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 30. AUDIO FACT SHEET 492
30.2.4 Summing at Single Mix Points
Since version 7, Live uses double precision (64-bit) summing at all points where signals are
mixed, including Clip and return track inputs, the Master track and Racks. Mixing in Live is
thus a neutral operation for signals mixed at any single summing point. This is tested by
loading pairs of 24-bit les (white noise and xed-frequency sine waves and their phase-
inverted complements), adding the pairs together eight times and rendering the output as
32-bit les. All tests result in perfect phase cancellation.
Please note that, while 64-bit summing is applied to each single mix point, Live's internal
processing is still done at 32-bit. Thus, signals that are mixed across multiple summing
points may still result in an extremely small amount of signal degradation. This combination
of 64-bit summing within a 32-bit architecture strikes an ideal balance between audio quality
and CPU/memory consumption.
30.2.5 Recording external signals (bit depth >/= A/D converter)
Recording audio signals into Live is a neutral operation, provided that the bit depth set in
Live's Preferences window is the same or higher than that of the A/D converters used for
the recording. In this context, neutral means identical to the audio as it was delivered to
Live by the A/D converters.
30.2.6 Recording internal sources at 32 bit
Audio that is recorded via internal routing will be identical to the source audio, provided
that the recording was made at 32 bits. To ensure neutral recordings of plug-in instruments
and any audio signals that are being processed by effects plug-ins, internal recording at 32
bits is recommended. Please note, however, that if the source audio is already at a lower
bit depth, internal recording at that bit depth will also be neutral (assuming that no effects
are used); internally recording an unprocessed 16 bit audio le at 32 bits will not increase
the sound quality.
The neutrality of internal recording is veried using cancellation tests.










