User manual AUTOHELM ABLETON V8

[. . . ] Ableton Reference Manual Version 8 Live Version 8. 1. 3 for Windows and Mac OS February, 2010 Created by Bernd Roggendorf, Gerhard Behles, Robert Henke, Awi, Reiner Rudolph, Stefan Haller, Stefan Franke, Frank Hoffmann, Andreas Zapf, Ralf Suckow, Gregor Klinke, Matthias Mayrock, Friedemann Schautz, Ingo Koehne, Jakob Rang, Pablo Sara, Nicholas Allen, Henrik Lafrenz, Jan Buchholz, Kevin Haywood, Dominik Wilms, Christian Kleine, Amaury Groc, Daniel Büttner, Alex Koch, Henrik Hahn, Simon Frontzek, Torsten Wendland, Torsten Slama, Eduard Müller, Jeremy Bernstein, Bernard Chavonnet, Carl Seleborg, Claes Johanson, Bernhard Bockelbrink, Nico Starke, Jörg Kluÿmann, Stefan Brunner, Tobias Hahn, Stefan von der Mark, Carsten Henÿinger, Stephan Diehl, David Talbot, Robert Feldbinder, Diez Roggisch, Justine Lera, Dennis DeSantis, Ian Gallagher, Philipp Gries, Marie Hoffmann, Marian Kalus, Stephan Krohn, Michael Dühr, Dennis Fischer. Reference Manual by Dennis DeSantis, Ian Gallagher, Kevin Haywood, Rose Knudsen, Gerhard Behles, Jakob Rang, Robert Henke, Torsten Slama. Content provided by: SONiVOX www. sonivoxrocks. com Chocolate Audio www. chocolateaudio. com Puremagnetik www. puremagnetik. com Cycling '74 www. cycling74. com SonArte www. sonarte. ca e-instruments www. e-instruments. com Zero-G www. zero-g. co. uk Physical Modeling technology provided by: Applied Acoustics Systems www. applied-acoustics. com Copyright 2009 Ableton AG. This manual, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. [. . . ] Stereo mode uses a single curve to lter both channels of a stereo input equally. L/R mode provides an independently adjustable lter curve for the left and right channels of a stereo input; M/S mode (Mid/Side) provides the same functionality for signals that have been recorded using M/S encoding. When using the L/R and M/S modes, both curves are displayed simultaneously for reference, although only the active channel is editable. The Edit switch indicates the active channel, and is used to toggle between the two curves. LIVE AUDIO EFFECT REFERENCE 295 Low cut (cuts frequencies below the speci ed frequency); Low shelf (boosts or cuts frequencies lower than the speci ed frequency); Bell curve (boosts or cuts over a range of frequencies); Notch (sharply cuts frequencies within a narrow range); High shelf (boosts or cuts frequencies higher than the speci ed frequency); High cut (cuts frequencies above the speci ed frequency). Each lter band can be turned on or off independently. To edit the lter curve, click and drag on the lter dots in the display. Horizontal movement changes the lter frequency, while vertical movement adjusts the lter band's gain. To adjust the lter Q (also called resonance or bandwidth), hold down the Alt (PC) / Alt (Mac) modi er while dragging the mouse. Note that the gain cannot be adjusted for the low cut, notch and high cut lters. You can also use the numbered lter selector buttons to select a band for editing, and then edit parameter values with the Freq, Gain and Q dials (and/or type values into the number elds below each dial). To achieve really drastic ltering effects, assign the same parameters to two or more lters. As boosting will increase levels and cutting will decrease levels, use the global Gain eld to optimize the output level for maximum level consistent with minimum distortion. The Scale eld will attenuate the gain of all lters that support gain (all except low cut, notch and high cut). Enabling Hi-Quality mode via the (PC) / Ctrl (Mac) context menu can improve the sound quality, particularly with low frequency signals or when working at high sample rates. There is a slight increase in CPU usage in Hi-Quality mode. CHAPTER 21. LIVE AUDIO EFFECT REFERENCE 296 21. 9 EQ Three The EQ Three Effect. If you have ever used a good DJ mixer you will know what this is: An EQ that allows you to adjust the level of low, mid and high frequencies independently. Each band can be adjusted from -in nite dB to +6 dB using the gain controls. This means that you can completely remove, for example, the bass drum or bassline of a track, while leaving the other frequencies untouched. You can also turn on or off each band using the On/Off buttons located under the gain controls. EQ Three gives you visual con rmation of the presence of a signal in each frequency band using three LEDs. Even if a band is turned off, you can tell if there is something going on in it. The frequency range of each band is de ned via two crossover controls: FreqLo and FreqHi. [. . . ] LIVE KEYBOARD SHORTCUTS 532 33. 10 Commands for Tracks See also the editing commands. Windows Insert Audio Track Insert MIDI Track Insert Return Track Rename Selected Track While Renaming, Go to next Track Group Selected Tracks Ungroup Tracks Show Grouped Tracks Hide Grouped Tracks Move Nonadjacent Tracks Without Collapsing Arm/Solo Multiple Tracks Add Device from Browser Ctrl T Ctrl Ctrl Ctrl Alt R T T Alt R Macintosh T T T Ctrl Ctrl + Ctrl Ctrl G G + - G G + arrow keys + arrow keys Click Double-Click Click Double-Click 33. 11 Commands for Breakpoint Envelopes The shortcuts for zooming, snapping/drawing and loop/region settings also work in the Envelope Editor and Arrangement View. Windows Finer Resolution for Dragging Enable Dragging Over Breakpoints Ctrl Macintosh CHAPTER 33. LIVE KEYBOARD SHORTCUTS 533 33. 12 Key/MIDI Map Mode and the Computer MIDI Keyboard Windows Macintosh M K K K Toggle MIDI Map Mode Toggle Key Map Mode Computer MIDI Keyboard Ctrl Ctrl Ctrl M K 33. 13 Zooming, Display and Selections Windows Macintosh + - Zoom In Zoom Out Drag/Click to Append to a Selection Click to Add Adjacent Clips/Tracks/Scenes to Multi-Selection Click to Add Nonadjacent Clips/Tracks/Scenes to a Multi-Selection Follow (Auto-Scroll) Pan Left/Right of Selection + - Ctrl Ctrl Ctrl F Alt F Alt CHAPTER 33. [. . . ]