User Guide

Strata, a new way to play in Ableton Live

Strata User Guide [Beta]

Revision 0.0.d

5/31/2019

 

Contents

Changes in this Version. 5

Installation & Setup. 6

Notes on using with other ClyphX Pro Scripts. 7

File Paths. 7

Strata’s Optional Settings. 7

File Paths. 7

Core Concepts. 5

Shared Controls and Track Multiselection. 5

Multi-selection Relative Control 5

Toggle versus Hold variations, & Combination Buttons. 5

Modes. 5

Primary versus Secondary Modes. 5

A Note on Features. 6

Devices, & Track Handling. 7

Audio-loading Devices. 7

On audio tracks. 7

On MIDI tracks. 7

Max for Live Devices. 7

Tempo. 7

Reverse. 7

Filter. 7

Track Selection Link / Split. 8

Track Types, Selection, and Routing. 8

Regular Tracks. 8

Return Tracks. 8

Bus Tracks. 8

Cue Track. 8

Master Track. 9

Track Selection Modifiers. 9

Deselect last on Multiselect. 9

Arm All Tracks. 9

Arm on Select Disable. 9

Unarm All Tracks. 9

Views. 10

Dynamic Views. 10

Utilities. 10

Edit Controls. 10

Quantization Controls. 10

Transports. 10

Tempo. 10

Pitch – Tempo Latch. 10

Mixer Controls. 11

Equalizer. 11

Macros. 11

Sends. 11

Mute. 11

Solo. 11

Mixer Modifiers. 12

Solo Exclusive. 12

Bus Mute Follow.. 12

Modes. 13

Clip / Scene Launch / Stop. 13

Clip Launch Cue Play. 13

Envelope Capture / Clear. 13

Loop Length, Region, Cue. 14

Loop Length. 14

Loop Region. 14

Loop Cue. 14

Key Transpose, Octave, Cue. 15

Details. 15

Pitch – Tempo Latch. 15

Snapshot / Global Snap. 16

Details. 16

Use. 16

Relationships. 16

Snapshot / Chain Select Note Play. 16

MIDI Note Sustain. 17

Optional Settings. 17

Other Settings. 17

Chain Select. 18

Details. 18

Relationships. 18

Snapshot / Chain Select Note Play. 18

MIDI Note Sustain. 18

Drum Rack (Chromatic). 19

Notes about Drum Rack. 19

Details. 19

Relationships. 19

Sound Palette. 20

Details. 20

Relationships. 20

 

Changes in this Version

 

Added Chain Select, Drum Rack (Chromatic), and Sound Palette modes.

Added Envelope Capture / Clear function.

Updated Strata’s Optional Settings file.  Loading the script creates an Envision Sound Technologies > Strata folder and subfolder in the local disk user directory.

General document reorganization and revision.

 

Installation & Setup

_______________________

Skip if already installed.

Install Ableton Live.

Install ClyphX Pro.

_______________________

 

Install Strata control surface script:

Instructions taken from Ableton

https://help.ableton.com/hc/en-us/articles/209072009-Using-Third-Party-Control-Surfaces

  1. Close Live.
  2. Unzip the control surface script folder and place it in Live’s Remote Script folder.
  3. This folder is located in the following location:
  4. Windows: \ProgramData\Ableton\Live x.x\Resources\MIDI Remote Scripts\
  5. This folder is hidden by default.
  6. Mac: The Remote Script folder is inside the Ableton Live application 7. bundle. Locate the Live application in Finder, right click on it and select “Show Package Content”. Then navigate to: /Contents/App-8. Resources/MIDI Remote Scripts/
  7. Launch Live.
  8. Open Live’s Preferences ? MIDI tab.
  9. Browse for the name of the control surface in a free Control Surface chooser dropdown.
  10. Assign the correct input (Strata) and output (Strata) ports.

