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 21. LIVE AUDIO EFFECT REFERENCE 327
Predelay controls the delay time, in milliseconds, before the onset of the rst early reection.
This delays the reverberation relative to the input signal. One's impression of the size of a
real room depends partly on this delay. Typical values for natural sounds range from 1ms
to 25ms.
21.25.2 Early Reections
These are the earliest echoes that you hear after they bounce off a room's walls, before
the onset of the diffused reverberation tail. Their amplitude and distribution give an
impression of the room's character.
The Shape control sculpts the prominence of the early reections, as well as their overlap
with the diffused sound. With small values, the reections decay more gradually and the
diffused sound occurs sooner, leading to a larger overlap between these components. With
large values, the reections decay more rapidly and the diffused onset occurs later. A
higher value can sometimes improve the source's intelligibility, while a lower value may give
a smoother decay.
Spin applies modulation to the early reections. The X-Y control accesses the depth and
frequency of these modulations. A larger depth tends to provide a less-colored (more
spectrally neutral) late diffusion response. If the modulation frequency is too high, doppler
frequency shifting of the source sound will occur, along with surreal panning effects. Spin
may be turned off, using the associated switch, for modest CPU savings.
21.25.3 Global Settings
The Quality chooser controls the tradeoff between reverb quality and performance. Eco
uses minimal CPU resources, while High delivers the richest reverberation.
The Size parameter controls the room's volume. At one extreme, a very large size will
lend a shifting, diffused delay effect to the reverb. The other extreme a very small value
will give it a highly colored, metallic feel.
The Stereo Image control determines the width of the output's stereo image. At the highest
setting of 120 degrees, each ear receives a reverberant channel that is independent of the










