Ableton Live 9 Suite 9.1.0 (Win 64 Bit) Mihgt – Ableton live 9 suite tutorial pdf free

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

This is a fantastic time-saver its a great way to start on any task where youre correcting timing use quantization to fix the entire clip automatically, then go in and manually adjust or delete any warp markers that havent gone in the right place. You should start to hear a ducking effect, especially once the threshold is brought down. The tracks require an instrument e. Even though this guide will be centered around the arrangement view, I do want to briefly highlight the importance and usefulness of the session view.❿
 
 

Ableton live 9 suite tutorial pdf free

 

One of my favorite feature sets of Ableton Live is the included devices and sounds that come included with it. I actually recommend people who get Live not to download any plugins before trying them out. These are found in the Browser under the respective categories and can be loaded in by double-clicking, or clicking and dragging. Click on the linked resources to find out more about each of these powerful devices!

Ableton Live comes with a great selection of samples and clips available for you to use especially in Suite. Ever worked on an idea, but you only like a particular loop with some effects and processing on it? Of course, many of you are going to want to be adding your favourite synths, samplers, and effect plugins to make music with. After that, you should have plugins show up!

Depending on the plugin, they may show up organized by the manufacturer, or just come up under the list. In Ableton Live, instruments will have a little keyboard icon next to the plugin name, and effects will have a blank box.

To load an instrument up, simply double click and it should automatically create a new MIDI track with the instrument loaded up. Otherwise, you can click and drag your instrument plugin onto an existing MIDI track. With an effect plugin, double-clicking will load it up onto the currently-selected Audio or MIDI track, in the next available section in the signal chain. You are also welcome to drop and drag it into a specific location. Simply navigate to your samples location and add the folder.

You can add and organize them however you like — all in one folder or using multiple folders. Recommended: Free Sample Packs.

Underneath this you have the Latency section. Fortunately, you can do this. Once you have things set up the way you want, simply click Save, close Ableton Live and reopen it. Your template will now open every time. Many students in our EDM Foundations course came across this problem when using samples in Ableton Live for the first time. Punchy and percussive samples would not sound the same as they did when previewed.

One click fires every clip in that horizontal row. This is great when you need a bunch of things to happen at once, like changing between song sections. If you want a clip to ignore a scene change, remove the stop button from the clip below it, using cmd-e.

Then when you launch the scene containing the empty slot, the first clip keeps playing. This gets you more fluid and organic scene changes. Use cmd-r to rename scenes, and the context menu to colour-code them. If you name your scene with a time signature, your project time signature changes when you launch that scene.

If you have a bunch of clips playing on different rows and you want to quickly collect them together into one scene use shift-cmd-i; the Capture and Insert Scene command. Tempo is the speed a piece of music is played at; in our world, were talking about BPM – beats per minute.

A few BPM up or down can make a crucial difference to how your audience perceive your music, especially in dance music, where it can move you into a whole different genre. In Live we interact with tempo in different ways. First, theres the project Tempo – which we set in the Control Bar at the top of the screen. A projects BPM doesnt have to be fixed, because we can automate it in Session View using Scene names see last time , and in Arrangement View using track automation.

And if we use tap tempo, like from a live drummer with a MIDI pad, everything in your Live project follows the real musician instead of everybody having to follow the computer – awesome for live band setups! Live has a separate Tap tempo assignment button near the top left – you can assign this to any MIDI source, or even your computer keyboard. If Live isnt running and you tap one bar, itll start playing at the rate of your taps. You can keep tapping to top it up as you go along.

The Tempo Nudge buttons are very useful for lining up Lives tempo with another source. Awareness of how to use tempo organically can make your loop-based productions much more dynamic! Lives Utility effect device can be found with the other audio effects in your Library.

Its not one of the most glamorous plug-ins around, but its damn useful for problem solving and imaging effects. You can use Utility to mute a track, filter out DC offset and low-level noise, control track gain, stereo width, pan, and phase.

Its very useful for sampling, field recording, and voice recording if you want to extractone channel froma stereo sample, or if you want toclean up and maybe re-balancethe sound a bit, Utility will get the job done.

Ive used Utility in conjunction with Waves Center plug-in to manage stereo imaging when I was working on a project last year, refreshing some old stereo mixes I had, where I couldnt access the original stems. Because like every other Live device, Utility isMIDI mappable, you can use it as an effect as well as a tool try automating the Width and Pan control on a synth track, it can be quite disorientingI mean that as a good thing.