 

For help with assigning the correct input and output, visit:

https://help.ableton.com/hc/en-us/articles/209774285-Using-Control-Surfaces

 

Notes on using with other ClyphX Pro Scripts

Strata runs on ClyphX Pro. ClyphX XT scripts allow for additional controllers to be used. If additional ClyphX Pro scripts are used alongside Strata, ensure that the scripts use different MIDI values and SysEx than the Strata controller outputs. See the MIDI & SysEx table for reference.

Relevant settings in the ClyphX Pro preferences should be set; specifically, the snapshot limit.

Information on ClyphX Pro preferences and how to navigate to the file:

Taken from the ClyphX Pro User Manual

“ClyphX Pro includes a variety of optional settings files that can be found within its settings folder. This folder will be created upon selecting ClyphX Pro or one of the XT Scripts as a Control Surface in Live. You can find this folder (named ClyphX_Pro) in the nativeKONTROL directory within your User directory. This folder will contain the following files: …

NOTE: Settings files are plain text files that should be edited with an application that does not apply formatting. On Windows, Notepad is recommended. On OS X, TextEdit can be used but, in later versions of OS X, it may apply formatting.”

File Paths

Windows

Local Disk (C:) > Users > “User Name Folder” > nativeKONTROL > ClyphX_PRO > Preferences.txt

Mac

Macintosh HD > Users > “User Name Folder” > nativeKONTROL > ClyphX_PRO > Preferences.txt

 

Strata’s Optional Settings

After installing Strata’s control surface script folder, upon starting Live, the script will create a Strata subfolder in an Envision Sound Technologies folder, located in your user directory. In the Strata folder is the Option Settings file, Options.txt. In this file, variations of behaviors can be adjusted and defaults set. Open for explanations of what and how.

File Paths

Windows

Local Disk (C:) > Users > “User Name Folder” > Envision Sound Technologies > Strata > Options.txt

Mac

Macintosh HD > Users > “User Name Folder” > Envision Sound Technologies > Strata > Options.txt

 

Core Concepts

Shared Controls and Track Multiselection

The purpose is eliminating redundancy, while increasing capability. Shared controls use a single control for each parameter common to all tracks. Multiselect allows for multiple tracks to be selected so that each shared control can act upon the selected tracks as one. In the case of variable parameters, multiselection shared control is relative, not absolute.

Multi-selection Relative Control

For variable parameters, that’s parameters with a range of values (0 – 127) instead of just two (0, or 127; off or on), under a multiselection, parameters behave relative to what they were set to before being selected.

Toggle versus Hold variations, & Combination Buttons

Nearly all the buttons have 2 more ways of interacting, and many have two or more functions that can be accessed depending on the type of press. The two types of button press are a toggle, which is a press less than 300 milliseconds in duration, and a hold, which is a press greater than 300 milliseconds. Descriptions of features access and functionalities will be referenced throughout the guide as one of these two types of presses.

Combination buttons are those with two or more modes or functions accessed by a single button, where toggles and holds are used for their independent access. Generally, the first mode or function listed is accessed by a toggle, and the second by a hold.

Modes

Modes are plural, comprised of variations of sets of functions referred to as options and sub-options. Enabling a mode applies its options to the 6th row of buttons (the bottom row), and it’s sub-options to the pads, which is where the modes are interacted with. Modes incorporate toggles and holds to access commands and variations.

Primary versus Secondary Modes

Some modes have variants, similar in all but one or two ways. Other modes have are multi-modal, with a single mode button used to toggle between two closely-related modes. The primary mode is the mode that appears first when first entering the mode in a new session. The secondary mode is the mode that is toggled to after entering a primary mode. *In queue for development: Each mode variant / multi-mode will be designatable as primary or secondary within the optional settings.

 

A Note on Features

In cases where toggle versus hold variations are used, features in green are accessed with a toggle, features in blue with a hold.

Features in red have not yet included in the control surface script, but will be.

 

 

Devices, & Track Handling

 

Audio-loading Devices

On audio tracks, an empty Audio Effect Rack, EQ Eight, and Utility load.

On MIDI tracks, a Pitch device, an empty Instrument Rack, EQ Eight, and Utility load.

