Ableton/Live/UG/08 Clip View/04 Audio Utilities Panel
- Audio clips' panel for warping, reversing and external editing, tempo, gain and transposition, plus toggles for edge fades, RAM Mode and high-quality interpolation.
- With Warp off, a sample plays at its own tempo, right for hits, atmospheres, effects and speech. With Warp on, rhythmic material follows the Set's tempo as it changes.
- Live works out tempo and length for well-prepared loops; other samples may need hints. See Ableton/Live/UG/09 Audio Clips Tempo and Warping.
- Reverse writes a reversed copy of the sample and swaps it into the clip; it's saved under the Project's Samples/Processed/Reverse, or the Temporary Folder until the Set is saved.
- Warp Markers stay fixed to the sample, so they flip (a marker on bar 2's downbeat ends up on the second-to-last bar), and loop and region settings flip too. Clip envelopes stay fixed in time.
- Long samples show progress in the Status Bar and briefly lock editing, though playback continues. Live remembers both versions until it quits, so reversing again is instant.
- Session View reverses one clip at a time; in Arrangement View, select a range and use Reverse Clip(s) or
R. Avoid reversing during a performance: reapplying settings can glitch.
- Edit opens the sample in the external editor set in File & Folder Settings. Playback must stop while you edit.
- Warp Markers survive only if the length doesn't change, and the edit affects every clip using that sample.
- The Clip Fade toggle adds a 0 to 4 ms fade, depending on the signal, at the clip's start and end to prevent clicks. Session clips only; Arrangement clips use their fade handles.
- It's on by default when Create Fades on Clip Edges is on in Record, Warp & Launch Settings.
- RAM Mode loads the clip's audio into memory instead of streaming it from disk. It helps when the disk can't keep up with many tracks, or when Legato Mode causes dropouts.
- Use it sparingly: if RAM runs out the system swaps to disk, and swapped audio arriving late causes both mutes and rhythmic hiccups, worse than a disk overload's mutes.
- High Quality uses a better sample-rate conversion algorithm at higher CPU cost, with less distortion, especially in the highs, when transposing or converting sample rates. Transposition of about 19 semitones either way stays free of audible aliasing.
- Gain, in dB, sets clip gain; split handles show the range when several clips differ.
- Pitch transposes in semitones, with a second field for cents (100 cents per semitone).