$Page Max for Live Devices $TargetName Max for Live Devices This lesson will introduce you to the Max for Live devices included in Live's Core Library. *Max for Live Instruments* -> $Link DS Clang -> $Link DS Clap -> $Link DS Cymbal -> $Link DS FM -> $Link DS HH -> $Link DS Kick -> $Link DS Sampler -> $Link DS Snare -> $Link DS Tom *Max for Live Audio Effects* -> $Link Align Delay -> $Link Envelope Follower -> $Link LFO -> $Link Shaper *Max for Live MIDI Effects* -> $Link Envelope MIDI -> $Link Expression Control -> $Link MIDI Monitor -> $Link MPE Control -> $Link Note Echo -> $Link Shaper MIDI $Comment -------------------------------------------------------------------------------- $Page DS Clang $TargetName DS Clang MaxDSClang.png *DS Clang* consists of two separate tones, white noise and a filter, allowing you to create a variety of cowbell, clave and noise percussion sounds. The *Tone A/B* sliders let you set the volume for each cowbell tone independently. The *Filter* control sets the high-pass and band-pass filter cutoff, allowing you to change the color of the sound. At higher values, the signal has more high frequency content. The *Noise* slider allows you to set the amount of white noise applied to the signal. When the *Clave* switch is activated, you can add repeats to the clave sound using the *Repeat* slider. You can use the *Pitch* parameter to change the pitch of the instrument. The *Decay* knob sets the length of the sound, while the *Volume* control adjusts the overall level of the instrument. To preview the sound of the instrument with its current settings, click anywhere in the upper half of the display. $Comment -------------------------------------------------------------------------------- $Page DS Clap $TargetName DS Clap MaxDSClap.png *DS Clap* is a mix of filtered noise and an impulse running through panned delay lines, that allows you to create a range of sounds from a tight electronic clap to a more organic, humanized hand clap. The *Sloppy* control sets the delay time between the two delay lines, so you can adjust how close or far apart the panned claps are played back. *Tail* adds filtered noise to the impulse of the clap. The *Spread* slider sets the stereo width of the clap. 0% yields a mono signal while 100% creates a widened stereo image. The *Tone* slider adjusts the color of the clap. At higher values, the signal has more high frequency content. You can use the *Tune* parameter to change the pitch of the clap. The *Decay* knob sets the length of the clap, while the *Volume* control adjusts the overall level of the instrument. To preview the sound of the instrument with its current settings, click anywhere in the upper half of the display. $Comment -------------------------------------------------------------------------------- $Page DS Cymbal $TargetName DS Cymbal MaxDSCymbal.png *DS Cymbal* combines sine and pulse waveforms with high-passed noise, making it possible to recreate a variety of timbres, from a thin ride cymbal to a heavy crash. The *Tone* slider in the display sets the high-pass filter cutoff, allowing you to change the color of the cymbal. At higher values, the signal has more high frequency content. You can use the *Pitch* parameter to change the pitch of the cymbal. The *Decay* knob sets the length of the cymbal, while the *Volume* control adjusts the overall level of the instrument. To preview the sound of the instrument with its current settings, click anywhere in the upper half of the display. $Comment -------------------------------------------------------------------------------- $Page DS FM $TargetName DS FM MaxDSFM.png Inspired by a classic Japanese FM synthesizer, *DS FM* lets you create a variety of effects, from static bursts to metallic lasers. The *Tone* slider in the display sets the low-pass filter cutoff, allowing you to change the color of the drum. At higher values, the signal has more high frequency content. *Feedb.* adjusts the amount of feedback applied to the FM algorithm. Greater values yield more noise. *Amnt* sets the amount of FM modulation, while the *Mod* slider blends between different modulation types. The *Pitch* parameter provides global pitch control. The *Decay* knob sets the length of the drum, while the *Volume* control adjusts the overall level of the instrument. To preview the sound of the instrument with its current settings, click anywhere in the upper half of the display. $Comment -------------------------------------------------------------------------------- $Page DS HH $TargetName DS HH MaxDSHH.png *DS HH* is a blend of noise and sine waveforms, with which you can produce an number of sounds, from sharp closed hats to sizzling open hats. The *Noise* toggle lets you choose between two noise types: white or pink. The *Tone* slider in the display sets the high-pass filter