 

Max for Live Devices

Tempo, Reverse, & Filter

Tempo

Limits the high and low range of Live’s tempo, set by the devices hi and low range dials. It sits on the Cue Track for the purpose of being out of the way, and is not relevant to the purpose of the Cue Track. The dials make course adjustments. The arrows of corresponding colors make 1 BPM adjustments. The white arrow opens a menu of useful ranges. Also, the device is a component of Pitch – Tempo Latch, along with the control surface script. The controller interacts with the devices BPM dial to control the Live’s tempo. Without this device, the controller will not control Live’s tempo.

Reverse

A buffer-based instant-reverse device. Reverse can be toggled for on and off, or held for momentary. Reverses the audio received. It sits on the Bus Tracks only. It is not included on regular tracks for two reasons: first, Max devices are more CPU-demanding than, Live’s native devices, so limiting their use reduces load, and second, Live cannot auto-load Max devices, so each time a new track is loaded, an instance of the device would have to be added manually. The controller’s dedicated Reverse control will not control the device on any tracks other than the Bus Tracks.

Filter

Is a center-oriented high-pass / low-pass resonant filter. Like Reverse, it sits on the Bus tracks only, and the controller will not access it if loaded on other tracks. The controller’s access to Filters resonances is shared with the Equalizer.

 

Track Selection Link / Split

Track Selection Link / Split links and splits the mixer and modes under control by the selection. When the selection is Linked, the selection controls the mixer and the modes. When Split, two separate track selections are used; one for the mixer, and one for the modes. To clarify how these each are accessed, use the control mislabeled as MIDI from Track Assign. The default is Linked selection. Hold the control to split the selection. This enters Split Selection for Mixer. Toggle the control to change between Split Selection for Mixer and Split Selection for Modes. Hold the control again to return to Linked Selection. Changing between selection types stores the selections so that they are recalled when returned to, not discarded.

 

Track Types, Selection, and Routing

The types of tracks are Regular Tracks, Return Tracks, Bus Tracks, the Cue Track, and the Master Track.

Selection of Regular Tracks, Return Tracks, and Bus Tracks is made with a toggle or a hold. A toggle is used to make a single track selection, deselecting all other selected tracks. A hold is used to make a multi-track selection, leaving whatever tracks are already selected to remain selected.

Regular Tracks

Are the source audio and MIDI tracks. They are routed through the Bus Tracks for grouping, and then to the Master Track. Bus Track Routing is freely assignable using Track to Bus Assign. They are routable in parallel to through the Return Tracks for effects processing. Strata currently only controls the first to 16 Regular Tracks. Its control of these tracks is by order in the set, beginning at 1, and not by name. Regular tracks auto-load their need devices.

Return Tracks

House audio effects. The controller’s access to Return Tracks is name-dependent. They must be named as follows: A, B, C, D, E, F, G, H, I, J, K, and L. Audio is routed from Regular Tracks and Bus Tracks through Return Tracks and back to Bus Tracks for parallel signal processing. Using a bus track, or any track, as a signal source and as a destination results in feedback. Assigning all return tracks to a single, dedicated bus, used for no other signal sources, reduces feedback potential as well as making for simple changes between dry and wet mixes. Strata is limited to 12 Return Tracks.

Bus Tracks

Are the routing destination of Regular Tracks and Return Tracks. They are used for track grouping, and for post-processing. Like Return Tracks, the controller’s access to Bus Tracks is name-dependent. They must be named as follows: Bus 1, Bus 2, Bus 3, Bus 4, and Bus 5. Busses are routed to the Master Track. Strata is limited to 5 Bus Tracks.