I also like it as a gain control for some projects, I have one in every track; sometimes you want to keep your track faders flat, and this is a great way to pre-mix your track volumes, alongside the clip gain control. Because Utility has that Mute switch, you could MIDI map a bunch of them and assign them to a second hardware controller if for some reason you needed two ways to mix your tracks. Just an idea. Yes, you can use video in Live! It has limitations, but it trades those off against some very cool things.

You can drag any QuickTime compatible movie straight into Live; how it behaves depends on what View you\’re in. In Arrangement, the movie clip looks and behaves like an audio clip they load into audio tracks. You\’ll see some little \’frame\’ lines along the clip edges. Live will open a video window which shows the movie content; toggle this at any time with shift-cmd-v.

If your computers connected to a second display or a projector, drag the video window across. Put a bunch of videos in the timeline on one or more tracks and you have a music video ready to go. If there\’s audio in the movie clip, you can add audio effect devices to it. Turn on warping for the clip and you can timestretch the video – this is very useful for fitting video loops to your beats! You can\’t play video out of Session View, but it has another trick up its sleeve; drop a movie clip into Session, and the video is dumped, but the clip audio is retained – this is the fastest way to get an audio sample from a movie into Live!

If you want real integration with video for live performance, the best way to go is to pair Live with a VJ application like Arkaos VJ. I\’ve used this combo for many live shows, sending MIDI notes and CCs from Live to launch movies and control visual effects in sync with your music.

Like it or not, sports fans, Ableton Live is about two things and two things only the Session View and Warping. Everything else is optional. Im not beefing Live is a fantastic achievement and has revolutionised music creation; other DAWs have their versions of time stretching, but Id take Lives warping over Logics flex time for example any day of the week.

Warpings a big subject, but here are a couple of quick pointers. Make sure you choose the right warp mode for your audio clips, otherwise the cumulative effect across a mix can be disastrous but dont be afraid if the right warp mode is not the one that you expected; judge it case by case.

We use Live to straighten out song timings so we can lock them together; your best tools for this are in the Context Menu Warp From Here and so on. Try them all, and dont be surprised, with less straight material, if you have to re-applythese at points throughout a song, to keep everything on track.

Sometimes audio quantisation is a good way to get a quick fix on straightening out a song, or part of a song. For some purposes you might only want to warp the start and end of a song, and quantization can be good for that. Live 9. X-Y controls are a great way to use one action to control two effect parameters at the same time.

Load one of Lives audio effect devices, such as Auto Filte, to see what I mean; that black box where you drag the little yellow circle around – those are X-Y coordinates at work. X is the horizontal movement axis , and Y is the vertical movement axis. This is one of Lives visual trademarks – the X-Y grid with the little ring. Even with a mouse or trackpad, this is a good way to interact with effects, but if you use a hardware controller like a joystick or a touch surface, it really comes alive.

You can a game controller – I still like the Wiimote, especially that little joystick on the Nunchuk accessory. You can customise Lives X-Y behaviours from the MIDI Mapping Browser – limit the range of the parameter changes, or invert their ranges, and of course you can assign more than one device to the same joystick for more complex moves.

One thing a mouse is good for though, is to click around inside the black box for value jumps – that can be a useful effect. Its all about the user. If youve gotsomething in mind, if theres a statement you want to make, Live will help you get there. If youre merely curious at this point, and not really sure about the whole music productionthing, Live will show you that theres nothing to be scared of – its fun, and it can be very simple at the beginner level.

Dont be put off by all the complicated stuff you see online – that will be there for you if and when you need it. Live is about the users and the community – they interact online, they share information, theyjam together in ways that are impossible with other music software , they bring it back into the real world; Live was at the forefront when the computer-based music scene began to move away from grumpy guys with Pro Tools rigs trapped in a studio with tower PCs and CRT monitors deeper than they were wide – to a more dynamic, flexible, andmobile type of interaction.

Socialising with other Live users is an important thing – theres still nothing like getting together and thrashing out some ideas in meat space! So often, you will be talking to a Live user and then realise he has his entire live rigwith him – laptop, headphones, petite soundcard, bijou MIDI controller.

