Live 9 Suite - Amazon S3 · piano’s dampers, how dampers create their own noise when they are...

Overview of SuiteLive 9 Suite is Ableton’s flagship “XL” software package that includes the full-featured Live 9, a large compliment of software and sample-based instrumentcollections, advanced audio effects, and Max for Live. Instruments included areAnalog, Collision, Electric, Operator, and Sampler. Suite also bolsters 11 additionalpacks not included in the other versions of Live 9. This enormously expandedcollection of sound libraries, clips, instruments, Construction Kits, and Lessonsprovides thousands of customized presets created by top sound designers, suchas Zero-G, Cycling ‘74, SoneArte, and Purmagnetik, just to name a few. That’s justthe instrument and sound library side of Suite. You also get Amp, Cabinet, CorpusAudio Effects and Max for Live with another 14 effect devices.

To sum it all up, if you have the extra money saved up, Suite is well worth it. Ifyou’ve already purchased Live 9 Intro or Standard, for an additional cost you canupgrade to Suite. Alternatively, you can purchase individual packs from the Abletonwebsite to enhance your experience with Live 9.

In the following sections we’ll cover a general overview of the instruments andeffects included in Suite, which, when purchased, appear in the Live Browser justlike the instruments that came with your version of Live 9. Understand that thisScene does not cover every aspect of each Suite device. For additional information,consult the Live 9 manual. Now that you are salivating at all the excitement packedin Suite, go download the free trial version while it’s still available and have a tasteof some of these fantastic devices (www.ableton.com)!

Software InstrumentsAnalog

Analog is a fully integrated virtual analog software synthesizer that emulates the“classic” analog synthesizers using physical modeling synthesis technique. Physical

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Modeling is an advanced type of synthesis where, through mathematical analysis,it is possible to emulate the physical properties of an analog circuit or acousticbehavior, and, more specifically, emulate the way a real-world instrument behavesand responds to the way it is played. Analog is not limited to the reproduction ofvintage analog synths and it is fully customizable for new, rich, warm-soundingsynth creations and a variety of percussives, keys, pad, leads, and effects.

Analog is what an analog synthesizer should be: powerful and robust with lots ofcontrol at your fingertips. There are no hidden and confusing menu pages orwindows to navigate through. It efficiently offers editable features right in thefront panel for almost every knob and slider.

The user interface consists of two parts: the shell and the display. The shell is madeup of two main oscillators, a noise generator, two filters, two amplifiers, two low-frequency oscillators (LFOs), and global controls. These take up the outer lyingareas of the interface that surrounds the display. Each has dedicated selectableparameters. In the center area of the interface is the instrument parameter display,which shows currently selected shell parameter settings, and updates as differentshell parameters are selected.

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Figure A2.1 Analog.

Figure A2.2 Analog Display.

For example, when Analog’s Osc1 section is selected, its parameters will be visiblein the display. Click on an individual shell section to bring up its parameters at anytime. As with analog synthesizers, these parameters are routable to Analog’s filter

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section and other parameters including the amplifier, providing many sound-shaping options. It is also possible to route its oscillator signal or signals in seriesor in parallel, allowing you to create big sounding instruments that will inspirefurther interest into the sound-shaping world of synthesis.

The individual shell’s window will turn from gray to white when selected. You cansee what we mean by clicking on the various shell sections located around theoutside of the central display area found in the middle.

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Figure A2.3 Analog Oscillatorshell section.

Each oscillator can be used independently or in conjunction with the other. Analogalso has an incredible amount of routing flexibility in regards to both the balanceand filtering of the oscillator’s sound. You’ll find a shape chooser window thatdisplays Analog’s four oscillator waveform types: Sine, Sawtooth, Rectangular, andNoise. Part of Analog’s implementation is designed around what Ableton calls“routing schemes”. These routing parameter schemes are preset, ready to load,and are specific to the oscillator, filter, and amp. They can be found in the displayarea by clicking on the global volume shell on the far right side of the interface.The onboard filters, LFOs, pitch/filter envelopes, and multiple tuning parametersmake sound design and patch creation a lot of fun and addictive once you getthe hang of it all.

Using Device Racks, you can create multiple Analog device chains, which can resultin new and gratifying timbres. Try retuning, panning, and layering them in a RackDevice and you’ll find that the sonic possibilities are yours for the making!

