The PerforModule Key Map Template for Ableton Live 11: mapping computer keyboard keys to as many potentially helpful functions as practical.
There are three parts to the template: •a Live Set pre-loaded with the recommended key mappings, •a Diagram showing color-coded key functions, and •a Spreadsheet listing custom-mapped and built-in key mappings, also explaining some quirks.
Mosey on over to this dropbox folder to download the Key Map Template Live Set, Key Map Plan Diagram, and Spreadsheet Guide. Read on for nauseatingly meticulous details below.
One of the most popular PerforModule articles to date is How to Organize User Plugin Presets Like a Boss in Ableton Using the Hidden Architecture and it’s understandable — it’s very helpful to be able to integrate one’s own presets into the browser’s organization structure. And it’s pretty simple to accomplish. Read that article for an in-depth rundown on the topic in which is also explored further customization options for the truly OCD, if you have the desire. Or just read on for a briefer summary…
•Basically, if you place your User Library presets into folders with the same specific names as the built-in categories, those presets will now also appear in their respective category folders in the browser.
Live 11 Has updated the default categories, adding a handful of new ones which is good news to me, since i’ll be able to integrate more stuff with the built-in system. Some of the choices are a bit odd… but hey, whatever.
Click here to download the blank category folders, and/or copy the following lists for reference.
Packification So i recently helped our mutual friend Brian Funk reorganize his Live Pack Archive, a $10 massive grab bag of Ableton Live goodies assembled from the freebies that he’s been steadily churning out over the years, all the way from the very first pack in 2011 to the contemporary 200th. It’s a lot of stuff! Judging by the plethora of 5-star reviews of the product on gumroad, it seems like people dig it.
Ah, Convenience Sure, you could go download all this stuff one at a time methodically blog post by post. However it’s much easier to just pay the convenience charge and get all the stuff in one bulk download. This collection has been on offer for a while now, but they were basically presented in a big pile of folders. Fun to scout around for sure, but not exactly optimal when it comes to workflow convenience. Power Up! Aha! See, now the collection is even more splendid, as all the devices come consolidated in two mega-packs with similar categories of sounds, effects, and clips sorted logistically for quick perusal and easy implementation directly from the Live browser (including signal previews). Find, grab, and use the stuff you want instantly. It’s very handy and nice. But… the price is still the same? What!? Crazy, i tell you!
Partake Sound intriguing? Well then why don’t you pull up a chair, situate your ass real comfy, and grab yourself some.
Well, now we’re ratcheting it up a level to give you ultimate control of your own personalized device organization structure, with the ability to decide exactly what those categories will be.
If you’re like me, you’re obsessed with systematizing your production tools and resources into a cohesive configuration, making it easy to access what you want when you want it, for maximally optimized workflow when diving into creativity.
While working along with the default categories for years, i was never quite fully satisfied by Ableton’s built-in selection of available choices, so i did some research and testing and determined that it’s not only possible, but actually fairly easy to set up your own custom categories. The trick is to plan things out logistically.
If at this point you have no idea what i’m talking about, please check out the above-linked blog post for background on how Ableton’s category structure works. Then come back here and continue on. The gist is that by including devices in folders of particular names, you can get them to automatically show up in Live’s Core Browser. Normally, we’re relegated to using the default built-in categories that Live comes supplied with. All PerforModule Premium Packs are set up with devices like this, so they install and devices show up in the Core Library for anyone who purchases them. But now, should you want to, you can modify those actual categories. Sweetness.
Virtual Folder Config
The trick to setting up your own categories lies with the VirtualFolders.cfg file.
VirtualFolders.cfg Locations (for Ableton Live 10, similar for Live 9)…
PC: C:\ProgramData\Ableton\Live 10 Suite\Resources\Core Library\Ableton Folder Info
Mac: Ableton Live Application (show package contents) > Contents/App-Resources/Core Library\Ableton Folder Info
Always Back Up!
When starting out on this mission, firstly save a copy of the original VirtualFolders.cfg file in a safe place in case you make a mess out of things and need to restore the default state. You can always reinstall Live to do so as well, but that’s not necessary if you back up the file.
