![]() Linking to piracy-centric subs also prohibited. Advocating, asking for, or giving advice on how to pirate is prohibited. Participate in good faith and avoid being mean, condescending, or outright insulting other users. We don't want to see your floor mat that looks like the Ableton logo. Memes and shitposts have been deemed by the community as non-Ableton stuff. Everyone should bookmark the Live manual, for it loves you. ![]() Rules :ĭo not tell people to RTFM (read the fucking manual) unless you're also posting the specific section that covers their inquiry. so we're here to help.įeel free to volunteer great resources you find on the net regarding writing music, the Ableton DAW, or tutorials and the like. Making them do sample level editing of their track first is madness.Tips, tricks, and honest community help for the simplest of problems you may be having no matter if you're a newb or a master. They can just about cope with drag and drop to an SD card. Think of the poor techno luddite who just wants to copy a backing track onto aeros. I think you and I would certainly agree that storing the seam samples in the file is very poor UX. The ultimate solution is probably a separate file because everyone could get what they want with that mechanism. I find that nicer as a model of looping personally. Obviously we don’t want to have to play three times to create a looped phrase, so what can we do instead? Well we can do the overlap mix I described to make the loop closer to what it would have been had we recorded the second of three. I think this is the purest form of a loop and it’s not the same as hard cutting a phrase. Another way of thinking about it is that someone magically recorded an empty wav of exactly the right length and our first recording was done as an overdub… It has no beginning or end because you could have started the overdub anywhere. So the beginning of the recorded loop contains the join from the end of the first loop (best example would be the reverb trails) and the end of the recorded loop includes the anticipatory playing for the start of the third repeat (for example, finger slide noise positioning ready for chord 1 again). The best approximation of this is when we play through the phrase three times and record the middle one. It should be viewed as a slice from an infinitely repeating signal. However, my counter is that a loop file is not the same as a normal recording. I don’t feel strongly enough that I’d really mind a separate file. If you’re running 32 bit Linux you’d be limited to 2G of wav, but that’s probably okay in this application (and it’s a lot more than the 2.5 minutes you’re currently limiting to). Linux will flush the changes to SD as time slicing allows. And probably, if you’re using Linux underneath as the operating system (I guess you are given the boot time and limited resources for becoming driver developers for a custom OS) it would take care of you if you simply mmap the loop file anyway. ![]() ![]() But I don’t think it’s a huge ask for a decently specced SD card. ![]() If it were me implementing it, and bearing in mind that the wav should be getting streamed live to SD card not to memory, it would mean rewriting the front of the wav file on loop close. No need for seam file, and no need for confusing extra samples at the end of the stored wavs. That would remove any click from a non zero sample at the loop point.Ĭross fades when you’re changing loop file then fade the samples from the front of the previous loop into the beginning of the new loop. You can hard wire the fade out when you add them. These wavs are loops… They should be mixed and added to the first 360 samples of the loop file (if at all). The extra 360 samples shouldn’t be added to the end of the loop file or in a separate file. No, you’re not crazy we actually had to add a bit to every recording to keep pops from happening, if you remove exactly 360 samples/frames from the end of the file at 44.1kHz, you will be good!Īn idea occurred to me to pass on to the devs. ![]()
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