Ableton live 9 create produce perform pdf download

Skip to content Close Menu Contact. Book search: Ableton Live 9 Ableton Live 9. Author : V. Brian M. Author : Brian M. The addictiveness of Breakout. The intensity of Space Invaders. Why do audiences listen and what happens when they talk back? Anthony L. Author : Anthony L. Moore Publisher: Routledge Reads.

Moore Publisher : Routledge Release : Category: Music Total Pages : ISBN : Existing books on the analysis of popular music focus on theory and methodology, and normally discuss parts of songs briefly as examples.

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Cookie Settings Accept All. Manage consent. Close Privacy Overview This website uses cookies to improve your experience while you navigate through the website. Electronic Music School: A Contemporary Approach to Teaching Musical Creativity is a practical blueprint for teachers wanting to begin teaching music technology to secondary age students.

Will Kuhn and Ethan Hein inspire classroom music teachers to expand beyond traditional ensemble-based music education offerings to create a culture of unique creativity and inclusivity at their schools. Part One offers an overview of the philosophical and institutional aspects of starting a music technology program, with a particular focus on the culture of electronic music surrounding digital music creation tools. Part Two dives deep into curricula for music lab classes, including several lesson examples and techniques.

This section also includes abbreviated project plans for teachers who have fewer contact hours with their students. Part Three discusses how music technology courses can grow into a larger media creation program, how such a program can contribute to the broader school culture, and how project-based music learning effectively prepares students for careers in media. Electronic Music School also includes narratives from music technology students themselves, who often have an intuitive understanding of the future directions music technology programs can take.

Offers an overview of the Ableton Live interface, covering the basics of digital audio, live performance, integrating Live with other applications, the new features of the latest version of the software, and step-by-step instructions on how to mix, remix,.

Jon Margulies' comprehensive guide to Ableton Live is back! This updated edition does far more than bring you up to speed on all of Live's new features-it teaches fundamental concepts and important workflows that every Live user needs to know. In this new edition, you'll learn the software in depth and get the lowdown on all the latest updates, including the Wavetable synthesizer, multi-clip editing, Capture, and Live 10's many workflow improvements.

Jon's friendly, engaging writing style and deep knowledge of the program come together to help you hone your production skills without losing sight of what's most important: making music! I've been a fan for a long time, and over the past few years have relied on him heavily for technical assistance navigating the wild waters of Ableton for my live sets.

Never has there been music production software that so closely emulates the human mind and the demand for delivering music through a computer than Live. With an imaginative design and a forward-thinking mission, Ableton continues their legacy with Live 9, a software package that drives music production to the cutting edge while squarely meeting the needs of the composer, producer, perform, songwriter, DJ, and beyond. That is why this book has been written: to help reinvent the experienced software-based music producer and to unleash the new user.

With this goal in mind, at the end of each reading you should feel that your current skills and knowledge base have been elevated to the next level. For the current Ableton Love user — yes, you - there is plenty here to unlock! After all, there is still a little "new user" inside us all. First published in Not a good situation to be in.

It is imperative that you manage your Projects and Sets! If you look inside its Project folder you will notice that if you have recorded audio it is there in a samples folder, but if you imported audio it is not.

This is why you use the Collect and Save option before you take your project on the road. If you want any one of the Sets that you just saved to be self-contained, then open that Set up and choose Collect and Save. You can also access the more detailed save options from the File Manager.

One key difference with Live in regards to the saving process is in the Live Browser itself. You can simply drag a clip directly into one of the File Browsers to save your clip as a Live Clip. You can also drag a track s or an entire selection of clips to a File Browser as a Live Set. For more. This will close your Set and reopen the default Set. If you choose the Close Window button in the upper corner of the main Live screen, the Live program will quit as opposed to just the Set.

This is necessary because the content in your Sets can be referenced from various locations rather than from the actual Project folder as mentioned earlier.

That would be redundant and would use up a lot of hard drive space. It will appear on the right-hand side of the main Live screen where the Help View would have been located. From there, choose what to manage. Things like this do happen. Live will notify you.

Please click here to learn more. Live has a built-in search feature that is accessed through the File Manager. So there is no need to panic. Clicking on the orange prompt will immediately open up the File Management Menu to the right of the Main Screen. If you have a general idea of where they were last located, you can tell Live where to search by choosing a folder directory and activating the Search Folder button.

