You may want to assign a MIDI note, pedal or switch to each Hold button. With a pitch‑shifter channel’s Hold button (∞) turned on, the channel’s captured audio will loop continuously. Think of its parallel pitch‑shifters as tape‑loop recorders with moving heads.
Let’s start with PitchLoop89 (Screen 1), a Max For Live device by Ableton co‑founder Robert Henke that emulates the vintage hardware pitch‑shifting delay, the Publison DHM 89.
That lets you easily return to those settings after tweaking the Macro knobs (and saving a new variation if desired). When you’re exploring one of the Rack examples, it’s a good idea to reveal the Macro Variations (camera button icon along the left edge of the Rack) and create a new variation with your initial settings. One thing to keep in mind as you explore the new devices is that Live 11 Racks now allow as many as 16 Macro Controls as well as presets called Macro Variations. In this month’s column we’ll take a detailed look at the audio and MIDI effects, and you’ll find brief descriptions of the new instruments and sound libraries in the ‘Sound Packs’ box. Live 11 comes with new sound libraries, instruments, and audio and MIDI effects, all of which enhance Live’s sound‑design and processing capabilities. We dig deeper into the audio and MIDI effects included with Live 11. Screen 1: The Max For Live pitch‑shifting delay audio effect, PitchLoop89.
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