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If you need to arm more than one track you can Control-click (Windows) or Command-click (Mac) subsequent record-arm buttons. Recording is initiated with the main Record button in the control bar at the top of the screen. You can either start playback first and then punch in, or click Record and then Play to commence recording immediately.

Note: this guide will show you how to load a multi-timbral instrument like Equator into Ableton. For using the Seaboard RISE or GRAND with Ableton’s built-in instruments, check here.

Learn how to record vocals in Ableton Live. This guide takes you through the steps for recording vocals and offers tips for capturing perfect vocal takes. Photo by Joel Muniz How to Record Vocals in Ableton Live. In today’s music world, recording vocals from a home studio is the default setup for many artists. Dec 26, 2007 an undemanding 8 channel mixer could artwork on your son - circulate to you community song save and spot what they have. Any mixer can can hook it quite is audio out feed to the two a working laptop or pc MIC port or the line in port. I take advantage of one and it additionally hooks to MIC jack on my camcorder.

For using BLOCKS with Ableton, see Ableton: Using BLOCKS as Melodic Instruments in Ableton Live or more guides here.

Short answer

Open ROLI Dashboard and select Multi Channel mode withMPEon. Nextselect a channel range. With MPE mode on, channel 1 is theglobal channel, and channels 2 onwards arenote channels. The number ofnote channelsyou select will determine theexpressive polyphony.

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Ableton makes Push and Live, hardware and software for music production, creation and performance. Ableton´s products are made to inspire creative music-making. Apr 28, 2019 This WikiHow will teach you how to record your voice on a Mac computer using the Quick Time Player app. QuickTime comes preinstalled on all Mac computers. Open QuickTime Player. Double-click the QuickTime Player app in your 'Applications'.

Open Ableton and create several MIDI tracks:

• 1 track which has no MIDI input but hosts amulti-timbralplugin like Equator. This is thehost track.
• Several more tracks to receive the globalchannel and note channels according to the range you have selected in ROLI Dashboard. These are your voice tracks.
• Set the input of the voice tracks to channels 1 and up from the Seaboard – do not use omni as the input mode.
• Route the output of the voice tracks to channels 1 and up on the host track.
• Arm all of the voice tracks (not the host track) to record.

Please see attached Equator For RISE 25 and RISE 49 Ableton Live Templates.

Detailed answer

The Seaboard uses multiple channels of MIDI so that each dimension of touch can be expressed polyphonically.

When Ableton records multiple channels to a single track (when you select 'omni' as the input channel) it sums all of that data to a single channel, which means that the dimensions of touch will no longer be polyphonic –modulations would be heard equally on all notes.

To fully unlock the Seaboard’s expressive potential in Ableton, you will need multiple MIDI tracks in your Ableton project, which we will look at in more detail in this guide.

• One host track – this track will have no MIDI input selected, and will host a multi-timbral plugin like Equator.
• Several voice tracks – these tracks will not host a plugin, but will receive the global and note channels from the Seaboard, then send them to the host track. You will create several voice tracks according to the channel range you select in ROLI Dashboard in the first step of this guide below.

Step 1: ROLI Dashboard Settings

OpenROLI Dashboardfrom your applications/programs folder.

Take a look at the MIDI and Pitch sections in the bottom-right and select:

• MIDI Mode:MPE
• MPE Zone:Lower
• No. MIDI Channels: 15*
• Note that the Global Channel is automatically set tochannel 1.
• Pitch Bend Range: 48

*Smaller channel ranges can be selected. Fewer channels will reduce the number of tracks required in Ableton, but will also reduce theexpressive polyphony. More details onselecting the ideal range here.In this example, we are using a range of 2–16 (which will provide 15 voice expressive polyphony) but you can just as easily use 2 – 5 (which will require fewer tracks and provide 4-voice expressive polyphony) if you prefer.

Step 2: Ableton Settings

In thePlug-Instab of Ableton’s preferences, select 'Use Audio Units' and 'Use VST3 Plug-In System Folders' so that your plugins are available to use in your project.

In the Link MIDI tab of Ableton's preferences, check that Track and Remote are ON for the Seaboard RISE's input.

Step 3: Create the host track

1. From Ableton's menu click Create ➝ Insert MIDI Track to add a MIDI track to your Set.
2. Load a multi-timbral plugin such as Equator by dragging it from the plugins list onto the mixer track.
3. In the MIDI From section of the new trackselect No Input – this is very important. This track will not be used for recording any MIDI.

You have just created your host track. It will produce the audio from Equator. The Seaboard's note data will reach this track on multiple channels via the voice tracks (which we will create in the next step).

Step 4: Equator’s MIDI/MPE Settings

1. Open the Equator plugin from the host track in your Ableton set.
2. Click on the menu (☰) in the top right of Equator and open the MIDI/MPE Settings menu.
3. In the MIDI/MPE Settings menu, ensure that Equator’s MIDI Settings match the ones we set in ROLI Dashboard in Step 1.
   • MPE:On
   • Channel Range:2–16 (unless you chose to use a smaller range, like 2–5)
   • Pitch Bend Range: 48

Step 5: Create several voice tracks

Next, we want to create a number of MIDI tracks, which together will receive each channel of MIDI from the Seaboard.