Either way, select Go. This will open up the Browser where you can start a search similar to Hot-Swapping. Once the candidates are located, select OK, then Save from the bottom of the menu. This option is found within the Manage Project area within the File Manager. In doing so, name it and choose a location to save it.

This is used for copying and compressing the entire contents of your project into a single. Not only does this make it easier to transfer but is also a safe way to archive your precious data. You need to perform a Save As instead. Long live the jam. As a musician, composer, or performer, Ableton Live 8 and Suite 8 provide you with the tools to literally launch your music in a forward direction.

Forward and constant motion is a good thing! These will help tie in related concepts for expanding your knowledge and focus your area of concentration. Think of it as a coloring book without lines or a clock without numbers.

Everything is based on relative timing. So what does this have to do with the Global Record concept? Well, the Global Record concept is all about giving the composer, producer, and performer a bridge from relative time to linear time, in other words, capturing musical improvisation and limitless freedom into a recorded sequenced performance or composition.

Figure 4. This concept can be mind-blowing, but it is a powerful, inventive, and logical way of realizing music. So, how does this all work? It gives you the power and ability to create linear musical arrangements out of nonlinear musical sketches and improvisatory musical ideas as a performance in real time.

Not only does it give you the power to create musical arrangements free of a linear timeline but also allows you to realize nonlinear improvisatory musical sketches as a performance in real time. Frankly, you have been arranging parts for years, right? What if you could just toss these phrases onto a large open table either one at a time or handful at a time, having them play instantly in the order they land on the table?

Actually, it would be really cool to run that twice and then end with card D altogether repeating four times for 16 bars lets say.

Ok, toss these parts again on the table in our new order. Whether you realize it or not, we have just created a new arrangement in real-time without cutting, pasting, or moving any type of region or chunk along a timeline in any way. We simply threw the cards on the table in an order we felt could sound good as a whole. With the musical phrases right in front of us, we recorded an arrangement all in real time while launching any card we wanted at any time-in perfect sync too!

Just substitute the index cards of musical phrases for MIDI and audio clips. This is critical! These views, Session vertical and Arrangement horizontal , share the same tracks, instruments, plug-ins, effects, and tempo, etc. Global Record grants you the ability to launch audio and MIDI parts right off one page view and onto a new page view as a linear arrangement in real time.

It is the ability to launch your audio and MIDI parts in real time from the Session View directly into the Arrangement View, all while experimenting with effects, loops, and automation. With the unique interaction between the Session and Arrangement Views bridged by the Global Record button, the sky really is the limit. Our goal is to ensure that you grasp this parallel concept from the very beginning, since it is an entirely new way to record and sequence musical arrangements.

This applies to all views in Live 8. In fact, the most common way to experience music is in a linear progression. The Arrangement View can function in two useful ways: 1 as a traditional DAW sequencer, providing a view where you can record and edit audio and MIDI in tracks as well as add prerecorded media, virtual instruments, and effects all along a linear timeline; 2 as a canvas for recording musical performances. Of course, this is only the beginning. The Arrangement View in Live actually gives you the ability to create an entire musical arrangement in real time as a predesigned or improvisatory performance rather than just piecing it together one region clip or track at a time.

There is no right or wrong way to work and as we mentioned earlier, the methods work great together as well as wonderfully on their own. You have to see it to believe it. The general layout of a completed arrangement should look quite familiar in our Arrangement View example.

This is the direct result of launching clips in the Session View as a performance and capturing them into the Arrangement View by engaging the Global Record button. An action. For an in-depth look at the Arrangement View, launch to arrangement is recorded into the Arrangement View in real time as a performance is generated from the Session View. For an in-depth. Unlike the Arrangement View, the Session View has a totally original look and feel.

This is different than your traditional DAW except for possibly the fader, record, mute, and solo buttons at the bottom of each track. Each one of these clips holds a uniquely vast and invaluable amount of information. So much information, that it could easily take more than this entire book to cover it all.

It is a triangular button located on the left of every clip. When it is pressed, the clip is activated launched and starts to playback. These buttons are located in empty clip slots directly below the active clip — except when the track is record enabled — and in every track column just above the track Mixer section.

They will stop any running clip that is located in the same track as the Stop button itself. Although both stop playback, they actually only pause the clips. You will notice that the Clip Launch buttons are still green active , meaning that the clips are in standby paused and ready to continue upon relaunch. Launch to Figure 4. This is the same as the computer keyboard spacebar. While launching clips, you will come across only one restriction: only one clip can be active at any given time within a track.