Cue Track

Is for is for isolated headphone monitoring. Toggling Prelisten on the controller changes the output routing of the selected track(s) to the Cue Track. Toggling it again returns the track to its previous output routing. Currently, for the track(s) to be returned to its(their) previous routing, the track(s) must be selected. If not selected, the track(s) output routing will not be returned. Live has a native headphone cue routing, the reason for the Cue Track is because Live’s is shared with its track soloing functionality, so at any one time, a mix can included soloed tracks or prelistened tracks, but not both. The Cue Track overcomes this. It makes it so that tracks can be prelisted while the mixed has tracks soloed. It does not, however, replace Live’s headphone cue routing for use in prelistening to content in the browser. The Cue Track does not have a dedicated selector. The cue track bypasses routing to the Master Track, and is routed directly to external outputs separate from those to which the Master Track is routed. A sound card with four outputs minimum is required, so that two can be used to send the master track in stereo to the monitors, and two more to send the cue track to headphones.  

Master Track

Is the final destination of signal, excluding only the Cue Track.. The Master Track selector is dual function: Master Track Select  / Select All Regular Tracks. Select All Regular Tracks selects tracks 1 – 16.

 

Track Selection Modifiers

Track Selection Modifiers include two combination buttons, located next to one another. These are Deselect Last on Multi-select / Arm All Tracks, and Arm on Select Disable / Unarm All Tracks.

Deselect last on Multiselect

When enabled, changes the track selection behavior so that entering a multi-selection deselects the last singularly-selected track. In contrast, the default track selection behavior is that the last singularly-selected track remains selected when entering a multi-selection.

Arm All Tracks

Arms all regular tracks, excluding Busses and Returns.

Arm on Select Disable

Disables track arming on selection. The default is that tracks arm on selection.

Unarm All Tracks

Unarms all tracks, including Busses and Returns.

 

Views

Controls access Live’s various views and view-related functions: Device Detail, Clip Detail, Sends, Ins & Outs, Session / Arrange, Device Swap, Browser / Mixer, and Full Screen / Dynamic Views / Disable.

Dynamic Views

Changes the views of Live according the parameters in use, so that what is being adjusted is visible. In the context of Live, this behavior is unique to Strata.

Utilities

Edit Controls

Functionally the same as the key commands for Live’s edit controls, and include Duplicate, Split / Consolidate, Copy / Cut, Paste, Undo / Redo, and Delete.

Quantization Controls

Global / Note / Warp Quantize accesses global launch and cue launch quantization value selection, and triggers note and warp quantization based on clip zoom division.  Global quantization is selected via Pads 1 – 8, with values of 0, 1/16, 1/8, 1/4, 1/2, 1, 2, and 4 bars. Cue Quantization is selected via Pads 9 – 12, with of 1/32, 1/16, 1/8, & 1/4 bars.

Transports

Play / Stop, Record (to arrangement), Capture (Live 10 only), Overdub (Session Record), Automation Re-enable, Metronome, Fixed-length Record.

Tempo

Controls the master tempo of Live, but with the range set by the hi and low range settings of the Tempo device on the Cue Track.

Pitch – Tempo Latch

Latches the semitone transposition of the MIDI track pitch device and of audio tracks to the tempo control, and scales the transposition range to the tempo range so the that they match pitch and tempo in the real world, which is an exponential curve to the power of two. In other words, sounds cause by things moving twice as fast of slow are of twice or half the pitch.

 

 

Mixer Controls

Can refer to all the parameters in this section, but specifically refers to Live’s mixer section, which includes volume, pan, mute, and solo. In the context of Strata, it also includes gain, which is accomplished by the utility device, which auto-loads on each track’s device rack.

Equalizer

Controls access the last loaded instance of EQ Eight on each track, where it auto-loads with new tracks. The controls use filter sections 1, 2, 7, & 8, and the resonance and gain controls are shared by these, where both apply to the last frequency band adjusted by the controller.  EQ Eight’s scale also has a dedicated control. Scale applies to all bands, when applicable to the filter curves in use. Increasing the ratio amplifies gain and resonance of the bands, and decreasing the ratio subtracts them and can have the effect of inverting the equalization.

Filter sits on the Bus Tracks. It’s a high pass – low pass, one knob, center-oriented, resonant filter. Its resonance control is shared with the Equalizer, and behave the same, where when the filter is the last Equalization control adjusted by the controller, the resonance control then applies the to the filter’s resonance. See Max for Live Devices.