cutoff, allowing you to change the color of the hat. At higher values, the signal has more high frequency content. The pitched portion of the sound is filtered through a resonant high-pass filter. The filter can be switched between 12 and 24 dB slopes, and the attack time can be set via the *Attack* slider. You can use the *Pitch* parameter for global pitch control. The *Decay* knob sets the length of the hat, while the *Volume* control adjusts the overall level of the instrument. To preview the sound of the instrument with its current settings, click anywhere in the upper half of the display. $Comment -------------------------------------------------------------------------------- $Page DS Kick $TargetName DS Kick MaxDSKick.png *DS Kick* is a kick drum synth with a modulated sine wave. The *Pitch* slider lets you tune the kick in Hz. You can shape the kick sound by adding distortion via the *Drive* slider, or adding harmonics using the *OT* slider. The *Attack* parameter smooths the sound of the sine wave. The *Click* switch adds a click sound to the kick, creating a sharper transient. The *Decay* knob sets the length of the kick. *Env* can be used to set the pitch modulation. The *Volume* control adjusts the overall level of the instrument. To preview the sound of the instrument with its current settings, click anywhere in the upper half of the display. $Comment -------------------------------------------------------------------------------- $Page DS Sampler $TargetName DS Sampler MaxDSSampler.png *DS Sampler* makes use of your own samples to create a drum synth module. You can load a sample by dragging and dropping it into the upper half of the display. The *Start* control adjusts the position of the sample start, while the *Length* slider sets the sample playback length. You can use the *Tune* slider to tune your sample by +/- 48 semitones. The *Loop* switch toggles the sample loop on and off. The *Decay* knob sets the decay time of the sample's amplitude. The *Shaper* parameter adds distortion to produce a punchy and gritty sound. The *Volume* control adjusts the overall level of the instrument. $Comment -------------------------------------------------------------------------------- $Page DS Snare $TargetName DS Snare MaxDSSnare.png *DS Snare* consists of a pitched oscillator and noise, providing a snare palette ranging from a traditional acoustic snare sound, to the gated noise snare often heard in electronic dance music. The *Color* parameter controls the tone of the pitched signal, while the *Tone* parameter controls the presence of the noise signal. You can apply one of three different filter types to the noise signal: low-pass, high-pass, or band-pass. The *Decay* knob sets the length of the snare, while the *Tune* parameter provides global pitch control. The *Volume* control adjusts the overall level of the instrument. To preview the sound of the instrument with its current settings, click anywhere in the upper half of the display. $Comment -------------------------------------------------------------------------------- $Page DS Tom $TargetName DS Tom MaxDSTom.png *DS Tom* combines an impulse with several different pitched oscillator waveforms, allowing you to synthesize toms with various timbral qualities, from deep and thunderous to sharp and tappy. You can use the *Pitch* slider to tune the tom in Hz. The *Color* parameter controls the filter gain and cutoff, while the *Tone* slider controls the level of resonant band-pass filters to mimic the tuning of the drum membrane. The *Bend* parameter adjusts the pitch envelope. The *Decay* knob sets the length of the tom, while the *Volume* control adjusts the overall level of the instrument. To preview the sound of the instrument with its current settings, click anywhere in the upper half of the display. $Comment -------------------------------------------------------------------------------- $Page Align Delay $TargetName Align Delay MaxAlignDelay.png *Align Delay* is a utility delay for incoming signals that can be set in samples, milliseconds, or meters/feet. The Delay Mode drop-down menu has three options: -> *Time* sets the delay in milliseconds. -> *Samples* sets the delay in samples. -> *Distance* sets the delay in meters or feet. Time mode can be used to adjust time between lasers and AV work, or as a subtle stereo maker. Samples mode can be used compensate for latency introduced by other devices. Distance mode can be used to adjust PA system alignment or monitor to main PA alignment. Distance mode also includes a temperature control. Setting the temperature control to match the current room temperature allows for more precise delay adjustment as the sound will travel differently in warm and cold environments. $Comment -------------------------------------------------------------------------------- $Page