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ashgromnies posted:edit: discovered I can edit the sampling rate in the AIFF file headers quickly, adjusting to 44100 seems to fix the pitch issue on affected files 
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Jan 14, 2014 08:59
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e: Problem solved, never mind!
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Jan 14, 2014 09:59
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minidracula posted:That... seems highly unusual that it would work. Weird. Header information aside, that data was certainly written out at a particular sample rate, and there ought to be no reason the header information would have been written differently than the actual sample rate on write-to-disk, so unless something rewrote those headers later for... some reason? I think somehow my interface was actually recording at 44100 and my software saved the AIFFs as 48000? No clue how I managed to make that happen, but, uh, watch out I guess. At least it's fixable.
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Jan 14, 2014 15:49
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So right now I am learning Max For Live and mapping it to my APC40 for added functionality. Is there a slick way to control audio effect parameters with a M4L device? Edit: Solved. Live Object Model is awesome! 19 o'clock fucked around with this message at 01:31 on Jan 20, 2014 |
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Jan 19, 2014 23:01
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SineRider posted:Very very nice! You did it much more elegantly than what I would have hacked together. What's great about MAX is you can just lego things like this together. All I did was take the guts of the LFO max device provided with live 9 and patched it into yours.
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Jan 21, 2014 03:06
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Another Max/APC40 question for you guys. I've got a knob on my APC mapped to the master tempo, but it doesn't control it finely enough - I can never seem to hit exactly X.00BPM, it's always a little off either way no matter how much I restrict the parameter range in the MIDI mappings. Is there (or is it possible to make) a Max patch, for example, that could allow finer (decimal-place) adjustment when the shift key is held down? Or have I just run into a limitation of MIDI's 128 discrete values? I'm asking all this, naturally, because I was wrong (as usual) to expect much of Live's ability to sync to an external MIDI clock, so I'm now using the nudge buttons and typing in the tempo manually (which actually seems to work). I've said it before, but what would be really cool is a nice platter/pitchfader controller that can bend the master tempo in Live.
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Jan 22, 2014 04:58
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Mister Speaker posted:Another Max/APC40 question for you guys. I've got a knob on my APC mapped to the master tempo, but it doesn't control it finely enough - I can never seem to hit exactly X.00BPM, it's always a little off either way no matter how much I restrict the parameter range in the MIDI mappings. Is there (or is it possible to make) a Max patch, for example, that could allow finer (decimal-place) adjustment when the shift key is held down? Or have I just run into a limitation of MIDI's 128 discrete values? I'm not familiar with the APC40, but a quick google suggests that yeah it might be a hardware limitation, that the APC knobs can only transmit 128 values. The internal Live API, on the other hand, is definitely capable of finer resolution. I don't think it's possible to poll the shift key via M4L or the Live API, but you could probably make an M4L patch which uses some other key (on the keyboard or an APC button) as a toggle switch between course/fine resolution, or as an "adjust to the nearest integer when enabled" toggle. Mister Speaker posted:I've said it before, but what would be really cool is a nice platter/pitchfader controller that can bend the master tempo in Live. I'm pretty sure I've done this with the platters on my Vestax VCI-100 DJ controller (the original model, not the MkII), though it's been a while. I see them show up used on Craigslist pretty often.
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Jan 22, 2014 08:58
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I'm posting this here, because their team is a lot of ex-Ableton developers, but Bitwig has a release date. loving finally. March 26th, for 329€ on physical media, or 299€ as download.
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Jan 22, 2014 23:04
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As excited as I was about BitWig, given the length of the dev cycle, all the features so was really excited about ended up implemented in 9 and. 9.1. I'm still interested, just hardly chomping at the bit anymore so to speak.
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Jan 23, 2014 00:11
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BitWig's modulation system is super exciting, and a giant step for DAWs. As cool as M4L is, it's a resource hog and obtuse compared to this: https://www.youtube.com/watch?v=BspO9Dimp14 Also, the Linux support is a huge deal for me.
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Jan 23, 2014 02:04
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Noted, but with M4L coming with suite now, and having a pretty powerful desktop rig, it's not that pertinent to me. Hopefully ableton will take the cue somehow for 10.