Collision

Collision is a software synth designed to reproduce acoustic mallet-based percussioninstruments through physical modeling. This includes wooden and metallic instru -ments, such as xylophones, marimbas, and glockenspiels. Of course, it is also capableof creating plenty of custom instruments. The overall concept and design of Collisionis quite powerful. Through physical modeling it can simulate a mallet striking asurface, meaning that it models the resonant characteristics and properties of theway in which various objects resonate. Its sound is generated by two oscillators thatcreate its initial attack sound (acting as mallets), which then feeds two uniqueresonators that create the character of the overall sound. We’ll come back to this ina moment.

Live 9 Suite


The user interface consists of six tabs: Excitator, LFO, MIDI, Resonator 1, Resonator 2,and Link. Each tab accesses different parameters of the instrument except Link, whichallows you to address both resonator parameters at the same time. At the far right-hand side of Collision’s interface is the Global Section.

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Figure A2.4 Collision.

Figure A2.6 Collision Resonator 1 Tab.

Figure A2.5 Collision Excitator Tab.

The Excitator tab handles the parameters for the Mallet and Noise (oscillators)sections, which determine the characteristic of the initial attack of the instrument,creating a physical model of the Mallet. Note that the Noise section also generateswhite noise as part of its characteristic. You can use either Excitator or both Excitatorsas the initial attack sound source to be fed into the resonator(s), resulting inCollision’s characteristic sound.


The Resonator tabs handle the parameters of each resonator, and determine whatobject is used as the physical model (the strike surface) for the instrument’s spectralcharacteristics. There are several resonator objects available for each Resonatorlocated in the Resonance Type chooser window (just below and to the left of theResonator 2 tab). Each of these resonant objects—beam, marimba, string, plate,pipe, and tube—possess a distinct sonic quality that can dramatically alter the Malletand/or Noise Excitator being used as the initial attack. Once you start to adjust thevariable resonator parameters—harmonics, tuning, decay, and velocity—this willbecome very obvious. In addition, each resonator has an independent X–Y controllerand a mixer section. The Resonator Mixer contains Volume, Bleed (dry/wet mix),and Pan knobs.

The LFO tab provides access to the routing and parameters for two low-frequencyoscillators. These are used to modulate various parameters of the Excitators andresonators, or are used to modulate each other. Routings are assigned by choosinga listed parameter in the Destination chooser.

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Figure A2.7 Collision LFO Tab.

Figure A2.8 Collision MIDI Tab.

The MIDI tab is for internally assigning Pitch Bend, Mod Wheel, and Aftertouchdata to Collisions parameters. Collision naturally works well with MIDI-assignedcontrol parameters, adding a real-time flexibility to the process of creating sounddesign elements.

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The Global section handles overall behavior and performance parameters for theinstrument. For example, you can use Resonator Structure to control how signalflows through the resonators by setting it to either Serial mode or Parallel mode.In Serial mode, each Excitator signal is sent to Resonator 1; its mixed output isthen sent to Resonator 2 and to its own mixer. In Parallel mode, each Excitator ismixed first, then sent to both resonators at the same time.

Note! Corpus is a standalone audio effect integrated into Suite that originates fromCollision, adapting its resonator section to create Corpus. Corpus come bundledwith Collision, which can be purchased separately if you don’t own Suite. For moreon Corpus, launch to .

Figure A2.9 Corpus.

Electric

Electric is a software synth designed to emulate the “classic” Rhodes and Wurlitzerelectric pianos using physical modeling. By modeling all of the distinct traits andmechanics of these electric pianos (all phases of their sound generation), includingtheir mallet strike, tone fork, damper, and the pickup, Electric is able to producesome very unique and flexible signature timbres.

The Electric interface is designed around the four principle characteristics of themodeled sound and their related parameters. These are sectioned off within theinterface starting from left to right: Mallet, Fork, Damper, and Pickup. The Malletsection handles the parameters of the modeled mallet. From there you can controlhow hard the simulated striking surface is (Stiffness) and the intensity of the impactmade by the mallet on the surface (Force). The Fork section handles the resonating


characteristics of simulating a mallet striking a fork. Here you can control Tine, theportion that is struck, and Tone, the subsequent resonance of the Fork’s simulatedtone bar. The Damper section handles the modeled characteristics of an electricpiano’s dampers, how dampers create their own noise when they are applied andreleased when responding to the action of a piano key. The Pickup section acts asa virtual pickup similar to an electric guitar’s coil pickup. Adjusting the differentparameters within this section changes the sound dramatically as the various knobsallow changes for distance, input amount, symmetry, and pickup types. The pickuptypes modeled are electro-dynamic-R and electro-static-W.