Envelope Follower $TargetName Envelope Follower MaxEnvelopeFollower.png *Envelope Follower* uses a well-known technique which involves capturing a signal, smoothing and reshaping its amplitude course in order to obtain a more or less continuous curve, and finally mapping the curve to one or more control parameters. The "auto-wah" effect is perhaps the most well-known application of the envelope following technique. Activate the *Map* switch and click on a parameter in Live to assign it as a mapping target. You can access up to eight assignable Map slots by clicking on the Multimap button at the top-right of the display. To unassign a parameter, click on the Unmap button to the right of its Map switch. The *Min* and *Max* sliders let you scale the resulting output range after the modulation is applied. You can use the *Gain* knob to set the gain applied to the incoming signal. The *Rise* parameter smooths the attack of the envelope, while the *Fall* control smooths the release of the envelope. The *Delay* control sets the delay time of the envelope. The switches to the right of the Delay control toggle the delay mode between time-based and tempo-synced beat divisions. $Comment -------------------------------------------------------------------------------- $Page LFO $TargetName LFO MaxLFO.png *LFO* is a parameter modulation LFO for Live-specific parameters and third party plug-in parameters. Activate the *Map* switch and click on a parameter in Live to assign it as a mapping target. You can access up to eight assignable Map slots by clicking on the Multimap button at the top-right of the display. To unassign a parameter, click on the Unmap button to the right of its Map switch. The *Min* and *Max* sliders let you scale the resulting output range after the modulation is applied. You can choose from one of seven different modulation waveforms: sine, sawtooth up, sawtooth down, triangle, rectangle, random and binary noise. The *Jitter* slider adds randomness to the waveform, while the *Smooth* control smooths value changes. The *Rate* control specifies the LFO speed. The switches to the right of the Rate control toggle between frequency in Hertz and tempo-synced beat divisions. *Depth* sets the overall intensity of the LFO. *Offset* changes the starting point, or initial phase of an LFO, so that it begins at a different point in its cycle. The phase of the LFO can be shifted using the *Phase* control. To hold the current output value, activate the *Hold* switch. Click the *R* (Retrigger) button to re-trigger the phase of the LFO. $Comment -------------------------------------------------------------------------------- $Page Shaper $TargetName Shaper MaxShaper.png *Shaper* is a multi-breakpoint envelope which generates modulation data for musical expression. Activate the *Map* switch and click on a parameter in Live to assign it as a mapping target. You can access up to eight assignable Map slots by clicking on the Multimap button at the top-right of the display. To unassign a parameter, click on the Unmap button to the right of its Map switch. The *Min* and *Max* sliders let you scale the resulting output range after the modulation is applied. You can create a breakpoint by clicking anywhere in the display. You can also delete a breakpoint by $ShiftMod-clicking on it. Hold down the $OptionMod key while dragging to create curved segments. To clear the display, press the *X* button in the bottom left corner of the device. To the right of the X button, you can choose from one of six breakpoint presets. You can adjust the size of the grid via the *Grid* slider. When *Snap* is enabled, all breakpoints that you create or reposition will snap to grid lines. The smaller display on the top right provides an oscilloscope-style view of the output signal. The *Jitter* slider adds randomness to the waveform, while the *Smooth* control smooths value changes. The *Rate* control specifies the LFO speed. The switches to the right of the Rate control toggle between frequency in Hertz and tempo-synced beat divisions. *Depth* sets the overall intensity of the LFO. The phase of the LFO can be shifted using the *Phase* control. Click the *R* (Retrigger) button to re-trigger the phase of the LFO. Note that re-trigger is not available if the Rate control is set to Sync mode. *Offset* changes the starting point, or initial phase of an LFO, so that it begins at a different point in its cycle. $Comment -------------------------------------------------------------------------------- $Page Envelope MIDI $TargetName Envelope MIDI MaxEnvelope.png *Envelope MIDI* is an ADSR device that you can use to control any parameter in Live. Activate the *Map* switch and click on a parameter in Live to assign it as a mapping target. You can access up to eight assignable Map slots by clicking on the Multimap button at the top-right of the display. To unassign a parameter, click on the Unmap button to the right of its Map switch. The *Min* and *Max* sliders let you scale the resulting output range after the modulation is applied. The *Loop Mode* drop-down menu lets you choose from one of four loop modes: -> *Free:* the trigger rate is unaffected. -> *Sync:* the trigger rate is defined by the song tempo. When Sync mode is active, you can set the trigger rate via the *Sync Rate* drop-down menu. -> *Loop:* the trigger rate is defined by the envelope time. -> *Echo:* this creates repetitions of the original envelope. When Echo is active, you can adjust the *Envelope Echo Time* and amount of *Envelope Echo Feedback.