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Jan 23, 2014 04:21
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I think they're pricing it a bit high for a new DAW, especially because it will likely appeal to the same people interested in Live. At $400, it is slightly cheaper than Live Standard, but Live usually goes on sale for less than that at least once a year. I think they'd do much better around $200.
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Jan 23, 2014 05:29
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Wow. Once again I missed something small and critical that totally solved my problem. In MIDI mapping, if you click after the decimal place on the master tempo, it allows you to assign another knob to fine tempo adjustment. Now I've got my APC master fader set to coarse, and the cue knob set to fine - works like a charm, but what would be really nice is a larger tempo display, ideally in a breakout window.h_double posted:I'm pretty sure I've done this with the platters on my Vestax VCI-100 DJ controller (the original model, not the MkII), though it's been a while. I see them show up used on Craigslist pretty often. Did you need to use Max for this, or did you just MIDI map your platter to the nudge +/- controls? I'm Hell of curious about this.
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Jan 23, 2014 21:32
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Mister Speaker posted:Did you need to use Max for this, or did you just MIDI map your platter to the nudge +/- controls? I'm Hell of curious about this. I just had a quick look, and confirmed that rotating left/right on the platter produces a stream of MIDI notes (A#1 and B1 respectively on the left platter) which can be easily mapped to the +/- nudge controls. If you wanted to actually change the tempo setting with the platter, I think you'd need a (fairly simple) M4L patch.
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Jan 24, 2014 03:36
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Help me export my own samples! I'm trying to record a good clap sound to use in various future songs. I recorded myself clapping a bunch of times, then lined up 5 of them on 5 separate audio tracks in Ableton. When I hit play and they all play, it sounds great. When I export them as a wav or aif, it sounds nothing at all like what I'm hearing from Ableton. It's distant and echo-y and just nothing at all like what it should be. I'm still a real novice with Ableton and recording/DAWs in general - maybe it's just an export setting or maybe I need to do something with the tracks?
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Jan 27, 2014 22:35
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Well, you can set up a new audio track and set its input to Resampling. Mute everything else (or solo just what you want) hit record and boom - what you hear is what you've got recorded.
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Jan 27, 2014 22:46
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Oldstench posted:Well, you can set up a new audio track and set its input to Resampling. Mute everything else (or solo just what you want) hit record and boom - what you hear is what you've got recorded. Is there a way to take what I already have and properly export it though? Am I supposed to "flatten" the tracks or something? I just don't know why what I export wouldn't sound like what I hear when I hit play.
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Jan 27, 2014 23:07
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khysanth posted:Is there a way to take what I already have and properly export it though? Am I supposed to "flatten" the tracks or something? As long as you select the "export as" option in the main menu it should save a file containing what you hear in the DAW. Are you playing it at different volumes in the DAW and after you exported it?
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Jan 28, 2014 01:01
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I've asked this before but I'm not sure if I explained it well, I'll give an example of the problem I have. Let's say I made an instrument, and I get it sounding good on a clip. I have a delay set and it forms a fundamental part of the sounds. All is well and good. Then I start making a new clip, but I change the delay settings.. When I go back to the first clip, it sounds wrong because the settings that worked for that clip are no longer. THE LONG SOLUTION: This works but it seems awkward, I can work out what settings are fundamental (usually most of them) and edit the automation and then just plop down any point to set automation for that setting, presuming that now that setting in that position is locked in that clip, and I can change to another clip and fiddle but then when I go back to said clip the settings are where I want them to be. ALTERNATIVE SOLUTION: Duplicate the instrument to maintain the settings and fiddle around with the new one as to not touch the old one. This one is "easier" but seems wasteful and inelegant. (slightly more elegant version of above, when I have sound for clip I want, take that entire instrument + effects and add into instrument rack and then that clip uses that instrument and other clips use a different version. Still requires me to use automation to maintain what clip uses what instrument) THE IDEAL SOLUTION (WHICH IM NOT SURE IF IT EXISTS): "Lock" the settings or "freeze" them or something onto the clip, so that all the settings and parameters on that clip are locked in the automation and on another clip I can change anything I like but on the original clip it still plays just as. I assumed locking/freezing a track would do this but it does it to the whole instrument. I hope I have explained my problem well and that someone can offer me a solution that doesn't end up with dozens of tracks that are just slightly different from another
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Jan 28, 2014 08:21
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ashgromnies posted:As long as you select the "export as" option in the main menu it should save a file containing what you hear in the DAW. Are you playing it at different volumes in the DAW and after you exported it? I have them lined up to start at slightly different times so it sounds like a small group, but when I export it sounds like they all clap at the exact same time. Just tried basically all the options in the export window but it never sounds like it does when I just play the grouped tracks in Ableton.