Macros

Control Live’s Instrument Rack and Audio Effect Rack macros, 1 – 8.

Selected Parameter Control

Makes it so that whatever parameter was last selected with the cursor is controlled by Macro 8. When engaged, the control will not act on Macro 8, only the last selected parameter. Selected Parameter Control is toggled on or off by its dedicated control. Its default is off.

Sends

 Access Live’s sends, A – L, sending the selected tracks signal to the return tracks for effects processing.

Mute

Controls the muting of selected tracks; can be toggled for on and off, or held for momentary.

Solo

Controls the soloing of selected tracks; can be toggled for on and off, or held for momentary.

 

Mixer Modifiers

These allow for variations in the behavior of some mixer functions.

Solo Exclusive

Toggles on or off exclusive soloing of tracks. This is the same as in Live’s preferences, but overrides the preferences setting. Non-exclusive soloing is the default.

Bus Mute Follow

Causes all tracks routed to a bus track to mute along with that bus track so that they are not heard though the return tracks while their bus is muted. Tracks can still be heard through the return tracks by disabling Bus Mute Follow. Bus Mute Follow is default.

 

Modes

Modes are sets of like functions, options and sub-options, that are Strata’s primary means of interacting with Live. The modes are accessed via their dedicated, individual selectors, located at button row 1, columns 1 – 8.

The modes currently include, or will include:

Snapshot / Global Snap, Chain Select / Mix, Sound Palette, Drum Rack (Chromatic), Clip / Scene Launch / Stop, Loop Length, Region, Cue, & Key Transpose, Octave, Cue.

 

 

Clip / Scene Launch / Stop

Clip / Scene Launch / Stop is the primary session control of recording and playing back, and is  accessed by row 6, columns 1 -16. Use options buttons 1 – 16 to launch and stop clips 1 – 16 of selected track(s), including Regular Tracks, Busses, and Returns, and to launch scenes 1 – 16 of the session. Clip Launch / Stop is primary. Scene Launch / Stop is secondary. The mode button toggles between the two.

Clips are launched with a quick press. Holding the mode button and pressing the any option button stops the clip(s). Scene launching and stopping behaves the same, with the exception that Scene Stopping uses the “Stop All Clips” command instead of individual track stops.

Clip Launch Cue Play

Holding & releasing launches and then stops clips and scenes upon releases.

 

Envelope Capture / Clear

Captures / clears current settings of all parameters of all devices and racks of devices on the selected track(s), writing or deleting their values to the automation lanes of the currently selected or playing clip(s). Envelopes are captured by pressing the Envelope Capture / Clear function button. Envelopes are cleared by holding the Envelope Capture / Clear function button. Applies to Regular tracks, Busses & Returns.

Optional Settings

Includes Clip Envelope modifier in options.txt where the specific ClyphX Pro modifier can be designated.

Ex. CLIP_ENVELOPE_MODIFIERS = DEV(ALL.ALL) MIXS

 

Loop Length, Region, Cue

Loop Length / Region / Cue is a three-part feature set for navigating through, exploring, rearranging, juggling, and mashing looping midi sequences and audio clips.

 

Loop Length

Digital vinyl-style loop roll, setting the clip(s) length to an amount in bars, ranging from 1/16th to 8, including triplets (1/6th, 1/12th, etc.), making it an excellent tool for creating and exploring poly rhythms. It’s accessed via row 6, columns 1 – 16, where columns 1 – 13 are lengths, and 14 shifts the loop backward by its length, 15 forward by its length, and 16 resets the loop to the length of its end markers.

Details

The range is from 1/16 of a bar to 8 bars, using option buttons 1 through 13. The discrete values in bar lengths are (1/16, 1/12, 1/8, 1/6, 1/4, 1/3, 1/2, 3/4, 1, 1 1/2, 2, 4, 8). Option 14 shifts the loop backwards by its length and option 15 forward by its length. Option 16 resets loop length to the length of the clip.