We are ready to throw down 24 hours a day. Like they say in the old movies – lets do the show right here! Theres more than one way to use zooming in Live. Live can host up to 12 return channels, though only the most complex and involved projects would require that many.

Feedback effects with send and return channels 1 Drag the Testing Click two different points on the envelope to create two breakpoints, and move them into the positions illustrated above.

As only the last word is delayed, we end up with a much cleaner-sounding effect. Audio: Clean delay. Audio: Full delay. So, rather than having feedback in just the delay effect, we can create our own custom feedback loop, involving as many effects as we like! The send fader is disabled as a safety precaution to prevent excessive feedback. The send level now controls the amount of feedback; set it to -6dB.

Audio: Frequency shifting. Access the expanded view by clicking the triangular Toggle Display Location button at the top of the interface. The delays take their input from the left, right and mid channels, and output to the same positions unless their Pan controls are adjusted. This useful for getting rid of background noise on audio tracks when nothing is playing, as well as tightening parts up.

EQ THREE This simplified threeband equaliser is primarily designed for live use, although it does have a few useful niceties for studio work. However, the delays are much shorter, delivering comb filtering effects. Try using it with a low Feedback setting and synced Rate to make mono percussion loops stereo in a fairly transparent manner. EROSION An unusual lo-fi effect, Erosion degrades the input signal by modulating a short delay with filtered noise or a sine wave, resulting in a unique, digital-sounding distortion.

For enhanced stereo width, try Wide Noise mode, which uses independent noise generators for the left and right channels. Simply add the External Audio Effect device to a track and select the audio interface inputs and outputs to which your gear is connected. You can even enter a Hardware Latency value to ensure everything remains perfectly in sync. The sidechain input makes it ideal for ducking effects, too. A spectral analyser with automatic Y-axis scaling, Spectrum is ideal for visualising the frequency content of a signal.

For more detailed examination, you can enlarge it by clicking the Toggle Display Location button, which pops the Spectrum Display out into its own panel.

This is particularly handy for identifying the frequencies of specific partials. Vinyl Distortion creates even harmonic distortion and adds crackles to the source signal. It even comes with adjustable intensity, making it easy to get the perfect retro effect. To create the classic robo-voice effect, put it on an audio track with a vocal on it, set the Carrier input to External, and pick a track with a synth on it in the Audio From panel. Try automating the Bandwidth and Formant controls for bizarre morphing effects, and activate the Enhance button to get a brighter sound.

Check out the EP Faceplant preset for an example of how these effects can be used in conjunction with Electric in the Instrument Effects rack to create a classic vintage sound. Live even adjusts for latency, making it a truly viable way to make your old-school kit useful again. The parameters are divided into four sections, the first of which contains the Start, Transpose and Stretch controls. Using these, you can adjust the start point of the sample, change its pitch, and even timestretch it with a choice of two algorithms.

The third section, a resonant filter, features low-pass, high-pass and band-pass modes, each with a choice of slopes, plus a notch mode.

Finally, the Pan and Volume section includes those eponymous controls plus a Decay time setting with two modes: Trigger has the sample beginning to decay with the note-on message, while Gate starts to decay upon receiving a note-off message. At the right-hand side of the fourth panel are global controls for Volume, Time controlling both Decay and Stretch and Transpose. Key and velocity splits can be set up for each chain, and you can control which chains are playing directly using the blue Chain range bar and Chain Selector parameter.

Like the Effect Rack, the Instrument Rack features eight Macro knobs, each of which can be freely assigned to multiple parameters. It features eight slots onto which samples can be dragged from the Browser or the arrangement, which are triggered on consecutive white notes from C3 up. Each sample slot has its own individual set of parameters, many of which can be modulated via velocity or randomised.

This powerful arp can take chordal input and turn it into monophonic sequences in any of 18 styles. The most important parameters are Steps, which controls how many octaves the sequence plays on, and Rate, which determines how fast the sequence plays. In Time mode, it changes all notes to a specific duration in milliseconds, while Sync mode lets you select from 64th-note to quarter-note resolutions.

It can also be triggered by MIDI note-on or note-off messages. Chord is great for adding octaves and fifths to parts, and generating ravey chord sequences. The only limit is your imagination!