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Figure A2.10 Electric.

Figure A2.10 Electric PickupSection.

Each one of Electric’s sections ultimately feed into the Global section, which controlsoverall instrument functions, such as tuning, pitch bend, and volume.

Try experimenting with Electric and some of Live’s audio effects to enhance Electric’s“classic” sound and characteristic. It’s dying to be tweaked! Electric can be purchasedseparately for those of you who do not own Suite.

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Operator

Operator legendary synthesizer has been part of the Live legacy for a long time.It is a user definable FM (frequency modulation) and subtractive software synthinspired by the “classic” digital FM hardware synthesizers. Operator combinestraditional FM synthesis (the amplitude of one signal modulating the frequencyof another signal) with Additive synthesis (combining partials/sine waves) andSubtractive synthesis techniques (the filtering out of frequencies/harmonics) tocreate easy-to-use customizable synths. Operator contains four oscillators that canbe mixed together along with a large number of included waveforms, which aremultiplied together to create unique sounds.

Figure A2.12 Operator.

The interface is confined to one screen separated into two areas: the shell (on theleft and right) and the display in the middle. To the left is a bank of four multi-waveform oscillators, which are labeled and color-coded. They can be routed with1 of 11 algorithms for connecting oscillators to other oscillators so they canmodulate in various ways. The display area is where the currently selected shell’sparameters are listed and they can be edited when selected. This interactive displaycan also be toggled between an Envelope and Oscillator view when the associatedorange outlined box is selected from within the display. Oscillator view allows forcreating customized user-based waveforms by manually drawing them into theWaveform Editor using the mouse pointer. By doing this you can adjust theamplitude of an oscillator’s partials.

On the right hand side is the LFO shell, an expansive Filter shell with 14 presetfilter types, Pitch shell (Pitch envelope), and Global shell.

With Suite you can select from dozens of Instrument Rack presets featuring Operator,designed by top-notch sound designers. Load it up and try it out. The full versionof Operator can be purchased separately for those who do not own Suite.


Sampler

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Figure A2.13 Operator:OscillatorWaveform Editor.

Figure A2.14 Sampler.

Sampler has already been discussed at length in . Launch there for moredetails.

Tension

Tension is a fully integrated software synth designed to emulate stringedinstruments using physical modeling. The concept is based on emulating thephysical characteristics that influence the timbre of a stringed instrument. These

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characteristics or components are considered by Ableton to be bowing technique,dampening, finger, pick-up, and body. Tension includes four Excitator types andmodels of a string, finger/fret interaction, damper, and various soundboards. Italso includes a multimode filter and envelope, LFO, and global controls thatintegrate performance features.

The user interface is laid out in two tab views. The String Tab manages theparameters relating to the string’s physical characteristics. This includes a sectionfor Excitator, String, Damper, Vibrato, Termination, Pickup, and Body. Here is a briefrundown of these sections.

The Excitator section is where one of the four excitators—Bow, Hammer, Hammerbouncing, and Plectrum—is selected to play the string, thus generating variousinstruments and styles of playing. Excitator may be deactivated using the switchlocated next to its name in the upper left. If “Off”, damper will need to be activein order for sound to be made.

The String section handles the simulation of the resonating string and parametersthat affect its theoretical vibrations. Damping controls the presence of high-frequency content. Inharm affects the intonation of the string’s upper partials.

The Vibrato section generates a vibrato effect on the string (a pulsing wave-likeeffect). Adjust the Rate to set the speed of the vibrato and Amount to set theamplitude of the effect. Use Delay to delay the onset of vibrato when a note isplayed.

The Damper section handles the parameters for simulating the effects of a stringbeing stopped from vibrating in a similar way in which a real-world instrumentwould behave when a key is released or muted with a finger, pad, or other typeof damper. Each parameter in this section creates some very believable results.For example, by using Damping to control the amount and resistance of the damperand Position to establish where on the string the damper comes in contact, you

Figure A2.15 Tension.


can achieve some very realistic harmonic sounds that resemble a finger muting aguitar string to generate harmonics.

The Termination section emulates the relationship of the finger, fret, and stringwith parameters relating to the force applied by the finger onto the string and thestiffness of the finger and fret. Each one of these parameters can be adjusted.

The Pickup section is designed to model an electric guitar or electric piano’s pickup,which can be positioned relative to the string using the provided slider.

