Auto Shift
This audio effect is great to autotune vocal tracks to either make subtle pitch correction or to create more audible synthetic artifacts.
Auto Shift ca also be used for pitch and formant shifting and it offers low latency Live input as well
While it was designed primarily with vocals in mind, any monophonic signal can be processed and shifted.
In addition to these standard features Auto Shift will also allow you to create totally new sounding vocoder like effects when using the Midi Input.
The Quantizer
Auto Shift's pitch correction controls:
The Input switches let you set the frequency range of the incoming signal to Bass, Mid, or Low, which helps to optimize the quality of the pitch correction.
You can select a built-in scale or create a custom scale to use for pitch correction.
The Pitch Correction Meter shows how much the input signal has been shifted in order to fit the selected scale pitches in cents.
Use the Smooth control to create smoother jumps between corrected notes, preserving more natural vibrato, or it can be switched off for more abrupt changes between pitches creating the typical synthetic sounding “autotune” effect.
Formant Shift lets you adjust the formants of the input signal using positive or negative values, while the The Formant Follow parameter determines how much the formant shift follows the pitch shift.
When Live Mode is enabled we can get the quantization effects also ‘Live’ in real time with extra low latency.
Pitch and Fine controls can be used for high quality pitch shifting of the entire signal in semitones or cents.
You can adjust vibrato using the Vibrato control, as well as set the vibrato fade in time in milliseconds and the vibrato amount in cents.
Natural randomizes the speed and depth of the vibrato to sound more natural.
Scale Awareness
The Scale settings in the Quantizer can differ from the global Scale!
The global scale is visible in the audioclip’s sample box where it can also be disabled and also changed.
MIDI In
When MIDI Input is activated, the Quantizer tab is replaced by the MIDI tab, which contains settings for incoming MIDI.
Activating MIDI Input lets Auto Shift receive MIDI from another track to control pitch correction using MIDI notes.
You can use MIDI clips or play the notes that you want to use for the vocal input correction.
In MIDI mode you will only hear the pitch correction when notes are played, if Auto Shift does not receive any MIDI, there will be no corresponding output.
The sidechain input could come from a midi controller or from a midi clip.
This works both with monophonic and polyphonic signals accommodating up to 8 voices.
When playing chords It is possible to play and harmonize the incoming signal polyphonically
In mono we also have a glide option for overlapping notes
LFO
Auto Shift includes two modulation sources: a dedicated vibrato LFO or a multipurpose LFO that allows to modulate all important features of the device. You can select the shape and rate for the LFO, as well as adjust the attack and delay times.
Adjustable LFO and modulation controls:
The Mod Routings section can be used to apply LFO modulation to the pitch shift, formant shift, volume, and panning.
Midi Control Sources and Destinations
With Midi On we can also use Midi control for the same destinations.
You can apply modulation and also use MPE data in the Mod Routings section of the MIDI tab
Midi Control Options:
Combine a control source with a destination.
With the setting below Pressure will control Pitch up to 3 semitones:
Bounce Tracks to Audio
Bounce Tracks to Audio Update in Ableton 12.2
Two new commands for bouncing tracks have been added: Bounce Track in Place and Bounce to New Track. You can use Bounce Track in Place to render entire tracks as new audio tracks, and Bounce to New Track to render the time selection of a track into a new audio clip on a separate track. Bouncing is performed pre-mixer and post-FX. This means the source track’s effects processing is included in the rendered audio.
- The Bounce Track in Place command is available in the track title bar and clip context menus. The Bounce to New Track command is available in the clip context menu, as well as via the shortcut CtrlAltShiftJ (Win) / CmdOptionShiftJ (Mac).
- When bouncing to a new track, the rendered audio clips are added to a separate track beneath the source track. After bouncing, the source clips are muted so that there is no doubled output.
- The Freeze and Flatten Track command and the Flatten command for frozen tracks have been renamed to Bounce Track in Place.
- Bounced files are stored in a new Samples/Processed/Bounce folder within the Project folder.
Control Surface Improvements
Control Surface Improvements
The arming behavior in newer control surfaces (such as the ones for the APC64 and Move) is now more consistent with the behavior in the Push control surface.
When using the Launchkey MK3 and MK4 control surfaces, it is now possible to navigate between groups of eight tracks using the Track Left and Right buttons while Shift is held down. The first track in the group will also be selected.
In newer control surfaces (such as the ones for the APC64 and Move), mute-related LEDs now indicate when tracks and drum pads have been muted via solo.
Expressive chords
Max for Live syncs up with Max 9
This will be the biggest news for many of you. Max 9.0.5 and RNBO 1.3.4 are now the bundled Max version. That means all the live.* UI objects are here, all the new abl.device and abl.dsp objects, the JavaScript LiveAPI call() and set(), and a lot more.
And that’ll mean lots of Max for Live goodies for everyone even if you’re not ready to delve in yourself. But now with that out of the way…
New Device: Expressive Chords
This is a Max for Live device, but it’s available for all Live and Push editions, not only Suite. It’s built to generate progressions, and it has full MPE support. That comes with a bunch of extra little features:
View in keyboard or pad layouts
Foldout modulation with assignments for MIDI (below, with the pad layout displayed)
Import your own chord sets – this is really easy, as you just add a chord progression to a standard MIDI clip and run with that
Custom articulations (see above)
MPE support
(a little weird for a one-note instrument, but it uses that to then map custom articulations to any MPE-enabled instrument you’re playing – like Meld, third-party plug-ins, whatever. And it passes through Push 3’s two-axis expression.)
Let’s explain that MPE support. Most folks associate MPE with “things you do with multiple fingers,” but it can also be used for multi-axis expression by a single finger. That means MPE serves two purposes here. It passes on per-note variations to any MPE-enabled synth – whether or not you’re playing with an MPE controller. And if you do have a Push 3, it’ll automatically use the multi-axis pitch and articulation expression of an individual Push pad.
[a]outdated, change text
[b]this is outdated, should i changed?