Oh, and the maximum polyphony of the instrument being triggered by it, of course. Random transposes the incoming note pitch within the range defined by the Choices knob, which can be multiplied by the Scale parameter. You can edit these and even create your own scales using the intuitive Note Matrix. For example, try putting a Chord with multiple voices active in front of an Arpeggiator set to a few Steps and a fast Rate for insane melodic synth riffs playable with just a single finger — ideal for those chiptune moments!

These are then sculpted with filters, which attenuate specific frequency ranges. FM works the other way around, typically starting with a simple sine waveform that only has a single harmonic. The amplitude of the partials is determined by the level of the modulating operator, and by using an envelope to adjust it, we can create sounds that change in timbre over time — much like using an envelope to control the filter cutoff of a subtractive synth.

Audio: Sine tone. The higher it goes, the harsher the timbre becomes. Audio: Pitched modulator. Any oscillators on the bottom row only A in this case are voiced, and the rest are unvoiced.

Audio: Simple FM. Audio: Techy bass. Audio: Deep house bass. Click the fourth one in from the left to select it. This heavily alters the sound, because Oscillator C is now modulating Oscillator A directly, rather than via Oscillator B.

Audio: Alternative algorithm. Click the Filter panel on the right-hand side of the interface, then, in the central panel, set the Shaper mode to 4Bit and turn the Drive up to 9. That should grunge up the patch nicely. Audio: Lofi synth. It can also be assigned to a secondary destination, including the amplitude level of any one of the four oscillators. Sampler is the perfect instrument for creatively twisting and processing audio, thanks to its multiplicity of features, including morphing filters, a choice of looping modes, waveshaper, modulation oscillator, and the ability to create key and velocity splits for multisampling.

For more, check out Key Zone splits with Sampler on p Before we get started, you might find it useful to know that any instance of Simpler can be converted into a Sampler by right-clicking its Device Title Bar and selecting Simpler»Sampler. In the Sustain Mode panel, click the second button from the left to switch to Loop mode. Now, the sample should fade out as smoothly as it fades in. Audio: Lazy release. Drag the Loop Start to around and the Loop End to about Audio: Straight loop.

Turning it up to or so vastly improves the smoothness of the loop. The next thing we need to contend with is the fact that the patch stops dead when the instrument receives a note-off message. Audio: Crossfade loop. This might be desirable with hi-hats, but it sounds unnatural with our pad sound. Click the Retrigger R button at the bottom right-hand side of the interface to deactivate it. We can now trigger new notes without killing the previous ones. In the Filter panel, drag the Freq filter cutoff frequency fader down to Hz, and in the F.

Env filter envelope panel, set the Amount to Audio: Wide pad. Click the Osc button to activate the modulation oscillator. Audio: Frequency modulation. Interpolation is what a sampler does when it transposes notes, and the algorithm used to do it will affect the character of all transposed notes.

This difference is particularly noticeable on sounds with a lot of high-frequency content, such as cymbals. Select a mode from the Interpol menu in the Sample page. Typing a word or phrase into the field searches the currently selected Browser category for anything containing that text, which can be useful for quickly locating specific instruments, audio effects and presets, as well as samples and clips. Another helpful aspect of the Browser is that it includes a Current Project folder location in the Places panel.

Drag Beat. To select both tracks, click the first, hold Shift, then click the second. Is this content inappropriate? Report this Document. Description: hhg. Flag for inappropriate content. Download now. Save Save Ableton Live 9 Suite 9. Jump to Page. Search inside document. What\’s new in Ableton Live 9. Groove Monkee Supplemental Mappings. Geist Quick Start.

The Bridge Manual 1. Controller Editor Template Documentation English. Ableton Midi Controller. Music Tech Focus – Ableton Live – Buffeater User Guide. Ableton – Beat Tools v1. AutoBeat v1. ClyphX Pro User Manual. Ableton Wavetable Manual. The Mastering Blueprint.

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Ableton live 9 suite tutorial pdf free.How To Use Ableton Live: The Producer’s Guide

 

Music Tech Focus – Ableton Live – Buffeater User Guide. Ableton – Beat Tools v1. AutoBeat v1. ClyphX Pro User Manual. Ableton Wavetable Manual. The Mastering Blueprint. Ableton Live Tips and Tricks Part 2. Miditranslator Tutorial Ableton. The Romance Od Sandro Botticeli. Fisa Cl10 4 Clasicism. How to Make Fire Works. Your template will now open every time. Many students in our EDM Foundations course came across this problem when using samples in Ableton Live for the first time.