In addition, you definitely, absolutely will want to save a backup copy of your own custom-crafted VirtualFolders.cfg in a safe place, because every time Ableton updates Live, it will get overwritten and you’ll need to replace it (just like with Themes aka Skins). Maintaining a backup of your custom configuration is essential in order to continue using it in the future, so do not forget to save a copy of it after you complete it.
Your Custom Configuration
If you open up the VirtualFolders.cfg file in a text editor (such as the recommended Sublime Text 3) and gaze around at it for a while you’ll get an idea for how things work.
Virtual Folders are arranged in Groups. Each Group can include an arbitrary number of Virtual Folders, which will be the names of the folders that show up in Live’s browser. Each Virtual Folder allows two parameters: the Name (a single string of text that will show up as the category title), and the Patterns, a list of text strings which will trigger search results for devices in that category. Neat!
To set up your own system, simply alter the existing entries, and/or add your own new ones. I would recommend starting slowly, perhaps by adding in one new category to one group and testing it out, before planning a major overhaul to the entire scheme. Be extra cautious about deleting existing options, since while doing so won’t affect any devices directly, it may reduce your ability to easily access certain existing patches.
In the image below, see how on the right i’ve added the “Chiptune” Virtual Folder to the Drum categories. Now i can find chiptune-style drum hits easier. Radical.
After you backup both the original and your new configuration, replace the original with the new one, restart Live and check out what happened. Chaos? Euphoria? Now ponder whether you made a wise decision.
PerforModule’s Configuration Strategy
I’ve found Ableton’s default categories for the Sounds group to be mostly adequate, and so i haven’t altered much there. Notably, i’ve removed the “Booms” entry (new with Live 10), which i find useless and annoying to exist as its own folder, since anything i’ve found that could be classified as such could instead fit into a more appropriate category.
Because i was already invested in having sorted thousands of patches into the existing categories, it made sense for me to keep them, but perhaps in your case it might be a good idea to reassess the default categories and use ones instead that make more sense to you. Perhaps you would prefer to have multiple categories of basses available, for example—coordinating your clean, distorted, and wobbly bass patches separately. I might change “Synth Misc” into “Chiptune”, since that’s basically what i use the category for anyways…
Note that the Drums group is for drum hits, not drum racks. (Unfortunately, i’m still not sure of a way to suavely organize drum racks by type, so for those i still use User Library folders.)
The AudioFx group is where i’ve shifted stuff around a bit more.
The “Analysis” category is added, and it is much welcomed. “Distortion” has keywords added so that degradation effects show up there. Various effects previously crammed within “Mixing & Mastering” have been granted their own categories… I’ve added a “Compression & Transients” category to align with the Elemental Mixing Template. “Gating & NR” category for dynamics-increasing and noise reduction effects. “Console & Saturation” has been added as a category, since i tend to use those for different purposes than more overt distortions. “Delay” (previously placed inside “Modulation & Rhythmic”) now has a dedicated category. “Enhancement” category added for exciters and other special-purpose, hard-to-categorize processors. “EQ” now has its own category apart from “Filter”. “Generative” category added for audio effects that generate sound. “Channel Strip” category added for multi-effect chain plugins. “Loudenating” category (shoutout to chris from airwindows for that term) added for limiters, maximizers… things whose purpose and result is to make stuff louder. “Multiband Dynamics” category added, because those beasts are unique and special-purpose enough to have their own demesnes. “Parameter Control” category because all those MaxForLive gadgets are so damn nifty to have on-hand in an accessible fashion. “Routing and Playback” for all the odd toys that do strange things with channel routing, signal sending, and et cetera. “Verb” because why the heck is there not a reverb category to begin with? They used to live in “Space”, which now i can designate only for things to do with stereo panning, perceived positionality, phase, and depth of field. “Drums” and “Instrument” still exist as effect categories, and are used for instrument-specific plugins (examples: eddie kramer DR, bass professor).
Should you use the same custom categories as me? Probably not. But you can use these examples as thought-food to inspire your own devious system planning that suits your particular preferences.
“I can just custom organize stuff however i want in my User Library, and ignore the Core Library. What’s the practical point of this?”
I dunno… i guess if you’re an anal-retentive nerd. It just streamlines stuff and feels like a cleaner, more unified experience. If you can’t see the appeal, then this is not for you. Have fun with your disorganized midden heap of chaotically-organized junk. Just kidding. It’s all love. Well, mostly.