* The *Time* slider sets the global envelope time. When the *Velocity* switch is enabled, the envelope is modulated by note velocity. The *Amount* control determines the intensity of the modulation. The *Attack* control sets the attack time of the envelope. The *Attack Slope* slider adjusts the shape of the Attack envelope segment. The *Decay* control sets the decay time of the envelope. The *Decay Slope* slider adjusts the shape of the Decay envelope segment. The *Sustain* control sets the level reached at the end of the Decay stage. The *Sustain Mode* switch toggles the Sustain function on or off. The *Release* control sets the release time of the envelope. The *Release Slope* slider adjusts the shape of the Release envelope segment. You can adjust the Attack, Decay, Sustain and Release parameters using the controls or by clicking and dragging in the envelope display. $Comment -------------------------------------------------------------------------------- $Page Expression Control $TargetName Expression Control MaxExpressionControl.png *Expression Control* is a parameter modulation device that allows for a wide variety of internal MIDI mappings. The following MIDI or MPE controller data can be mapped to a modulation destination: -> Velocity -> Modulation Wheel -> Pitch Bend -> Aftertouch - including poly aftertouch and MPE pressure data -> Keytrack -> Expression -> Random - each note generates a random value between 0-127 -> Incremental - each note increases the modulation amount by a set amount -> Slide -> Sustain Activate a *Map* switch and click on a parameter in Live to assign it as a mapping target. You can set independent modulation intensities for each mapping via the *Min* and *Max* sliders. The *Log* and *Lin* switches toggle between logarithmic and linear shapes. The *Rise* slider smooths the attack of the envelope, while the *Fall* slider smooths the release of the envelope. The *Output* displays show the output level for each mapping. Click the *Display Curve* icon at the top-right of the device to show/hide the *Curve Editor.* You can toggle between a Simple Curve or S-Shaped Curve, both of which can be used to transform incoming data. MaxExpressionControlCurveEditor.png $Comment -------------------------------------------------------------------------------- $Page MIDI Monitor $TargetName MIDI Monitor MaxMIDIMonitor.png MIDI Monitor is a utility device that displays incoming MIDI and MPE data. MIDI data can be viewed in either the *Note* display or *Flow* diagram. In the Note display, incoming MIDI notes are shown along with their root note and related chords (if played) on a keyboard layout. Note velocity is also shown. The Flow diagram populates a list of incoming MIDI notes and data (such as pitch bend and aftertouch messages) in a continuous stream as notes are played. The *Freeze* toggle can be used to freeze or unfreeze the display, while the *Clear* button clears the entire display. MaxMIDIMonitorFlow.png MPE data can be viewed in the *MPE* display. Incoming note, velocity, slide, pressure and per-note pitch data are shown in a continuous stream as notes are played. MaxMIDIMonitorMPE.png $Comment -------------------------------------------------------------------------------- $Page MPE Control $TargetName MPE Control MaxMPEControl.png *MPE Control* lets you shape and transform incoming MPE data using curves in three different views: -> *Press* -> *Slide* -> *NotePB* The *Press* view displays the modulation curve for MPE pressure data. You can choose from a two breakpoint linear curve or a three breakpoint S-shaped curve using the toggles at the lower left side underneath the curve display. The linear curve shape can be tweaked using the *Press Curve* knob on the left of the curve display. When using an S-shaped curve, two Press Curve knobs are available, so you can adjust the upper and lower curve segments independently from one another. If the *Press Link* switch is enabled, you can tweak both curve segments simultaneously with the top Press Curve knob. The *Min* and *Max* sliders set the minimum and maximum values for the modulation