Whether each Simpler's Warp mode is enabled is determined by the 'Preserve warped timing' button in the slicing dialogue. The critical settings for that preset are 1-Shot mode, Trigger and Snap. In Screen 2 I've sliced the audio clip from the previous example using the custom 'Slicing Drum Rack (1-shot)' preset. Screen 2: The three Slicing Drum Rack presets result in Drum Racks with pads starting at C1 holding the slices. For Sampler presets, place a preconfigured Sampler in that folder. Place the Drum Rack in your User Library's Defaults/Slicing folder. To create your own Simpler or Sampler Drum Rack slicing preset, insert a Simpler or Sampler with your choice of settings in any pad of a new Drum Rack and make whatever Rack Macro knob assignments you wish. A number of slicing presets are offered, and you can add your own. In each case, the slices are triggered by notes starting at C1, but you can then edit the trigger-to-note mapping. You can slice by Warp Marker, transient, bar or note size. It can also slice to a single Sampler and map the slices across the keyboard. 'Slice to New MIDI track', available for warped audio clips from the clip's context menu or Live's Create menu, creates a Drum Rack filled with Simplers or Samplers with a separate pad for each slice. For example, you might want to warp slices that capture sequences so they conform to the song's tempo while leaving single hits unwarped. Although quick and easy, this approach lacks a number of options: any effects you add will apply to all slices, you cannot add, delete or swap slices without redoing the whole process, and each slice has the same settings. Poly mode lets you play multiple hits at once, Retrigger ensures that each note retriggers the sample rather than layering it, Vol Other important settings are marked in red in Screen 1. The 'Slice By' drop-down menu about a third of the way from Simpler's left edge offers three other slicing options, and 'Region' is the easiest when using equally spaced slices - just set the number of regions to the number of slices. In Simpler's Sample window, you'll see slice markers at each of the transients detected in the original audio file. Next change Simpler to 'Slice mode' to sequence the individual sounds across the MIDI keyboard starting at C1 (MIDI note 36). The fastest way to convert the captured audio file to a Live instrument is to drag the file to the Drop area of a Simpler or to the 'Drop an Instrument or Sample Here' area of a new MIDI track, which automatically creates a Simpler. If needs be, you can make the Freeze file conform to the sample rate and bit depth you've set in Live's preferences by Consolidating it (Command+J/Control+J). The easiest way to do that in Live is to Freeze the instrument track and then either Flatten it, which overwrites the original instrument, or copy the Freeze file to a new audio track. The final step is to render the result to an audio file. If your source instrument is velocity sensitive, you may want to fine‑tune the sequence by adjusting MIDI note velocities. You will also need to adjust the note lengths for sustained sounds. (You can skip this step when you're starting with audio files rather than an instrument, but you'll need to edit the audio files to capture just the sounds you want.) Keep the MIDI notes equally spaced and far enough apart to keep one sound from spilling over into the next. The first step in capturing sounds from an instrument is to sequence the MIDI notes that trigger them. I've used the Ensemble presets from Native Instruments' Antidrum Machine for my examples, as they map all available articulations across the MIDI keyboard, and that's what you're most likely to encounter in other third-party percussion and sound-effects collections. The strategy is different for capturing one-shots, loops and layered sounds, and it also depends on whether you plan to apply individual effects processing to some of the sounds. The small effort required makes it much easier to locate and reuse the sounds at a later date. If you're using third-party sound libraries, it's often a good idea to capture the sounds you've found and edited for posterity in one of Live's sampling instruments. We look at how to capture and reuse third‑party samples in Live. Screen 1: Eight Antidrum sounds are captured in an audio clip, which is then sliced in Simpler to create a kit with triggers starting at C1.ABLETON LIVE PACKS WITH AUDIO TO MIDI CONVERTER HOW TO