if I ever need more than that.

## Using Push

I don’t have a Push.

## Using Push 2

I don’t have a Push 2.

Seems cool to synchronize devices over a network, but I haven’t wanted to actually do this.

## Computer Audio Resources and Strategies

• CPU Load Meter has a bunch of options for display, and a way to turn on warnings
• CPU load can go over 100% in case of computation taking more time than playing the audio buffer
• Live doesn’t disable used channels because hardware drivers can hiccup on audio configuration changes
• Effects are, however, disabled sometimes (e.g. when the channel is off)
• RAM mode reduces trips to disk

## Audio Fact Sheet

I’m sure this stuff is of technical interest to someone, but not really to me.

• Live has 473 automated tests (this seems kinda low?)
• Neutral operations result in zero diff to the original signal. Most things (even a gain change, or dithering) are non-neutral

## MIDI Fact Sheet

Note: the MIDI timing issues discussed in this paper are generally not applicable to users with high-quality audio and MIDI hardware. If you…are not experiencing problems with MIDI timing, you probably do not need this information.

Sold.

## Live Keyboard Shortcuts

Good to reference, but I’ve already noted the ones that matter to me above.

I also noticed this section claims Follow’s shortcut is K on Mac, but it’s actually F.

## The End

That’s all there is. As a bonus, here’s the loop I made while reading the manual, as a way to tinker with all these new effects, instruments, and so on.