1. Just as before, right-click to create a new MIDI track.
2. Select the first track and use CMD-D (Mac) or CTRL-D (Windows) to duplicate it.
   In this example, we are using a channel range of 2–16. Remembering to include the global channel on channel 1, we will create 16 new tracks in total. If you selected a smaller channel range, you won't need as many tracks. For example, if you select a range of 2–5, you will create 5 tracks.
3. On each of these new tracks, set:
   • MIDI From: select the Seaboard
   • Immediately underneath MIDI From, select a channel for each track to cover your full channel range.
     • The 1st voice track will receive Ch1
     • The 2nd voice track will receive Ch2
     • The 3rd voice track will receive Ch3, etc. until you reach your highest channel.
   • MIDI To: select the host track as the destination.
   • Immediately underneath MIDI To, select the same channel for each track as was selected in MIDI From.
     • The 1st voice track has Ch1 as both MIDI From and MIDI To.
     • The 2nd voice track has Ch2 as both MIDI from and MIDI To.
     • The 3rd voice track has Ch3 as both MIDI from and MIDI To etc. until you have set all of the voice tracks.
       

Step 5: Arm the voice tracks

Holding cmd ⌘ (Mac), or shift (PC), click each track’s arm button to arm all of your voice tracks –but not the instrument track. The instrument track should not be armed.

With all of the voice tracks record-enabled (armed), simply press record. The notes will be spread out over all MIDI tracks and will play through the Equator plugin.

If you are creating your own patches in other synths, remember to check that you have set the synth to respond to each of the Seaboard’s dimensions of touch in order to unlock the Seaboard’s full expressive potential.

More helpful tips

• A creator has helpfully made an Ableton script that automates the setup process for MPE instruments like the Seaboard and BLOCKS. See this forum post for details.
  
• You may set up a templates folder in Ableton Live containing the template project for the Seaboard. If you expand this folder you can just drag the group into any project you currently have open:

• In Live 10 you can now highlight multiple MIDI tracks and edit them simultaneously. While you can not access any expression data, you can quantize the note data.

As Live has gradually made the transition towards fully fledged DAW, the recording side of the program has become increasingly sophisticated - so we're going to look at some tricks to make basic recording easier.

I've not done a survey, but I'm guessing that most Live users do the majority of their recording in the Session view. This way of working is, after all, one of the main things that sets Live apart from the other DAWs. However, there are many occasions when it's more appropriate to record into the Arrangement view. For example, once you've fleshed out the main structure of your song and assembled it in the Arrangement, you may want to overdub some extra fills and points of interest, or even add vocals or (if you must) guitar.

Live Recording

Let's focus on a typical scenario. You've created the basis of a track by recording a number of Clips in the Session view, then you've recorded them as a song in the Arrangement view. Now you want to record a vocal performance over the top. This is best achieved in a traditional linear fashion, by recording directly into Live's Arrangement view.

First, create a new track, and assign its input to wherever your mic is connected. You can make all the settings from the Arrangement view if you have the routing (the 'I/O' button) and mixer (the 'M' button) views enabled at the bottom right of the tracks area. Unfold the track you're going to record into, so that you'll be able to see the waveform (as in the screen above).

The 'back to Arrangement' button (third from right) stops all Session view Clips from playing and plays all Arrangement tracks.Recording into Live's Arrangement view works in a similar way to recording to tracks in most traditional DAWs. First, arm the track and make sure that the input is appearing on the meters. If you need to arm more than one track you can Control-click (Windows) or Command-click (Mac) subsequent record-arm buttons. Recording is initiated with the main Record button in the control bar at the top of the screen. You can either start playback first and then punch in, or click Record and then Play to commence recording immediately. You can even put the Arrangement into record with no tracks armed, then punch individual tracks in and out of record by clicking their record-arm buttons. By default the keyboard shortcut for 'record' is F9.

If you begin recording and regions start being written into other, unarmed tracks, this means that some Clips are playing in the Session view. To fix this, undo the recording, then press the 'back to arrangement' button in the control bar (as in the screen above). One notable difference when you're recording in the Arrangement is that there is no quantising of the time that recording starts and stops. Armed tracks will drop into record instantly when you press the record button.

Drop-in Centre

Beyond the basic recording procedure above, there are a number of helpful features that automate the process of dropping in and out of record. This allows you to slot overdubs precisely into the correct location, and is also useful when you are recording on your own and don't have any hands free.

The Punch In and Out and Loop controls in the main control bar.The screen above shows the Punch and Loop controls that appear in the control bar. These are used to set In and Out points for playback looping, record punch-in/out, and loop recording. The value on the left represents the In point in bars and beats, and the other value is the length between the In and Out points. These points are also represented graphically in the time ruler area above the timeline (as can be seen between bars 81 and 97 in the main picture on the previous page). The simplest way to set In and Out points is to trim this so-called 'loop brace' with the mouse. As well as adjusting the start and end points, you can pick up the loop brace in the middle and move it without changing its length. If you select the loop brace, you can nudge it by the grid value using the left and right cursor keys, and by its own length with the up and down cursor keys. Yet another useful trick is to right-click any selection in the Arrangement and choose 'Loop Selection'.