The Body section handles the parameters for simulating the effect that the bodyor soundboard of a string instrument has on the frequency content, and how thestring’s vibrations resonate. Settings for Body type, Decay, Low/High Cut, andString/Body balance all contribute to the realistic modeling of this physical property.

The Filter/Global Tab includes a filter section for sound shaping which containsFilter, Filter Envelope, LFO, and global controls with sections relating to MIDI andperformance parameters. These parameters include Keyboard (tuning, polyphony,pitch bend, etc.), Unison Mode (stacking voices for a chorus-like effect), Portamento,and Volume knob.

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Figure A2.16 Tension: Filter/Global Tab

Tension is not only limited to creating traditional string sounds; rather, it can bevery useful at sound design too. To get a handle on Tension and all of its possibilities,explore its presets and try experimenting with your own sounds in similar ways.Tension can be purchased separately for those who do not own Suite.

Live 9 Suite


Audio EffectsAmp

Amp is a collaboration between Ableton and Softube designed for simulatingvarious types and styles of guitar amplifiers. Since an amplifier (head unit) is aguitarist’s best friend, it is only expected that Live would include an amplifier plug-in. Obviously nothing can replace a real analog amplifier; but sometimes recordingdirect or imposing non-guitar recordings through an amp is more feasible andefficient when done “in the box”—in the DAW. If you don’t have Suite, you canpurchase Amp separately as a pack from the Ableton website.

Amp offers seven emulated guitar amplifier models using physical modelingtechnology. Choose which classic amp model directly from the interface. All of theamp models have the same host of parameter controls, similar to those on realamplifiers. These include Gain, tone controls—Bass, Middle, Treble—and Presence.In addition, you can control the overall volume and Dry/Wet amount. Notice thatthere is an option to operate Amp in “Mono” or “Dual” (stereo) mode. To get themost out of the Amp effect, consider adding Cabinet directly after Amp to thesignal chain. In the real world, amps (heads) and cabinets (speaker cabs) are usedtogether, so if you are a purist or going for the most authentic sound possible,you should consider this combination. Cabinet comes with Suite or when youinstall the Amp Pack.

Max for LiveIf you’ve ever wanted to create your own devices in Live, you’re in luck. Max forLive is an add-on for Live that allows you to build and share your own devicesfrom the ground up. Based on the graphical object-oriented programming languageMax 6 by Cycling ‘74, Max for Live provides Live users the opportunity to create,modify, and share new and existing Max for Live devices. This means that you cancreate instruments, effects, and extensions that exceed the commonplace everydayinstrument designs and even reinvent your hardware controllers, converting theminto unique tools for creating, producing, performing. You even have the abilityto hack into Live’s inner workings and modify just about anything in the interfaceand engine, as well as hardware device interaction. This is a programmer’s dreamall made possible by the limitless programming tools of the Max programmingenvironment. The only limits are your imagination and your knowledge of the Maxlanguage. You will find that many of these imaginative devices have already beenrealized and are accessible as presets installed with the Core Library of Suite.

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What Is Max?Max 6 is an object-oriented programming language for multimedia. Many newusers make the mistake of asking: “What does Max do?” or “What does Max soundlike?” The answer is, quite simply, nothing. Max doesn’t do anything until you tellit to do something. In the truest sense, it is a programming language. Fortunately,Max has a large and active community. Many people have already told Max “whatto do” and are willing to share their hard work for free. Max excels at incorporatingaudio, MIDI, and video into a high-level programming language. It allows you tobuild complex programs with unique user interfaces. What you create is entirelyup to you.

Figure A2.17 Max for Live.

Figure A2.18 Max 6.

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Overview of Max 6When you open Max, you are presented with a blank patcher. Think of this as anew document in MS Word waiting for your literary masterpiece. But instead ofwords, you create your patcher connecting objects. Objects are the building blocksof Max, each with a unique function. Some objects are very simple, like a numberobject, while others can be quite complex. Objects are connected to each otherusing patchcords. To illustrate the way a patcher works, consider a guitar playersetting up before a show with a guitar plugged into a series of effects pedals, theninto an amplifier. Think of the guitar pedals placed on one pedal board as one bigsignal processer effects chain. This represents a Max patcher. Sound goes in oneside, gets manipulated, and comes out the other side. Inside this giant Max patchthere are smaller subpatchers (a patcher within the main patcher). The distortionpedal represents a subpatcher. It includes all the internal circuitry that processesthe signal (MSP objects) but also contains a set of control knobs: tone, level, gain,etc. The knobs represent Max objects. The signal then exits the distortion pedaland a similar process takes place in the compression pedal.Objects can be of three types:

1. Max: these are the control objects, such as a basic knob or fader. These objectshandle data.

2. MSP: these are the signal generators and processors. They function at thesample rate of your project—for example, 44.1 kHz.