So what does that mean? What are scenes? Each horizontal row is a scene and vertical columns are tracks. Since tracks can only play one clip at a time, clips are often spread out across multiple tracks as rows of clips, also known as scenes.

We already mentioned that clips are the basic musical building blocks of Live. These musical ideas — melodies, beats, and bass lines, etc. In this scenario, scenes form the musical structure of your songs and compositions in the Session View. Like clips, scenes are labeled, organized, and launched but rather from the Master Track column.

Putting scenes in the context of Global Record, they are Figure 4. In this way, you are able to activate an entire group of clips simultaneously as opposed to each individual clip one by one. Of course, a scene can be used in many different ways as determined 72 Global Record: Capturing Arrangements on the Fly by you the user.

There will be much more on how to use scenes creatively in the to see how scenes sections to follow. In addition, you can launch to for an in-depth look at their function within the Session View and to advanced functions and musical concepts. The Arrangement and Session Views share all of the same controls, parameters, and information.

The difference is that the Arrangement represents it in a horizontal view and obviously the Sends and Pan controls have been moved to the track display via the Control Chooser instead of knobs as in the Session View. The point is that you can work on your mix from whichever view you prefer.

For more on Track Automation, launch. There is a good reason for that. Until the advent of the digital computer, we were unable to randomly move or process data outside of real time. Thus, the concept of linearity is engrained in our brains, a good reason to not throw the concept out the window. In fact, we need timelines and the ability to string musical ideas and thoughts together so that they can reproduce in a consistent sequence.

Sequencing is the heart of music programming and for that reason, Live still embraces the linear arrangement. There are two ways to work in a linear fashion in Live: 1 build and sequence your arrangements solely in the Arrangement View and, 2 build and perform a precise arrangement in the Session View. The ability to record digital audio and MIDI events is the key building block for the digital composer.

Ideas can be composed modularly in the Session View or Arrangement View as simple ideas. This includes adding prerecorded audio or MIDI clips in either view.

Of course, nothing in a DAW is permanent. You can edit and make changes as much as you like. First and foremost, keep in mind that there is no one right way to work in Live. You must determine what works best for you!

This is the way in which the Global Record process was intended. Working track by track, you build musical phrases, riffs, licks, or whole musical sections. Of course, this really depends on how you compose your music. As you develop your ideas, you have the option to stack them up for each track clip by clip or assemble them into scenes song sections. You then can stack those scenes into a sequence. Again, this will depend on how you prefer to compose.

Here, you have two choices. First, you must press the Global Record button followed by the Play button. Taking this a step further, you can also assign and automate Follow Actions that will execute designated clip. If need be, feel free to edit and tweak any elements of your arrangement directly in the Arrangement View. Then, record your keyboard, guitar, or vocal layers in the Arrangement View using the Session View to playback the rhythm section or backing tracks as a guide while recording the lead elements directly into the Arrangement View.

In this way, you are constantly building your arrangement back and forth between views, using the strengths of each to piece together an arrangement. Through a combination of Global Recording, Arrangement Recording, and editing, you can create and produce your musical ideas into full song arrangements.

To learn about Arrangement View Concepts, launch to 4. To that end, with any other DAW, the song edit you create is the end of the line. This is similar to the concept described in the section above. Imagine taking the entire studio multitrack as it was sequenced out as an arrangement, cutting out pieces, grooves, riffs, among others parts, then putting them into the Session View where you can launch them into a new order or over the original sequence.

Pretty mind boggling stuff! When copying clips from view to view, you will have to get used to how the Session View interprets the physical layout of the arrangement as it relates to launching and recreating the identical arrangement in the Session View. Take a look at the following walk-through to understand how to drag and drop between views.

This can be executed from either view Session to Arrange or Arrange to Session. For this exercise, we will go from the Arrangement to the Session. Select all clips or whichever ones you want in the Arrangement View by holding down the shift key and clicking on each clip.

In our example, you will see our Arrangement View and how it transferred into the Session View when we dragged and dropped it into the Session View. You will see in our example, that the Session View now contains a vertical representation of our Arrangement clips.

Notice that the Session clips are relative to where the Arrangement clips were located along the Beat Time Ruler timeline. This is a very literal interpretation of the Arrangement clips. Each clip is laid out based on the individual clip lengths as originally shown in the Arrangement track 77 Ableton Live 8 and Suite 8: Create, Produce, Perform Figure 4.