range. These values can also be adjusted by dragging on the two end breakpoints of the curve in the display. When using an S-shaped curve, the *X* and *Y* sliders set the mid horizontal and vertical positions of the curve, which can also be set by dragging the middle breakpoint around in the curve display. You can click on the triangle button at the bottom right of the device to show/hide the advanced settings. MaxMPEControlAdvanced.png In the advanced settings, you can enable smoothing for pressure data and adjust it using the *Rise* and *Fall* sliders, set a default value for pressure data when using a non-MPE controller, swap the pressure dimension to slide, and convert MPE pressure data to aftertouch messages. The *Slide* and *Note PB* views display the modulation curves for MPE slide and MPE per-note pitch bend data. As in the Press view, you can choose between a two breakpoint linear curve or a three breakpoint S-shaped curve. Adjusting the curve shape can be done using the Slide/Pitch Curve knobs, Min and Max sliders, and X and Y sliders for S-shaped curves. In the advanced settings of the Slide view, you can enable smoothing and for slide data and adjust it using the *Rise* and *Fall* sliders, set a default value for slide data when using a non-MPE controller, enable centered slide, choose a slide mode, and convert slide data to modwheel messages. MaxMPEControlAdvancedSlide.png In the advanced settings of the Note PB view, you can enable smoothing for per-note pitch bend data and adjust it using the *Rise* and *Fall* sliders, set a pitch range, and convert per-note pitch bend data to global pitch bend messages. MaxMPEControlAdvancedNotePB.png $Comment -------------------------------------------------------------------------------- $Page Note Echo $TargetName Note Echo MaxNoteEcho.png *Note Echo* is an echo delay effect that creates additional MIDI notes at specific time intervals with decreasing velocity. By default, Note Echo loads in *Sync* mode, which lets you select a delay time from eight available beat divisions. The numbered switches represent time delay in 16th notes. For example, selecting *4* delays the signal by four 16th notes, which equals one beat (a quarter note) of delay. Using the *Beat Offset Percentage* slider, you can shorten or extend delay times by fractional amounts to produce subtle offsets or swung delays. You can click the *Sync* toggle to switch to *Time* mode, which changes the delay time to milliseconds. To edit the delay time, click and drag the *Ms Delay* slider up or down, or click in the field and type in a value. You can choose between two Input modes: *Thru* and *Mute.* When Thru is active, both the MIDI note and echo are played back. When Mute is active, the MIDI note is muted and only the echo is audible. *Pitch* sets the transposition amount applied to the note with each repeat of the echo. *Delay* sets the amount of velocity applied to the echo. The *Fback* parameter defines how much of the channel's output signal feeds back into the delay line's input. You can switch on the *MPE* toggle to echo MPE data along with the echoed notes. The *Press, Slide, and Note PB* sliders can be used to adjust the feedback amount of MPE pressure, slide, and per-note pitch bend data. $Comment -------------------------------------------------------------------------------- $Page Shaper MIDI $TargetName Shaper MIDI MaxShaperMIDI.png *Shaper MIDI* uses multi-breakpoint envelopes to generate mappable modulation data. Shaper MIDI can also be triggered dynamically using MIDI notes/velocity. Activate the *Map* switch and click on a parameter in Live to assign it as a mapping target. You can access up to eight assignable Map slots by clicking on the Multimap button at the top-right of the display. To unassign a parameter, click on the Unmap button to the right of its Map switch. The *Min* and *Max* sliders let you scale the resulting output range after the modulation is applied. You can create a breakpoint by clicking anywhere in the display or choose from one of six breakpoint presets and one random breakpoint generator. The smaller display on the top right provides an oscilloscope-style view of the output signal. The *Jitter* slider adds randomness to the waveform, while the *Smooth* control smooths value changes. These additional controls allow for further modulation of the envelope waveform: -> *Rate* specifies the envelope modulation speed. -> *Depth* sets the overall intensity of the envelope modulation. -> *Offset* takes over the value of the mapped parameter so that the envelope can modulate that value. -> *Echo* adjusts the amount of the envelope echo, while the Time control sets the echo time in milliseconds. Activating the *Loop* switch will loop the modulation envelope as long as a MIDI note is held. $Comment Status: Translate