3. Jitter: these are video objects. These handle video playback and manipulation.

Getting Started with Max for LiveThere are two basic ways to approach Max for Live. The first is as an end-user.There are plenty of pre-built patchers (presets) that you can access and use in Livein the same way that you use any other Device. In fact, Max for Live is seamlesslyintegrated in Live, so you can simply ignore Max altogether. Load up a Max deviceand off you go. Tweak the knobs until you get the sound you’re looking for. Thisis obviously the quickest way to get started and has the fewest obstacles. Whencreativity strikes, this is the way to get your musical ideas down as quickly aspossible. The other route is to create your own unique patchers (Max Devices).This is ultimately the most rewarding; but for those without a background incomputer music it can seem a bit daunting. When making your way through thissizable learning curve you should divide your time between two things. The firstapproach should be done using the Max 6 tutorials from Cycling ‘74 in the Max 6


Help menu. Learn the theories behind what you’re creating. Second, experimentand don’t break your creative flow. Max is an instrument. Think of the first part aspracticing musical scales and arpeggios, and the second part as playing in a jamsession.

Max Devices

Max Devices are divided into three categories: Max Audio Effect, Max Instrument,and Max MIDI Effect. Included with Suite, you will find the Max Device itself, whichis for building your own custom instruments or effect and presets that are readyto be used. If you’re not feeling adventurous or a programmer, there are morepacks for Max for Live available at the Ableton website. In the meantime, let’shighlight just a few of the included device presets. The rest you can experimentwith on your own.

Buffer Shuffler 2.0

Buffer Shuffler is a very interesting audio effect for manipulating audio signals withvarious processers in a step sequence patter, such as stutter, gate, pitch, shift, etc.Using buffers (blocks of memory to store data) the audio can be affected on a perstep basis by capturing the incoming audio and playing it back in place of theoriginal audio as short loops from the buffer. This works great for drum loops thatyou want to stutter, glitch, shift, and/or reverse in real-time.

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Figure A2.19 Max for Live: BufferShuffler 2.0.

Convolution Reverb

One of the greatest breakthroughs in reverb plug-ins is the concept of convolution.Convolution is the process imposing one audio signal upon another, resulting ina fusion or synergy of the two. Using impulse responses (IRs), this concept is appliedfor reverb. In this situation, IRs are audio recordings of ambient spaces, variousobjects, and objects that, when imposed upon another audio signal, create thesound or perception in which the IR was recorded. Using this technology helps to

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Figure A2.20 Max for Live:ConvolutionReverb Pro.

create more organic or authentic reverb effects—or crazy morphed effect—for theDAW, as opposed to the synthesized reverbs of the past. They both have theirplace, but convolution reverbs are a must for any DAW. Thanks to Max for Live,Live now has its own: Convolution Reverb and Convolution Reverb Pro. LoadConvolution Reverb/Pro on a Track or in a Device Chain and off you go. You canadd your own IRs or use those included in the presets.

Multi Map

Multi Map is fun little Max for Live effect. Although it is currently located underMax Audio Effect (this could change), its main function is to consolidate themappings of multiple parameter controls, such as volume, frequency, pan, sendamount, etc., to one single knob called Input. With that one knob you can controlup to eight parameters at once and, of course, that one knob can be MIDI mapped.Now it’s up to your imagination as to what you want to control.

Figure A2.21 Max for Live: MultiMap.


XY Pad

XY is not a new concept to Live, but there has never been a standalone XY devicethat you could map to any parameter. Now it’s possible with the Max Audio EffectXY Pad, although not really an audio effect per se. Simply click Map and thenimmediately click or move a parameter you wish to control via the XY window.This is a great tool for the manipulation of multiple parameters at the same time—one mapped to the X axis and the other mapped to the Y access—via the deviceXY window or from an external MIDI controller. Nothing like a little geometry inthe music world.

If you’ve made it this far, it’s now time to try out all of the other Max for LiveAudio/MIDI effects and Instruments. Also, check the Ableton website for new freeMax Devices.

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Figure A2.22 Max for Live: XY.

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