This means that no matter how long a clip looped for, it will only take up one Clip Slot in the Session View, leaving the Clip Slots below it empty.

The actual clip itself will contain the exact amount of bars and beats that it played for in the Arrangement View. The point really is not to necessarily recreate the arrangement per se but to use this feature to capture clips from the Session View in the Arrangement View and then bring them back into the Session View just the way you performed them.

Maybe it was an impromptu performance or a deliberate sequence of clips. Reverse this process and you can build grooves and modular musical ideas, and then bring them into the Session View. No matter your reasoning, move clips in this manner in either direction from the Session to Arrangement View or vice versa. Just reverse the outlined steps from above. The great thing about all of this is it can all be done in real time without stopping playback; a true Ableton Live trademark.

Each time you might try different bass lines with different beat loops. Instead of launching entire scenes, maybe it would sound cool for the groove style clips of one scene row to playback with the clips of vocals of another scene row.

Feel free to work in either view or both to produce your remixes. Drag and drop your Session to the Arrange or vice versa. In the Arrangement, you can manipulate, edit, and loop in a linear fashion, rebuilding the song from the ground up. You can also use the hybrid approach by overdubbing ideas from the Session to the arrangement. Coming from a linear approach, you can produce beats just like you always have using the Arrangement View.

The concept is the same as any other DAW. Create and sequence along the timeline or ruler as you go. The most common method is to program beats with a drum machine approach by looping playback and adding a layer during each pass or take in Overdub Mode.

Program beats with a MIDI controller or input insert them in. The real difference is in how you go about linking ideas, loops, and phrases together. As far as producing a beat, the process is still a linear concept, but you are working with vertical tracks and scenes as opposed to horizontal tracks along a timeline. In the Session View, there is no timeline.

Instead, you will create clips that loop and scenes rows of clips to launch simultaneous clips your loops in this case. When you wish to make forward progress or move to a new groove next song section or new loop , launch the next clip s or scene.

As you can tell, herein lies the departure from linearity. The point to understand is that producing a beat loop in the Session View is a linear process, but linking loops and song segments is not. With your Live Set in hand, Session clips laid out into scenes, and a little inspiration, you can perform and even improvise your music from the stage — never missing a beat. Of course, you can use Live to play any number of virtual instruments in a performance situation, but Live is a lot more than that.

The true linear performance aspect is in the ability to open a Set and playback a predesigned song from the Arrangement 79 Ableton Live 8 and Suite 8: Create, Produce, Perform while performing with it as a band or solo performer.

Another idea would be to playback your arrangement while performing additional parts and clips in real time from the Session View. Finally, you might launch your entire song from the Session View generating a predesigned arrangement in real time while making a few game-time decisions about the performance.

You could even globally record your Session performance onstage while performing! Since the last idea borderlines on nonlinearity, we will move on, but before we do, understand that in the real world, you will always walk the line between the linear and nonlinear aspects of Live.

Now you do! We have already hinted at ways to perform with Live in a nonlinear fashion and are sure you are already dreaming up a million ways to do so. On the other hand, you might be thinking, how can I take advantage of this as a singer songwriter or producer? One of the easiest ways to work in Live is to use the Session View to experiment and sketch out modular ideas.

There is no timeline; therefore, you can just keep running the clips as long as you want. For example, you could launch a loop and let it keep running. This could be an audio loop or a musical line you play in yourself. Either way, you can test them out together in any way you like. Drag in other loops or ideas from the browser and just start building music as you go. Once you have your performance idea recorded, you can then bring the arrangement clips into the Session to create a scene while clips are still running and looping.

In the same vein, if you already have an arrangement but want to change it or create new ideas to add to it, just use Global Record. Play your arrangement and when ready, togFigure 4. Similarly, you can experiment with alternate clips and at any point return back to the arrangement by clicking the Back to Arrangement button.

You can even Hot-Swap. Even more intriguing, think about a song you want to remix. Normally, this would be on a timeline locked to a linear grid. Now, think of the Session View as the multitrack session, free of a timeline.

There you will be able to listen to the song sections in any order you wish. Launch the hook whenever you like. Swap out the accompaniment or groove with a new one or one from another song.

The real-time capabilities and control are unreal. Ableton has made it very easy to use Live as an instrument.

You cannot say that about any other DAW software out there. For example, while playing a song from the Arrangement View, you can use the mouse pointer to move around and Figure 4.

