Compact and transparant USB 5.1 3D Sound Audio Adapter for a superb. Built-in GPS-receiver allows you to sync with the video record data about the speed. Synth Font, Finale, Frooty Loop, Guitar Rig 5, Guitar Pro 5, Varranger2.
Note: Before following along, please ensure all your devices are plugged in, configured correctly, and sending and receiving MIDI and audio signal as expected. Synchronizing External SequencersWhether you’re using an external drum machine or a dedicated sequencer, there’s a good chance you’ll want to take advantage of its onboard sequencing capabilities. In most cases, doing so without being synchronized to your DAW would, at the very least, make recording more complicated than it needs to be.Now to line everything up via MIDI Clock, I’ll need to open Live’s preferences and click on the Link/MIDI pane. To use Live as the master clock—launching all connected clock devices when starting Live’s transport—I need to scroll down to the Output Port of the desired device in my MIDI Ports list. Sending clock out on Port 1.In this case, I’ve got a sequencer connected to the first port of my MOTU MIDI Express 128, listed as “Output: Express 128 (Port 1)”. The first thing I need to do is click the middle button to the right of it, in the Sync column, so that it reads: On.Next, I’ll click the reveal triangle to the left of the Port’s name to show its MIDI Clock settings. That’s right: each MIDI port can have its own discrete MIDI Clock timing and behavior.
Dead simple MIDI synchronization beat from a Drum Rack.Trigger your clock reference clip in Live and, if everything is set up correctly with the device set to receive MIDI clock, the onboard hardware pattern should be triggered too. Now go back to the corresponding Output Port in the Link/MIDI Preferences pane and adjust the MIDI Clock Sync Delay slider in either direction, positive or negative, until the two signals are in perfect alignment.If you want to use an external sequencer as the master and Live as the slave—which could be the case if you feel the timing of your external gear is somehow more stable—then you would go through the same process outlined above, instead using the corresponding MIDI Input port rather than an Output, and finally enabling the “EXT” external clock toggle to the left of Live’s transport.
External Instrument’s home in the browser.You can find the External Instrument in Live’s Instrument browser. Assuming your Audio and MIDI routings are configured correctly, just drag it onto a MIDI track, set the top MIDI To drop-down menu to the appropriate port, and the channel drop-down menu below that to whichever MIDI channel the target device is set to receive on. Below that, set the Audio From drop-down menu to whichever input(s) the hardware is plugged into on your audio interface.Now you can trigger your external synths and sound modules via MIDI Clips in Live—programmed via MIDI controllers such as Push 2, Live’s Arpeggiator or even advanced Max for Live sequencers.The beauty of the External Instrument device is the dedicated Hardware Latency control, which discretely adjusts the timing of your instrument to synchronize it with everything else in your set. The Gain control is also helpful for taming levels on their way in from the device. PRO-TIP: Assuming you’ll continue to use your current MIDI and Audio routings for awhile, it’s a good idea to save your External Instrument preset using the name of the device it’s connected to for easy future reference in your Library—just click the disk symbol in the upper right of the External Instrument device view and type the desired name into the browser when it appears.
![Varranger2 synchronize audio looping software Varranger2 synchronize audio looping software](http://www.varranger.com/wp-content/uploads/MidiPortsAudio.png)
Track DelayI know a few studios that have used Live’s Track Delay compensation to account for external hardware timing discrepancies. While this can be workable, it does leave users prone to a few potential issues. Track Delay is visible beneath each track’s volume slider in the Session view, so long as the D toggle, located above the Crossfader X and below the Mixer M toggles in the Mixer reveal area at bottom right, is enabled.First of all, Live’s Track Delay is applied after the audio input, so it won’t correct any timing on the way in whatsoever: any latency on the input signal will still be present in the recording. Secondly, it can’t be adjusted in real-time without a very real likelihood of clicks and pops, so I would advise against relying on it in any kind of performance situation. Aligning a latency-delayed audio clip with the Arrangement timeline with 1/8192 note accuracy; from here, the Clip could be re-consolidated for consistent looping. Audio Clip CompensationSuperior in many ways to relying on Track Delay, another method to compensate for latency recorded into audio clips after the fact uses the Audio Clip Sample view. For those with storage concerns, recording mono inputs via an External Device track routed through Live’s I/O matrix as outlined above will render mono inputs as stereo files, taking up double the space on your hard-drive—making the following procedure a potentially preferable solution.So if you happen to have a note on the first downbeat of a recorded clip, just zoom all the way down to that very first Transient, then Con- or right-click on the Pseudo Warp Marker that appears above it, and select “Set 1.1.1 here” from the context menu that appears.
Setting the 1.1.1 right where it should be.In the event your clip doesn’t have a note on the first downbeat, which may often be the case, you’ll need to find the location of a note that should be on a downbeat and zoom all the way in to find how many ticks it’s delayed at an adequately accurate resolution. Then, go back to the start of the clip at the same resolution by clicking the leftmost section of the Audio Clip Macro zoom below right of the sample view area. Finally, count the amount of ticks you noted earlier from the start of the recording, then Ctrl-click (or right-click) in the Transient/Pseudo Warp Marker area at that location, and again select “Set 1.1.1 here” from the context menu.
Please note you may have to adjust Loop Length settings for intended playback. Synchronize Your LifeWith a bit of homework configuring MIDI Clock Sync Delay and External Instrument Hardware Latency while saving all presets and defaults along the way—and occasionally employing clip and timeline editing where needed—you should be able to get all the hardware in your studio lined up with Live like never before.