$Page Creative Extensions

$TargetName CreativeExtensions
Creative_Extensions-260x260.png

*Welcome to Creative Extensions*

A collaborative effort between Ableton and $Link Amazing Noises

<http://www.amazingnoises.com>, Creative Extensions comprises tools designed to
enhance and expand the punch, color and texture achievable with Live. This
collection includes new ways to pitch shift and sequence melodies and delays,
creative and characterful studio processing, a device that creates ethereal,
reverb-like spaces, and two revamped Max for Live synths.

Click on the following links to learn more about the individual devices.

*MIDI Effects*
-> $Link Melodic Steps <GotoPage:MelodicSteps>

*Audio Effects*
-> $Link Pitch Hack <GotoPage:PitchHack>
-> $Link Gated Delay <GotoPage:GatedDelay>
-> $Link Color Limiter <GotoPage:ColorLimiter>
-> $Link Re-Enveloper <GotoPage:Re-Enveloper>
-> $Link Spectral Blur <GotoPage:SpectralBlur>

*Instruments*
-> $Link Bass <GotoPage:Bass>
-> $Link Poli <GotoPage:Poli>

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More Packs available here:

$Link www.ableton.com/packs <http://www.ableton.com/packs>

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$Page Melodic Steps
$TargetName MelodicSteps

Melodic_Steps_Crop.png

*Melodic Steps* is a fast and intuitive MIDI sequencer that generates evolving
melodies with just a few clicks. Use it to create quick variations and polymetric
patterns, or simply randomize your results.

The interface is designed for play, encouraging experimentation and new

discoveries. No numeric values are displayed for the steps. instead, the idea is to
play intuitively with its controls, as opposed to making music by numbers.

Steps can be tweaked either directly via click + drag, or using the random and
reset buttons available for each timeline. A distinctive feat is the ability to
offset the various timeline lengths (from 2 to 16 steps), so that each iteration
will sound slightly different due to how these overlap. You can resynchronize the
timelines any time via the Re-Sync button.

The sequencer normally follows transport, and a MIDI note input can be used to
change the root note in real time. When the “MIDI” button is active, the sequencer
will instead only play back the timelines as long as a note message is being held,
thus making the device work as a basic arpeggiator.

The timelines control:

-> Octave: Transpose the step +/- 3 octaves

-> Transpose: Transpose the step along the scale selected in the Scale and Root
chooser
-> Length: Step length
-> Velocity: Step velocity
-> Chance: Set the likeliness of a step being played

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Next page: $Link Pitch Hack <GotoPage:PitchHack>

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$Page PitchHack
$TargetName PitchHack

Pitch_Hack.png

*Pitch Hack* is a one-stop device for various pitch-related effects. At its heart,
Pitch Hack is a single delay line with transposition control in both semitones and
cents. Besides pitching the incoming signal in real time, Pitch Hack can reverse
the audio, randomize the transposition interval and fold the delayed signal back
into the delay line.

-> Interval: Transposition in semitones of the delayed segment

-> Fine: Fine transposition of the delayed segment in cents
-> Var: Random variation of the interval transposition. A random value between 0
and this parameter is chosen for each segment of transposition (see Rate)
-> Rate: Length of segments of transposed signal
-> Reverse: Probability for a segment to be played in reverse
-> Recycle: Amount of transposed signal sent back to the delay line
-> Level: Gain of the delay line

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Next page: $Link Gated Delay <GotoPage:GatedDelay>

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$Page Gated Delay
$TargetName GatedDelay

Gated_Delay.png

*Gated Delay* creates sequenced delay effects. A gate sequencer sends the incoming
signal to a delay line on activated steps. This is like a send effect that is
turned on and off in a defined rhythm in sync to the music.

Controls allow you to adjust the length and rate of the steps, whether the dry
signal is audible on deactivated steps, the ratio of the delay rate to the step
rate, step randomization, feedback and more.
-> Steps: Length of the Gate Sequence
-> Rate: Rate of the Gate Sequence in note values
-> Smooth: Fade in/fade out time in milliseconds when the gate is opened or closed
-> Delay: Delay time relative to the step length. When it is 1 , the delay has the
same length of the step, when it is 2 is twice the step, when it is 1/2 it is half
the step, and so on
-> Random: Random variation of the delay time
-> Feedback: Feedback amount
-> Insert/Gate toggle: In Insert mode the dry output is active when the gate is
OFF, in Gate mode the dry output is muted when the gate is OFF
-> Delay Vol: Gain of the delay line

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Next page: $Link Color Limiter <GotoPage:ColorLimiter>

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$Page ColorLimiter
$TargetName ColorLimiter

Color_Limiter.png

*Color Limiter* offers a special flavor of limiting inspired by the gritty sounds
achievable with hardware limiters. Controls are provided for input level
(Loudness), threshold (Ceiling), Lookahead, Release and the all-important
Saturation and Color parameters that are the key to its characterful sound.

-> Loudness: Input level

-> Ceiling: Threshold level
-> Release: Set the time the limiter takes to return to the full amplitude when the
input sound goes below the threshold (Ceiling).
-> Saturation: Further boost the output volume and generate distortion
-> Color: Frequency response of the saturation. Low values produce darker sounds
-> Lookahead: Set the time the limiter is given to know the sound trajectory in
advance and to modify the amplidude accordingly

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Next page: $Link Re-Enveloper <GotoPage:Re-Enveloper>

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$Page Re-Enveloper
$TargetName Re-Enveloper

Re-Enveloper.png

*Re-Enveloper* is a multiband envelope processor. The input signal is first divided

into three adjustable frequency bands. Then an envelope is imposed on each band,
which can be compressed or expanded.