Punchy and percussive samples would not sound the same as they did when previewed. One of the ways you can do this is to use a different color theme. Apart from that, there are a number of online resources for Ableton Live themes. Our favourite resource is abletonthemes. Everyone wants to learn sidechain compression. But the reality is sidechain is a very useful thing to know, and Ableton Live makes it very simple. Clicking it will bring up the extended interface.

From here, enable the sidechain button like I have above, and choose your input source e. Once set, configure the controls to shape your sidechain envelope. You should start to hear a ducking effect, especially once the threshold is brought down.

If you want more inspiring tips for Ableton Live, check out of them here. Step 6: Session View provides a non-linear workflow and is ideal for sketching out ideas or for live performance.

The building blocks are MIDI or audio clips, which have a defined start and end point. These are arranged in vertical Tracks, and can be triggered individually or as part of horizontal scenes. You can\’t play video out of Session View, but it has another trick up its sleeve; drop a movie clip into Session, and the video is dumped, but the clip audio is retained – this is the fastest way to get an audio sample from a movie into Live!

If you want real integration with video for live performance, the best way to go is to pair Live with a VJ application like Arkaos VJ. I\’ve used this combo for many live shows, sending MIDI notes and CCs from Live to launch movies and control visual effects in sync with your music.

Like it or not, sports fans, Ableton Live is about two things and two things only the Session View and Warping. Everything else is optional. Im not beefing Live is a fantastic achievement and has revolutionised music creation; other DAWs have their versions of time stretching, but Id take Lives warping over Logics flex time for example any day of the week.

Warpings a big subject, but here are a couple of quick pointers. Make sure you choose the right warp mode for your audio clips, otherwise the cumulative effect across a mix can be disastrous but dont be afraid if the right warp mode is not the one that you expected; judge it case by case.

We use Live to straighten out song timings so we can lock them together; your best tools for this are in the Context Menu Warp From Here and so on.

Try them all, and dont be surprised, with less straight material, if you have to re-applythese at points throughout a song, to keep everything on track. Sometimes audio quantisation is a good way to get a quick fix on straightening out a song, or part of a song.

For some purposes you might only want to warp the start and end of a song, and quantization can be good for that. Live 9. X-Y controls are a great way to use one action to control two effect parameters at the same time.

Load one of Lives audio effect devices, such as Auto Filte, to see what I mean; that black box where you drag the little yellow circle around – those are X-Y coordinates at work. X is the horizontal movement axis , and Y is the vertical movement axis. This is one of Lives visual trademarks – the X-Y grid with the little ring. Even with a mouse or trackpad, this is a good way to interact with effects, but if you use a hardware controller like a joystick or a touch surface, it really comes alive.

You can a game controller – I still like the Wiimote, especially that little joystick on the Nunchuk accessory. You can customise Lives X-Y behaviours from the MIDI Mapping Browser – limit the range of the parameter changes, or invert their ranges, and of course you can assign more than one device to the same joystick for more complex moves.

One thing a mouse is good for though, is to click around inside the black box for value jumps – that can be a useful effect. Its all about the user. If youve gotsomething in mind, if theres a statement you want to make, Live will help you get there. If youre merely curious at this point, and not really sure about the whole music productionthing, Live will show you that theres nothing to be scared of – its fun, and it can be very simple at the beginner level.

Dont be put off by all the complicated stuff you see online – that will be there for you if and when you need it. Live is about the users and the community – they interact online, they share information, theyjam together in ways that are impossible with other music software , they bring it back into the real world; Live was at the forefront when the computer-based music scene began to move away from grumpy guys with Pro Tools rigs trapped in a studio with tower PCs and CRT monitors deeper than they were wide – to a more dynamic, flexible, andmobile type of interaction.

Socialising with other Live users is an important thing – theres still nothing like getting together and thrashing out some ideas in meat space!

So often, you will be talking to a Live user and then realise he has his entire live rigwith him – laptop, headphones, petite soundcard, bijou MIDI controller. We are ready to throw down 24 hours a day. Like they say in the old movies – lets do the show right here! Theres more than one way to use zooming in Live.

In fact I use it often enough that I wish there was a key command for it. Consider that a feature request, Ableton! I wish I could use the two-finger swipe to zoom in and out in Arrangement View, Im very used to it from Logic!

