If you double-click on an empty Clip Slot within a MIDI Track, it will change color and display the MIDI Note Editor in the Clip View below.
Within the Session View, Clip Slots appear underneath the Track Title Bar. Obviously, MIDI Tracks store anything that will either send or receive MIDI event data while Audio Tracks store and play back audio. Also, there are Pre/Post Fader switches above the Master Fader that will either preserve the dry/wet ratio from the Track Volume (post-fader) or receive audio from its source and preserve its initial amplitude (pre-fader). Although, this isn’t always a nasty accident infinite feedback loops are often used to create dissonant pads and howling atmospheres for ambient sound design, just as long as you make sure not to exceed unity gain.
Tracks are routed by default to the Master Track, and have In/Out options for routing any signal to and from virtually any combination of tracks – but don’t get careless! Signal flow can spiral wildly out of control if you happen to create an infinite feedback loop by routing the signal output back to its source through an unlimited number of Return Tracks. As for The Arrangement View, this is where you’ll be working with audio recordings and live sessions along a timeline that displays all your tracks on a linear grid from left to right. The Session View is where you’ll spend the majority of your time within the Device View, where you can drop instruments and effects, and also the Clip View, where you can fine-tune the Clip Properties and program musical material in the MIDI Note Editor. There are two basic environments within Live that display mixer tracks (simply called Tracks) either vertically within the Session View or horizontally within the Arrangement View. Its simple, utilitarian GUI is a little intimidating when starting out, but even though the controls might resemble the cockpit of a small aircraft upon first glance, Ableton’s architecture is actually very simple once you begin to grasp its overall design. If you’re looking for a program worth investing yourself in, look no further. Fortunately, in large part of its ever increasing popularity, there’s an abundance of orientation videos on YouTube, so you should have no problem familiarising yourself with Ableton’s interface although there are some very noteworthy certified training facilities such as Point Blank and Dubspot that will help you master a veritable arsenal of factory instruments, effects and flexible Max For Live patches made available (often free) to registered users online.
Max For Live, a streamlined version of Cycling 74’s innovative Max/MSP visual programing platform, was introduced in January of 2009, which ultimately became fully integrated with Ableton Live 9 two years later, making it one of few digital audio production suites seamlessly interfacing with a fully modular environment.ĭespite its slight learning curve, Ableton Live is a very approachable DAW. For well over a decade, the Ableton Community has become a vast global network of forward thinking collaborative independant artist who share ideas and break down creative walls everyday. Ableton Live is so much more than just another DAW. Since 2001, Berlin-based developer Ableton has endeavored to provide such a program, bridging the gap between performers and producers, and blurring the cultural divide between trained instrumentalist and experimental musicians. But what if there was a program made for both individuals? A hybrid of inspiration and innovation…
Other more specialized programming environments are intended for the seasoned electronic music producer who possesses a deep knowledge of mix engineering, sound design, dynamics processing, etc. Some programs specialize in live recording, focusing on ease of use, intended for musicians who want to plug in and play with a modicum of required technical expertise.