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 9. TEMPO CONTROL AND WARPING 131
The warp modes are different varieties of granular resynthesis techniques. Granular resyn-
thesis achieves time compression and expansion by repeating and skipping over parts of
the sample (the grains). The warp modes differ in the selection of grains, as well as in the
details of overlapping and crossfading between grains.
Let's investigate which warp modes work best for different types of signals and how to
adjust the warping controls for clean stretching. It's also fun to misuse these controls
to achieve interesting artifacts instead of accurate stretching.
9.3.1 Beats Mode
Beats Mode works best for material where rhythm is dominant (e.g., drum loops as well as
most pieces of electronic dance music). The granulation process is optimized to preserve
transients in the audio material.
Use the Preserve control to preserve divisions in the sample as boundaries when warping.
For the most accurate results, particularly with percussive material, choose Transients. This
setting uses the positions of the analyzed (or user-created) transients to determine warping
behavior. To preserve specic beat divisions regardless of the sample's contents, choose
one of the xed note values. For some interesting rhythmic artifacts, choose large note
values in conjunction with pitch transposition.
The Transient Loop Mode chooser sets the looping properties for the clip's transients:
Loop Off Each segment of audio between transients plays to its end and then stops.
Any remaining time between the end of a segment and the next transient will be silent.
Loop Forward Each segment of audio between transients plays to its end. Playback
then jumps back to a zero-crossing near the middle of the segment and continues looping
until the time when the next transient occurs.
Loop Back-and-Forth Each segment of audio between transients plays to its end.
Playback then reverses until it reaches a zero-crossing near the middle of the segment, and
then proceeds again towards the end of the segment. This pattern continues until the time
when the next transient occurs. This mode, in conjunction with the Preserve Transients
selection, can often result in very good quality at slower tempos.