 

Loop Region

Relative loop length control and navigation, e.g., an 8 bar loop will be evenly divided eight 1 bar loops, where as a 16 bar loop will be evenly divided into eight 2 bar loops. Loop Regions are accessed via Pads 1 – 8, sequentially. Pressing one pad loops that one region. Pressing more than one pad, simultaneously, loops the extent between the opposing ends of the two regions, e.g., in an 8 bar loop, pressing Pad 1 and Pad 2 loops a two bar region begging at zero. Pressing Pad 2 and Pad 3 loops a two bar region beginning at 2. Pressing Pad 1 and Pad 8 loops the whole 8 bar clip, effectively the same as pressing the loop reset button.

 

Loop Cue

Relative clip start position- relative being in the same way as described in Loop Region, however, its relativity is to the loop length, not the clip length. This means that even if a clip is 8 bars, or any length for that matter, if a 1 bar loop is set within that clip, the number of Loop Cue points available remains the same. Loop Cue is accessed via Pads 9 – 16, sequentially.

Loop Cue Play

Like Clip Cue Play, Loop Cue also launches then stops clips by holding release a pad. Loop Cue Play, however, has its own quantization, accessed by holding the Quantization button, and selecting the desired value using pads 9 – 12. The selectable values are 1/32, 1/16, 1/4, & 1/8.

 

Key Transpose, Octave, Cue

Key Transpose / Octave / Cue Mode transpose the key of the selected track(s); applies to audio tracks and midi tracks alike. In the case of audio tracks, the key of ALL clips on the track are transposed. In the case of midi tracks, the key of the virtual instrument is transposed using the Live’s native Pitch device.  Key Transposition is accessed chromatically via pads 9-16, then 1-8, ascending from left to right, bottom to top. Octaves are accessed via options buttons 1 – 8, where the 5th button is the zeroed / center octave.

Details

Access to the eight clip Cue Points of Loop Length / Region / Cue mode are accessible via options buttons 9 -16.

Access to secondary mode functionality- Key Cue Play mode- by toggling the Key Transpose / Octave / Cue mode button; in this secondary mode the pads engage in Cue Play behavior, like with clip launch and cueing, where pressing the pad launches the clip, and holding it launches it and then stops it on release, but while transposing the key at the same time. Clips can be stopped directly by holding the mode button, and pressing any pad.

Single & Multi-selection handling: 3-part observing / tracking of Key Transposition of Pitch device on midi tracks and clip transposition on audio tracks.

  1. Primary position set by key transposition adjustments made while a track is singularly-selected.
  2. 2) Secondary position set by adjustments made while in a multiselection, set relative to the transposition of a track’s primary position.

Ex. if one track is singularly set to -12 semitones, another to 0, and another to +7 semitones, and then they are multiselected and adjusted to +12 semitones, their settings would become 0, +12, & +19.

  1. Tertiary position set by adjustments made while in pitch/tempo latch, set relative to the transposition of a track’s secondary (and thus primary) position.

 

Pitch – Tempo Latch

Latches Key Transposition to Tempo; changing tempo causes pitch to change, 1 octave per doubling or halving of speed, like a record on a turntable.

 

Snapshot / Global Snap

Snapshots allow for the capturing and recalling of mixer and device settings of tracks, as well as semitone transposition, clip start position, and clip loop position. Global Snaps capture all settings in the set. Snaps can be recalled immediately or, or stepped over clocked-synced ramp rates. Snapshot Note Play allows for auditioning sounds as the snapshots are recalled.

Details

8 banks of 16 snapshots per track, tracks 1 – 16, plus 16 global snapshots, and ramp rate selection. Mode accessed via snapshot / bank / global snap mode button; top left button of button grid. Primary mode is snapshot. Toggle accesses global snapshot, the secondary mode, and vice versa. Snapshots & Global Snaps parameter inclusion defaults can be set in Strata’s optional settings; further details can be found in the Snap Actions Section of ClyphX Pro manual.