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Jan 29, 2014 02:58
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khysanth posted:I have them lined up to start at slightly different times so it sounds like a small group, but when I export it sounds like they all clap at the exact same time. Just tried basically all the options in the export window but it never sounds like it does when I just play the grouped tracks in Ableton. So, you've lined them up in the Arrange view like so:  And exported like this (sample rate, bit depth, etc. might be different, of course):  And still get a different sound when you play the exported WAV file?
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Jan 29, 2014 06:48
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echinopsis posted:ALTERNATIVE SOLUTION: Duplicate the instrument to maintain the settings and fiddle around with the new one as to not touch the old one. This one is "easier" but seems wasteful and inelegant. This is what I do. Yes, it's a bit inelegant having multiple similar tracks but I usually just group them and collapse them if I don't want to look at them. The general solution is automation (which you can have within a clip in Session View) but actually putting that automation in there in your scenario can be a bit awkward. What you might do (just speculating) is arm the track, hit record, wait for a little bit, and then go touch all the parameters you want saved. You'll get automation on each one, but with a nice long block of the original setting you can cut/paste as you need. Either way, best of luck.
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Jan 30, 2014 04:10
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Thanks. It seems as the function that I ideally want, doesn't exist, so it's always going to be inelegant. The biggest issue is me remembering to do it, because I fiddle with settings often and find I ruin older clips because they sort of needed it to sound like it did for it to work*, I need to remember "ok, this clip is good, duplicate the track now" *you can tell I make rubbish music because clearly nothing actually relies on melody or anything other that sound effects
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Jan 30, 2014 07:29
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I've just started learning how to work with samples in ableton. In the session view, is there a way for me to align an audio clip with the end of the quantization period? I simply have a reversed cymbal clip that's supposed to lead into a new scene. I figure it's easy to do with the timeline view, but is it even possible in the session view?
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Jan 30, 2014 22:36
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agscala posted:In the session view, is there a way for me to align an audio clip with the end of the quantization period? There is! Drop a warp marker on the spot in question and drag it to where the clip ends. Delete the original "beginning" warp marker if you don't want it to stretch out. Alternately, you can move the clip start/end markers around to get it to line up but I find the warp marker easier since it snaps to gridlines.
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Jan 31, 2014 03:36
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echinopsis posted:Thanks. It seems as the function that I ideally want, doesn't exist, so it's always going to be inelegant. The biggest issue is me remembering to do it, because I fiddle with settings often and find I ruin older clips because they sort of needed it to sound like it did for it to work*, I need to remember "ok, this clip is good, duplicate the track now" What if you resampled to an audio clip? If you consider the clips "done" when you get the settings right, you could easily stack them up in a single track that way. If you want to preserve the ability to tweak them, obviously this is not the way to go. Edit: Well it would be two tracks, I guess, since the audio track would be different from the MIDI track that spawned it, but all the "done" clips would be in the same track. ejstheman fucked around with this message at 04:53 on Jan 31, 2014 |
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Jan 31, 2014 04:34
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ejstheman posted:What if you resampled to an audio clip? If you consider the clips "done" when you get the settings right, you could easily stack them up in a single track that way. If you want to preserve the ability to tweak them, obviously this is not the way to go. You could combine the two; have a "done" audio track and the crapload of MIDI tracks where you created the samples if you want to tweak them.
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Jan 31, 2014 04:56
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Dessert Rose posted:You could combine the two; have a "done" audio track and the crapload of MIDI tracks where you created the samples if you want to tweak them. True. I was thinking of memory as a reason not to have a track for each clip, but depending on the instrument and the computer that might not be an issue.