Ah, maybe thats feature request number two! You get similar zoom options inside the Sample Display and Note Editor, with the same hot spot rectangle at the bottom right, and the magnifying glass along the top. Youll find other zoom controls around Live, like inside Simpler, and the instrument rack zone editor!

Open navigation menu. Close suggestions Search Search. Ableton Live comes with a variety of warp modes, each designed to stretch the audio in different ways:.

One of my favorite feature sets of Ableton Live is the included devices and sounds that come included with it. I actually recommend people who get Live not to download any plugins before trying them out. These are found in the Browser under the respective categories and can be loaded in by double-clicking, or clicking and dragging. Click on the linked resources to find out more about each of these powerful devices! Ableton Live comes with a great selection of samples and clips available for you to use especially in Suite.

Ever worked on an idea, but you only like a particular loop with some effects and processing on it? Of course, many of you are going to want to be adding your favourite synths, samplers, and effect plugins to make music with. After that, you should have plugins show up! Depending on the plugin, they may show up organized by the manufacturer, or just come up under the list. In Ableton Live, instruments will have a little keyboard icon next to the plugin name, and effects will have a blank box.

To load an instrument up, simply double click and it should automatically create a new MIDI track with the instrument loaded up. Otherwise, you can click and drag your instrument plugin onto an existing MIDI track. Select the Look Feel tab on the left. Here you can change the language, general colors, and themes. Underneath the Colors subheading, you can change the skin or theme of Ableton. I prefer the Disco theme, but the default dark gray is the most common.

Select the Audio tab. This is where you can configure your inputs and outputs. If you\’re using an external audio interface, this will be listed here providing your drivers are installed. Otherwise it will be pre-filled with \”Built-in Output. Finally, underneath the Latency subheading, select an appropriate buffer size.

The buffer size is measured in samples, and this is used to control how quickly Ableton can record and playback sounds. If this is too high, there may be a large delay between playing a sound and hearing it out of your speakers.

If you set it too low, your computer has to work much harder. A good place to start is Samples. If you have strange audio glitches, you may need to increase this. Now that you\’re all setup, it\’s time to make some music — go ahead and close the preferences panel. The \”traditional\” approach in music software is to record tracks from left to right. Ableton has this ability, but what really sets it apart from other DAWs is the Session view.

This arranges clips vertically, and allows you to trigger any clip in any order. It really opens up creative avenues for making music, and you may discover a new arrangement of your song! Session view is most often used for remixing songs live.

It can also trigger clips or songs in response to various events. If you want to record music the \”traditional\” way, Ableton has a built in Arrangement view that can be accessed with the Tab key. Once in arrangement view, pressing Tab again will take you back to the session view. You can use arrangement view to record the output of a session or to record yourself or a band, and session view to remix your latest hit or experiment with a new arrangement. Switch back to session view. There are four main components alongside the controls at the very top.

The leftmost section is for navigating and selecting project files, instruments, and effects. The Velocity and Chance Editor lanes can be shown or hidden via the lane selector toggle buttons at the left. When enabled, drawing MIDI notes is constrained to one single key track or pitch at a time, while holding the ALT key allows freehand melodic drawing.

The lowest dot in a meter lights up in a blue color if per-note controller changes pass that meter. The new Focus button enables Focus Mode see Focus Mode can be toggled via the N keyboard shortcut. The Invert button is now enabled in the Notes tab when at least one note is selected, and it is possible to invert selected notes from multiple clips at the same time.

Time selection interactions, note selection interactions, and new note editing options have been added to multi-clip editing. Also some parameters for Hybrid Reverb have been rearranged for easier navigation. Push 2 and MIDI controllers sending polyphonic aftertouch can be used with plug-in devices that support polyphonic aftertouch. When a Rack contains a parameter mapped to one of the new Macro Controls e. Degree symbol icons Push 1 or bullet point icons Push 2 are used to differentiate the Rack from the device.

Updated the notification style for scenes, and updated the scene name visualization to include the absolute position, tempo and time signature on Push. The maximum number of available Macro Controls see Pressing the Rand button in the title bar of a Rack randomizes the values of mapped Macro Controls.

Selecting a scene or multiple scenes opens the new Scene View see 7. Clicking this entry cancels the launch of any previously triggered scene.

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