As swagtastic as implementing a custom system in this way feels, it’s still far from perfect. There are various improvements that could certainly be had.
Being able to classify individual Samples, Loops, and Clips might be kinda neat. As mentioned above, drum racks don’t count as a group like the other device types, and that’s kinda dorky.
Being able to access things with a sort of tag-style metadata system might be more elegant than folder trees. I know some DAWs can do this.
Brand new plugins… promotional sales on plugins… they are SO tempting. But do you really need that new compressor plugin that just dropped?
In order to assess which plugin types are lacking in your toolbox, i recommend making a spreadsheet of all the plugins you own by category. You might discover, as i did, that you have such a vast variety of compressor options to choose from, it’s likely that you won’t benefit a whole lot from purchasing any more of them. You also might discover, like me, that you’re somewhat lacking in gate plugins, and could indeed benefit from picking up a few new models. Etc… Continue reading →
As curator of Isotonik Sounds packs for Ableton Live, i’ve gotten the chance to preview some amazing material. It’s been a great honor to be tasked with pinpointing unique and interesting artists and nurturing their product development. -animus invidious Continue reading →
So i’ve been delving into the Ableton Live 10 Beta for a little bit now, did a couple of large mixes and some experimenting with it, and have accumulated a fair impression of how it differs from Live 9.
Ableton Live 10 ~ What’s to Like?
I’ll run over some of the things i’ve noticed in particular which stood out to me, while slipping in mentions of more minor program enhancements. Everything i explain below i will have confirmed personally with Live 9 and Live 10 side-by-side testing.
You’ll notice i completely ignore some new features. These are things i’ve either not tested yet, don’t care about, or would take too much time to dive into properly here. I not even touching on the new instrument or effects (yet…)
My overall impression of Live 10 is that they added in a lot of workflow improvements i didn’t know i wanted. Continue reading →
I was super stoked to be a guest on the AfroDJMac Music Production Podcast. Here’s your chance to hear my actual, real-life voice(!) The sound quality on my side is not wonderful since i was recorded over skype, but whatexer. I had a great time chatting with Brian about random stuff… the conversation decided upon its own meandering path, touching on various topics including the crafting and sharing of Ableton Live racks, VST hoarding, my custom Elemental Mixing template channel strip database, workflow optimization, cassette processing, dynamic contrast between songs on albums, and even the Legend of Zelda (nerds). All in all it was a very invigorating experience and i definitely wouldn’t turn down being a guest again at some point in the future. I myself have quite enjoyed the other podcasts, as they contain a plethora of unconventional tips which are superb for kick-starting the creative juices.
Oh, and we also dropped a couple free audio effect racks for you to grab, including something i brainstormed up quite a while ago and finally implemented perfectly: ‘Dynamic Panning’ (compresses in one direction while it expands in the opposite for source-reactive width modification).
You already know that you can hit the “delete” key on any parameter in a device to return it to its default position (or, in Live 10, double-click it).
But did you know that if you save a preset as a rack and then tweak a macro (after re-opening the version you saved), you can hit “delete” to return to whatever YOU set as the default position for it?
When you hit “Delete” on a macro of a plugin (Ableton Core or VST/AU), it returns to that plugin’s default position, which cannot be changed (set per plugin device).
So like if you drop Ableton’s “Chorus” effect on a track and mess with parameters and hit “Delete” on them, they will return to the Chorus Device’s default positions for those parameters. But sometimes you may not like having those pre-chosen values as the defaults to snap back to. The solution is to use Racks!
For saved rack presets in your library, the “Delete” key on one of the 8 macro knobs will return the value of a given macro knob to the position it was set at when it was saved (the “default position”).
[Note this does NOT work with the chain selector or chain volumes. Hitting “Delete” on the chain selector returns it to 0 and hitting “Delete” on any chain volumes returns them to 0db.]
So let’s say i make a preset for a VST EQ Audio Effect and set the “Mids” to +0 Gain as default at the exact half range (63.5). Then if i tweak the mids macro up or down and want to return to 0, instead of typing “63.5” in the macro or try to line it up with the mouse, just hit “Delete”! Way easier. ~`~
1) Saved Preset
2) Tweaked Macro
3)”Delete” key snaps it back to default!
(the display rounds to nearest whole #… in this case 63.5 reads as 63)