On the basis of Global Quantization Menu settings, you can vamp and loop sections as long as you like. There are simply no rules governing what you can do. On top of that, with Global Quantization, you never miss a beat! Whether working as a DJ or performing with a band, you can launch audio and MIDI clips while mixing and effecting your music in real time. It all starts out with preexisting Session clips. This can be a complete song, basic foundation of a song, or a bunch of loops hopefully organized.

Simply start playback and launch and manipulate audio, MIDI, and effects however and whenever you like. You can dial up instruments, effects, and drop clips of all sorts. The truth is, you will not perform with Global Record per se but rather employ it to predesign elements of your Set for use and interaction onstage. What you can do is. That means when all is said and done, you have your entire performance logged into the arrangement for use later! Thinking out of the box, you can also come up with creative ways to incorporate Global Record into your performance, such as recording an impromptu section then pasting it ahead or pulling it into the Session as a scene, etc.

When all is said and done, you will have a sequenced performance. This is where Live records and stores all your actions, movements, and commands.

You can record clips, Clip Launches, clip manipulation, mixer automation, and device automation. As a Live user, you will also edit and alter clips and clip sequences. The Arrangement View layout is very straightforright of the Main Screen ward. Just like any other digital audio workstation DAW , it consists of horizontal tracks that host track clips and manage audio signals. This includes virtual instrument plug-ins, external audio input sources, insert returns — delays and reverbs, and a Master track.

Track names are located to the far right of track display. The triangle to the left of the track name is the Unfold Track button. Click this to view track contents MIDI events, waveforms, breakpoint envelopes and to make selections within a track.

The numbered yellow button is called the Track Activator. This solos a track, isolating it during playback. To learn about the Cue feature,. The last button on the right is Arm Arrangement Recording, launch to or as we call it, Track Record button record-enable.

It can have many names. The Mixer Section is where volume, pan, sends, automation lanes, and envelopes are displayed and adjusted. If you do not wish to have these parameters in view, then you can hide them.

Zooming and scrolling through the Arrangement View and displays is very different than most of the common zooming features found in word processing, Internet, and other audio 86 Arrangement View Concepts production applications. Navigation primarily takes place via these two rulers or from the Overview.

The Overview is a horizontal display located directly below the Control Bar. Figure 5. Also used for navigation and zooming. The Time Ruler runs parallel to the Beat Time Ruler and is located at the bottom of the track display. Placing your mouse over any one of these areas will cause the mouse pointer to switch to a navigation tool. Keep an eye on the bars and beats displayed on the Beat Time Ruler to get a sense of where you are along the timeline.

As you zoom in, more bar numbers will be displayed indicating your exact location. If there is a selection made, doubleclicking will zoom in to show the selection. Zooming around the Arrangement View will take practice! It should be pointed out that the Overview does not display the arrangement true to scale. This means that it does not physically take up the same screen space as the track display does.

In other words, be careful where you click along the Overview or you might end up very far from your desired location. Take notice of the Zooming Hot Spot to help narrow in on your location. Depending on how you like to work, you can also have the display autoscroll during playback with Follow activated or stay focused on the current visible song position.

Follow is located on the control bar transport section. As mentioned, you can scroll through the arrangement via the Time Ruler. A hand-shaped scroll tool will appear when the mouse pointer is placed over the Time Ruler.

The hand tool is for scrolling only. In this way, you can also allow for vertical scrolling. While playback is running, it displays the current arrangement position by following playback. The exact position is displayed as [bars. This will move the Arrangement Insert Marker to your desired playback start location.

You can also achieve the same result by clicking your mouse pointer in the track display on or around the location you wish to start playback. After an insertion is made, press play. The Play, Stop, and Global Record buttons are fairly self-explanatory. They function just like any other DAW. This area is located between the Beat Time Ruler and the track display.

Click anywhere in the Scrub Area to Figure 5. If disabled, you must hold the Shift key while clicking in this area to affect playback. Locators can be added during playback or when the arrangement is stopped. They appear along the Scrub Area as a triangle connected to a vertical line that extends vertically across all tracks. It will prompt you to create a name for the Locator. Locator controls are directly above the track names next to the Scrub Area. This button provides the fastest way to create and delete locators.

When adding locators during playback or recording, they will be inserted according to the Global Quantization setting. When not in playback, they are inserted wherever the Insert Marker is or where your selection begins. Locators make navigating and launching sections of an arrangement as simple as a mouse click. A single click on a locator will move the Insert Marker to that locator.