Snapshot banks accessed via options buttons 1 – 8, from left to right. Default is bank 1. Ramp rates accessed via options buttons 9 – 16, from left to right. Ramp rates (in bars) are 0 (no ramp), 1, 2, 4, 8, 16, 32, & 64. Ramps are for snapshots and global snaps. Ramp rates for snapshots can be independently selectable per track (not applicable to global snapshots). Default ramp is 0 (no ramp).

Use

Snapshots and global snapshots are captured / overwritten by holding the mode button and pressing a pad. A snapshot or global snapshot is recalled by pressing a pad with a captured snapshot. A snapshot is cleared by holding the mode button and pressing and holding a pad.

Relationships

Between primary and secondary modes, and to other modes.

Changing back to Snapshot mode from another mode returns to the mode type last in use; snapshot or global snap. Changing back to snapshot from global snapshot maintains selection of snapshot bank last in use. Changing back to Snapshot mode from another mode returns to snapshot bank last in use. Clip / Scene Launch overlay mode applies; pressing clip launch mode button overrides snapshot mode option buttons. If Clip / Scene Launch mode is overlaid, changing to another mode removes the overlay.

Snapshot / Chain Select Note Play

When enabled, pads send MIDI note C3. Accessed via a hold of its dedicated function button; toggles on or off; from left to right, button is column 7, row 2. Can be toggled on and off while in other modes, but pads only send C3 in Snapshot and Chain Select modes.

Optional Settings

SNAPSHOT_CHAIN_SELECT_NOTE_PLAY_ON_BY_DEFAULT = True or False

MIDI Note Sustain

Creates hanging midi note; midi notes with no off values. Off values sent on second toggle of button. Functionally similar to a MIDI sustain pedal. Not exclusive to this mode. Listed here because it shares the button with the Snapshot / Chain Note Play. A quick press toggles on or off. Default is Off.

Optional Settings

Snapshot & Global Snap modifiers

(DEV-): Do not store any device settings

(MIXS): Store the Sends settings of the Track

(MIX-): Store the Volume and Pan settings of the Track (MIX)

(MIX): Store the Volume, Pan and Sends settings of the Track

(MIX+): Store the Volume, Pan, Sends Mute, Solo and Crossfade settings of the Track

 

Other Settings

In ClyphX Pro’s Preferences.txt file, a Snapshot parameter limit is set. This is important because it dictates the number of parameters that a snapshot can store. It needs to be considered because too low a number won’t allow for capturing all settings, especially in the case of Global Snaps, but too high, and freezing and even crashing can occur. To allow for Global snaps that can encompass most scenarios, set the number to 12,000. This is quite high, but generally doesn’t result in more than Live’s GUI temporarily freezing.

 

Chain Select

Chain Select allows from incremental control of chain selectors.

Details

8 banks of 16 chains per track, tracks 1-16, Bus Tracks and Return Tracks excluded. Mode is accessed via Chain Select / Mix mode button; row 1, column 2 of button grid. Banks are accessed by options buttons 1 – 8, from left to right. Chains are accessed by the pads 1 – 16, where pressing a pad jumps to the corresponding chain position in increments of 1. Pad 1, Bank 1, equals Chain 0, and Pad 16, Bank 8, equals Chain 127, with all other values in between.  Chain Select controls the chain selector of first rack on a track. This mode works with audio and midi tracks alike. In the case where Live’s Sampler instruments, which has its own chain selector, is the only device in an instrument rack, Chain Select, directly accesses Sampler’s chain selector instead of the instrument rack’s.

Relationships

Clip / Scene Launch overlay mode applies; pressing clip launch mode button overrides snapshot mode option buttons. If Clip / Scene Launch mode is overlaid, changing to another mode removes the overlay.

Snapshot / Chain Select Note Play

When enabled, pads send MIDI note C3. Accessed via a hold of its dedicated function button; toggles on or off; from left to right, button is column 7, row 2. Can be toggled on and off while in other modes, but pads only send C3 in Snapshot and Chain Select modes.