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Jan 31, 2014 08:44
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This discussion has just made me realise how much I'd love that idea of a 'lock' function on clips to preserve all instrument/effect settings for that clip. Hnng.
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Jan 31, 2014 11:51
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Surely this problem has existed for a long time? I've been running up against it ever since I started using Live
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Jan 31, 2014 13:29
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Wasn't there a Max/MSP save/recall device developed for Richie Hawtin to address this issue? Edit: Yerp, Kapture.
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Jan 31, 2014 13:37
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ynohtna posted:Wasn't there a Max/MSP save/recall device developed for Richie Hawtin to address this issue? If I'm not mistaken though, that's just for recalling all-encompassing states of the entire project, rather than simply locking in parameters on a per-clip basis. Wouldn't have thought that would be too hard to code, either? Especially with Live 9's clip envelopes.
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Jan 31, 2014 14:56
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Anae posted:If I'm not mistaken though, that's just for recalling all-encompassing states of the entire project, rather than simply locking in parameters on a per-clip basis. Wouldn't have thought that would be too hard to code, either? Especially with Live 9's clip envelopes. Aye, one would think so!  Hopefully someone else has a better idea how to solve this. I'm no longer too knowledgable on Live as I've given it up in favour of Numerology (which effortlessly supports capturing stack/channel state) and other, more bizarre, sequencing solutions.
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Jan 31, 2014 15:22
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Why don't you just a)record automation or b)drop to audio?
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Jan 31, 2014 15:55
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Does anyone know if there's a hotkey to switch between note/sample and envelope editing in the clip view?
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Feb 1, 2014 23:43
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So with NAMM over, I'm looking to pick up a new IO to use for a bit of recording but also performing live. I'll be using a Mac Laptop with USB and Thunderbolt and will need to take in a guitar, bass, two live keys and two live vox. I'll also be running at least 3 different MIDI devices. All will then have to get sent out to house.
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Feb 8, 2014 11:12
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Anyone have any idea why a particular Ableton preset (Strangler Lead- a lead made in analog and nested in a pre-built instrument rack) would be causing Ableton to crash frequently? It seems like it's only ever that particular preset, when importing/duplicating/doing any kind of channel edits. It sucks because I have a full song created and ready for release using that preset, and I'm having frequent (~5 minute) crashes when going back to edit that channel. I also can't import it in any new sets for future use. Edit: So it turns out the crashes may have been caused by a conflict with a controller mapping. I have Push emulated on the Ipad using Lemur, and when I disabled the mapping, I no longer get crashes. Extremely odd, however, since the crashes still occured even when Lemur wasn't running. The controller mapping causes that preset and only that preset to behave as such. If I had to make a wild guess, I'd say something about the LED display information is corrupting- The creator of the mapping had to jerry rig the top display on the push using a second mapping which I guess is conflicting with the macro displays on that preset somehow- probably to do with the audio effects rack with it's own macros nested inside an instrument rack. PoizenJam fucked around with this message at 22:36 on Feb 8, 2014 |
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Feb 8, 2014 22:09
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magiccarpet posted:So with NAMM over, I'm looking to pick up a new IO to use for a bit of recording but also performing live.
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Feb 10, 2014 04:27
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Newbie question alert  . How the hell does warping work in Ableton? I have kind of a vague notion of what it does and I'm able to warp songs decently as long as they are electronic music and have a pretty distinct kick drum in them keeping the beat. The trouble comes when I want to warp full songs that aren't electronic. I've watched a bunch of videos and done some reading, but I still don't get what goes on 'under the hood.' What does a warp marker (and transients) actually do? I want to try my hand at remixing and making mashups (loop based a la Girl Talk and otherwise) and this seems like a crucial step . Any help and advice would be appreciated.
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Feb 10, 2014 08:10
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I guess you could think about it as a rubber band and a ruler, the ruler has steady consistant markings and thats the fixed tempo in ableton...And the rubber band is the track, you can stretch and contract the rubber band to make it line up with the ruler by sticking in thumbtacks - the thumbtacks are the warp-markers. I hope that analogy makes enough sense that you can follow the tutorials.
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Feb 10, 2014 10:38
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