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 13. ROUTING AND I/O 172
13.5 Resampling
Live's Master output can be routed into an individual audio track and recorded, or resampled.
Resampling can be a fun and useful tool, as it lets you create samples from what is currently
happening in a Live Set that can then be immediately integrated. It can be used to record
tracks that include processor-intensive devices, so as to delete the devices, or for quickly
previewing before rendering to disk.
The Resampling option in any audio track's Input Type chooser will route the Master
output to that track. You can then decide on what exactly you will be resampling and mute,
solo or otherwise adjust the tracks that are feeding the Master output. You will probably
want to use the Master Volume meter to make sure that your level is as high as possible
without clipping (indicated by red in the meter). Then you can arm the track and record into
any of its empty clip slots. Note that the recording track's own output will be suppressed
while resampling is taking place, and will not be included in the recording.
Samples created by resampling will be stored in with the current Set's Project folder, under
Samples/Recorded. Until the Set is saved, they remain at the location specied by the
Temporary Folder.
13.6 Inter nal Routings
Live's mixer and external routing devices allow for inter-track routings. These routings, albeit
potentially confusing, enable many valuable creative and technical options. Via the mixer,
inter-track routing can work two ways:
1. Track A is set up to send its output signal to Track B. This is possible because
every track that can receive an output signal of the appropriate type from Track
A shows up in its Output Type chooser.
2. Track B is set up to receive its input signal from Track A. This works because every
track that delivers a signal of the appropriate type appears in Track B's Input Type
chooser.