*Chain Select Note Play has the Optional Setting of using a 100 millisecond delay before sending the MIDI note when changing between chains. This allows for the chain to change before the sound is triggered. Future editions intend to make the milliseconds used to be user-designatable so that lower delay values can be selected for machines that can accommodate it. If you’re using a high-performance machine, it could be that no note delay is needed. Testing is up to you. Set to False to try.

Optional Settings

SNAPSHOT_CHAIN_SELECT_NOTE_PLAY_ON_BY_DEFAULT = True or False

SNAPSHOT_CHAIN_SELECT_NOTE_DELAY = True or False

MIDI Note Sustain

Creates hanging midi note; midi notes with no off values. Off values sent on second toggle of button. Functionally similar to a MIDI sustain pedal. Not exclusive to this mode. Listed here because it shares the button with the Snapshot / Chain Note Play. A quick press toggles on or off. Default is Off.

 

Drum Rack (Chromatic)

Outputs chromatic notes for use in playing melody, harmony, chord, and bass lines, and for using Live Drum Rack instrument.

Notes about Drum Rack

A native Live instrument, Drum Rack allows for up to 128 nested virtual instruments. Typically, Drum Rack uses Simpler, Ableton’s slim-line sampler, but can also accommodate other virtual instruments, such as synths. Drum Rack (Chromatic) operates similarly to Sound / Preset / Bank and All Tracks, in that the Drum Rack instrument translates chromatic midi note input into the note C3. As a result of this, Drum Rack lacks polyphonic tonal playback of any one instance of an instrument it houses in exchange for each instrument being able to be played back as a voice simultaneously. In other words, Drum Rack is polyphonic in voice but not in pitch- the various loaded instruments takes place of possible tonal pitches. This makes it particularly useful for percussive applications with many voices on a single track- such as a drum kit-, which as the name conveys, is what it is more-or-less intended for.

Details

8 banks of 16 pads, banks accessed via options buttons 1 – 8. Banks change octaves. Bank 5, octave 0, is default. Mode is accessed via Drum Rack (Chromatic) mode button; row 1, column 4 of button grid. Chromatic notes are triggered via Pads 9 – 16, then 1 – 8, reading from left to right, bottom to top, for the purpose of the ascending physical patter to match the ascending pitch. Each pad differs by 1 semitone from the next.

Option button 1, Octave -4, Pad 9 Note C-1

Option button 2, Octave -3, Pad 9 Note C0

Option button 3, Octave -2, Pad 9 Note C1

Option button 4, Octave -1, Pad 9 Note C2

Option button 5, Octave 0, Pad 9 Note C3

Option button 6, Octave 1, Pad 9 Note C4

Option button 7, Octave 2, Pad 9 Note C5

Option button 8, Octave 3, Pad 9 Note C6

Relationships

In the case of whatever octave bank is currently selected, changing out of Drum Rack (Chromatic) into another mode, and then returning to Drum Rack (Chromatic) mode, returns to the octave bank last in use by each track. Clip / Scene Launch overlay mode applies; pressing clip launch mode button overrides snapshot mode option buttons. If Clip / Scene Launch mode is overlaid, changing to another mode removes the overlay.

 

Sound Palette

This mode is primarily designed for working with 16 midi tracks. Tracks 1 – 16 are armed and Input Subroutings are changed to midi channels 1 – 16. Pads 1 -16 all emit MIDI note C3, but each on their own channel; Pad 1 on CH 1, Pad 2 on CH 2, etc., so that each pad corresponds to the sequential MIDI Input Subroutings of each track. This allows all 16 tracks to be accessed like a drum rack.

Details

Mode is accessed via mode Sound Palette mode button; row 1, column 3 of button grid. Currently, a miss-design is used to revert the Input Subrouting back to All Channels, where the Sound Palette mode button must be pushed a second time, rather than it reverting automatically upon changing to another mode. In future versions, it is intended that exiting the mode to another mode will unarm all tracks and reverts Input Subroutings to All Tracks.

Relationships

Sound Palette has no native options, so for convenience, the clip launching mode overlays on options buttons 1 – 16 upon entering the mode.