Double-clicking will start playback immediately when the arrangement is not in playback. Jumping or launching from markers during playback or recording is also subject to the Global Quantization. Locators can be triggered via MIDI or computer keys per custom assignments. Remote controls are assigned through. They move along the grid based on the Snap to Grid Marker Snap setting similar to quantize settings. Both menus offer a choice of grid values for snapping and inserting made while working in the Arrangement.

There are two setting types: Adaptive Grid and Fixed Grid. For example, with a wide grid you may only snap at every two bars, but as you zoom in, it may snap at every two beats. The Fixed Grid is independent of zoom. It remains set to the value you have chosen.

Pick a Set and double-click it to load it up. This will be useful for putting Live concepts to practice as we explain them. If you have made a selection within the track display, playback will commence from that point when you press the space bar. When launching from a locator during playback or record, playback will jump to the locator position on the next global quantization value.

It is very common for Session clips to sneak into playback by accident. Simply ensure that the Back to Arrangement button is not illuminated red. If so, click it to revert to the stored previously recorded arrangement. This happens anytime you launch Session clips or adjust any parameter that has automation written into the Arrangement, indicating that some or all Arrangement tracks are bypassed and not playing back from the stored arrangement.

In this case, the affected arrangement tracks will be grayed out in the. Arrangement View. More on this concept in clip 5. In general with looping playback, you will make a timespan selection that you can listen to over and over again. In this way, loop-enabled clips are dragged out extended to repeat or duplicated many times to function as part a musical element of your arrangement.

Drum loops are a prime example of this type of looping. For now, we will focus on looping playback segments of the arrangement for tasks such as editing, mixing, and recording purposes. For and. For looping an in-depth look at looped clips, launch to. The Loop Region is indicated by the Loop Brace, a grey box with triangle bookends, and can be moved by dragging that box horizontally along the Beat Time Ruler.

It can also be shortened or lengthened as desired. The concept here is really no different than any other DAW. The latter will come with time and practice. Selections are indicated with yellow 94 Arrangement View Concepts highlighting.

To select an entire clip, click on the colored title bar at the top of the clip. You will then see two triangular arrows appear on both sides of the clip. Once you make a selection in the Arrangement, playback will always begin at the beginning of the selection until changed. Unless a track is unfolded, you will not be able to see the highlighted selection of a clip. It must be unfolded to reveal the highlight.

To unfold a track, click the Unfold Track button, a triangular arrow next to the track name by the mixer section. You may also adjust the height of tracks to unfold or resize to your liking by dragging the dividing line between track names and unfold buttons. Making an insertion or selection is governed by the Snap to Grid settings.

This means that the insertion marker will align to the nearest visible grid line. These are just of few of the features incorporated as standard editing functions necessary to edit your arrangements! This is no different than any other DAW software.

This will split the clip in two. You can also split a clip by making a selection; therefore, isolating a portion of the clip. Unfold the track, and then make your selection of the waveform or MIDI display. After you split the clip, it will turn into three pieces three clips. Remember, insertion is based on the snap settings. Alternatively, Live will automatically split clips for you when you drag a clip selection to another location.

Once selected, you can drag the isolated beat or a Drum directly into a sample-based instrument such as Impulse. Launch to these sections for more. Rack Figure 5. The result is three clips. Arrangement View Concepts 5. Other DAWs use different names for this function. This will join the clips together creating a new audio or MIDI clip. If you want to include silence before or after the new clip, simply extend your timespan selection to include silence preclip or postclip.

Keep in mind that you need to unfold a track when choosing a discrete selection smaller than the whole entire Arrangement Clip. In this way, a selection can be repeated along the timeline as a discrete copy.

You can select a portion of a clip s , entire clip s , or a selection that extends before or after a clip s edge. These commands affect the overall time of the Arrangement, each adding or removing a timespan from it.

This means that by adding or removing time, all tracks and clips will be shifted in time or removed from the Arrangement to accommodate the command; therefore, shortening or lengthening the overall duration of the song.

To execute one of these Time Commands, all you must do is make a selection on one track and then initiate the command. The rest of the tracks will be displaced automatically. Now your selection will have been duplicated immediately after Figure 5.

If you had used the traditional duplicate command, the duplicate would only be of the selected clip s and overwriting any clip s in the way while maintaining the current length of the song or arrangement.