-> Freq1: First split frequency for the three bands. The low band is between 0 Hz
and Freq1, the middle band is between Freq1 and Freq2
-> Freq2: Second split frequency for the three bands. The middle band is between
Freq1 and Freq2, the high band is above Freq2

Parameters for each band:

-> On/Off: Toggles the band on and off

-> Vol: Volume
-> Attack: Responsiveness when the envelope is ascending
-> Release: Responsiveness when the envelope is descending
-> C/E Factor: Compressor/Expander factor. With positive values the envelope is
compressed (the difference between the softer and the louder parts is diminished),
with negative values the envelope is expanded (the difference between the softer
and the louder parts is augmented)

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Next page: $Link Spectral Blur <GotoPage:SpectralBlur>

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$Page Spectral Blur
$TargetName SpectralBlur

Spectral_Blur.png

*Spectral Blur* creates reverb-like sounds and textures. A user-defined frequency

range of a signal is blurred to create a dense cloud of sound. This device is great
for sharp filtered effects with narrow bandwidths, or to spread your sound across
the whole spectrum.

-> In/Out switch: In the In position, the signal between Freq1 and Freq2 is
processed. In the Out position, the signal outside Freq1 and Freq2 is processed
-> Freq1, Freq2: Set the frequency range of the blurred signal, based on the
setting of the In/Out switch
-> Residual: The amplitude of the unprocessed components
-> Halo/Freeze switch: In Freeze mode, the blurred components are frozen, and the
Halo parameter has no effect
-> Halo: Sets the length of the blurred grains
-> Delay Comp: Delay compensation for the dry signal, when perfect synchronization
with the processed signal is required
-> Wet Gain: Volume of the effected signal

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Next page: $Link Bass <GotoPage:Bass>

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$Page Bass
$TargetName Bass

Bass_Crop.png

*Bass* is a virtual analog, monophonic synthesizer that brings the whole sonic
palette from deep and classic to heavily distorted, rumbling bass sounds.
*Oscillator Section*

There are four separate virtual analog oscillators: Sine, sawtooth, triangle and
rectangle, each with independent volume controls. The latter two also provide
varying pulse width, and all oscillators can be detuned against each other using
the Analog control. The Tune button lets you tune each oscillator +/- 12 semitones.

The Suboscillator consists of a single sine wave generator which can be distorted
using its Tone parameter to create a wide harmonic spectrum. You can send the
suboscillator through the filter section or bypass it using the 'Thru' toggle.

Bass features a dedicated section for Hard Sync and Ring Modulation, whose
parameters are shown below the oscillators, plus an additional control for using
the amplitude envelope to adjust the pitch of the Sync or Ring modulation. The
tuning frequency for Sync and Ring Modulation can be further adjusted by using a
single parameter.

*Filter Section*

Bass comes with five different filter types. 'LP' and 'LP2' differ substantially in
the way they modify the signal, with each providing a unique sound shaping
characteristic. All filters feature Cutoff and Resonance parameters. Cutoff can be
modulated using the filter envelope via the Filter Env dial. The Drive parameter
overdrives the signal before it is passed to the filter.

*Modulation*

The LFO offers several waveforms and an optional Fade-in parameter to smoothly
fade-in its amount when a note is played.

The two Envelopes use non-linear shapes. The range of the Attack, Decay, and
Release portion may also be extended using the Env Time multiplier.

*Master Section*

The Master section comes with coarse and fine tuning options to modify the pitch
on-the-fly, allowing for coarse to microtonal detuning. Finally, a global
Distortion knob adds saturation.

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Next page: $Link Poli <GotoPage:Poli>

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$Page Poli
$TargetName Poli

Poli_Crop.png

*Poli* is a classic sounding virtual analog synthesizer designed for chords and
polyphonic phrases. Its character comes from detuneable oscillators, a diverse
modulation section, and a built-in chorus.

*Oscillator Section*
The oscillator section contains five individual sound generators with independent
volume control. The Saw, Pulse and Sub oscillators are virtual analog. The pitch of
the Saw oscillator can be modulated by the Pulse oscillator signal using the XMod
control to create subtle to harsh timbral variations. Sub is also a pulse wave, but
transposed either one or two octaves below the main pitch and adds a rich bass
tone.

Ring is an oscillator that creates a signal by ring modulating the Pulse oscillator
with a sine of a given frequency that can be adjusted using the Freq parameter and
a Key-tracking amount. The Noise knob adds white noise to the mix.

*Filter Section*

All oscillators are fed into a high pass and a low pass Filter. The low pass has a
Resonance parameter and can be modulated via Key-, Velocity- and Aftertouch-
tracking for performative control of the filter's cutoff frequency.

*Modulation Section*

At the core of this section is a modulation matrix with three sources - LFO, Filter
Env and Amp Env -, and seven targets. Simply click and drag an entry in the matrix
to apply modulation to a target.

The LFO can either be set to free-running (with optional retrigger on note-on) or
synced to Live's transport. Several waveforms are selectable, and the LFO rate can
be further modulated via the filter envelope in the matrix.

The two envelopes have analog, non-linear shapes for a natural response. The filter
envelope has an additional Loop button, which turns the envelope into an LFO whose
rate is determined by the Attack and Decay settings.

*Master Section*

The built-in Chorus has three modes. Mode A is a soft and subtle effect, while B is
a classic string chorus. Mode C is an aggressive 'rave'-type effect with a
distinctive character.

Random Pan adjusts the amount that each note will be panned randomly either to the
right or left channel for a classic stereo effect.

The PBend control defines how much a pitch bend wheel will be able to change the
synthesizer's pitch. The switch beneath determines whether pitch bend affects only
the saw signal or all oscillators.

The master section also contains polyphonic Glide with a glide time adjustable
between 0 and two seconds. Lastly, you can switch between Poly, Mono and Unison
with adjustable spread.

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