A count-in can be specified here, but it's better to use the automatic Punch-in feature and set your own pre-roll.The three buttons between the loop values enable Punch-in, Looping and Punch-out. With Punch-in activated you can hit record before the In point and Live will wait until that point is reached before dropping into record. Unsurprisingly, Live will drop out of record automatically at the Out point. You can activate either button independently, or use both at once to specify a precise window to record into. We'll come to what happens if you record while looping is enabled in a moment.

Pre-rolling can be handled manually or automatically. The manual approach is simply to click in an empty part of any track to drop the cursor. Click Record, then click Play, and Live will play back from the cursor, then drop in at the Punch-in point. To use an automatic pre-roll, open the Preferences and switch to the Record / Warp / Launch tab. Choose a one-, two- or four bar count-in, as in the screen above. The count-in is only used if the Punch-in button is deactivated. An important difference between the two options is that the count-in only plays back the metronome, and not the Live song. Using the Punch-in method is therefore preferable, as you can listen to the rest of the song during the pre-roll. Finally, if you're not already familiar with how track monitoring modes work, check out the 'Monitoring Modes' box.

Multiple Takes & Comping

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In many cases, you'll have a few goes at recording each of the overdubs you need until you get a take you like. However, sometimes you'll want to keep several takes so that you can choose one later, or edit together the best parts of several takes. The most straightforward approach to this is to use several duplicate tracks and record each take onto a different track. Simply set up your record track, then right-click it and choose 'Duplicate' as many times as you need. Unlike many DAWs, Live allows you to have multiple tracks with the same name, but you can rename them if you prefer. Keep all the tracks that you aren't currently using muted (using the yellow track-number buttons), so that you don't hear the input multiple times.

Multiple takes can be recorded and managed easily on duplicate tracks.Once you've recorded a few takes, you'll want either to pick one that you like best, or compile ('comp') the best bits from each track. If you decide to comp, choose your favourite sections from each take, then remove everything else (as in the screen above). Several editing techniques can be employed to achieve this. You can trim regions, by moving the mouse to the edge of each audio Clip and dragging left or right. You can also delete sections by dragging out a selection and hitting Delete or Backspace. Finally, you can split Clips up by dropping the cursor (or making a selection) and typing Ctrl-E (Windows) or Command-E (Mac). When you're left with just the best bits, drag all the Clips onto one track, and delete the tracks you no longer need.

Monitoring Modes

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Track monitoring modes are important when punching in and out of record. Live uses the standard scheme found in most DAWs and in-line mixing consoles. Each track has a Monitor Mode section with the options 'In', 'Auto', and 'Off'. When a track is set to 'In' mode, you will hear the input to a track, whether it's in record or not. In Auto mode, the track will intelligently switch between monitoring the input signal and the audio (or instruments) recorded on the track. If the track is record-armed and playback is stopped, you will hear the input; when playing back, you hear the audio on the track. During recording you hear the input, and if you punch in and out of record (either manually or by setting In and Out points) the track will instantly flip between the two signals. This allows you to hear previous recording passes during a pre-roll, then hear the live input signal while recording.

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Loop Recording

Another option for recording multiple takes, which can save time while recording but takes longer to pick apart at the editing stage, is to use loop recording. When looping is enabled and you record through the area bounded by the loop brace, Live will record over the loop area repeatedly. All the takes are kept, as the audio is in fact recorded into one long file. When you stop recording, you will inevitably be left with a partial take overlaid on the previous take. Undo, and the last pass will be removed. Successive Undos will strip back each pass.

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A 'comp' of the best parts of several takes. These regions can now all be collected onto one track.After loop recording, the last pass remains in the Arrangement, but all the other takes appear end-to-end in the same audio file. To switch between takes, you can move the Start and End markers in the Clip view. Comping or choosing from multiple takes is slightly more complicated when you've recorded while looping. If you double-click the recorded Clip to display it in the Clip view (see the screen below), you'll see that the Clip contains all the looped takes in one long file. The portion that is actually being played in the Arrangement will be the last take, indicated by Start and End markers. To hear other takes, simply move these Start and End markers within the Clip, by the length of the loop. Comping from multiple takes requires a little more work in this situation. The best method is to create extra tracks, then duplicate the looped recording on to each track. Then you can use the Start and End markers in each version of the Clip to so that a different take appears in each track. You can then use the same method to make a comp as explained in the previous section.

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Despite the fast and flexible recording options available when recording into Live's Arrangement, one missing feature that becomes apparent is crossfades. There is a workaround for crossfading between audio Clips in the Arrangment view, which is to use Clip Envelopes. But for that, you'll have to tune in next time..