Talk about Live’s Warping and its famous warp engine. I’ve seen a lot of controversy only about Live’s audio quality and most of it comes because of not understanding how the warp settings influence your samples, stems and tracks. Let’s address some of these concerns.
For this tutorial I expect you have some basic understanding of warping audio in Ableton. This is more about how the different warp modes affect your audio and how you can make the best choice, which warp mode to choose for your audio file.
For starters, if you can get away with not warping audio you get the best quality. As soon as you turn warping on, you are messing with the quality. In fact I have warping off by default. You can easily change this in the Ableton preference panel.
The Warp Modes
Beats Mode goes through the audio file and slices it up – similar to the Slice to Midi function in Live. When set to Preserve Transients, each transient marker is the start of the slice. If you are close to the original tempo you won’t hear a major difference, but if you slow the project tempo down considerably, you will start to hear loops at the end of each slice. Especially on melodic content you quickly get really weird results. That doesn’t mean you can’t use beats mode on anything else than beats, but it’s more like abusing it to create some interesting effects. Switching on the Preservesetting to an even rhythmic division like 1/8 and by shortening the envelope, you can create interesting rhythmic effects on sustained notes.
Tones and Texture do similar things. Tones also slices up the audio, but instead of transients or intervals, you can set the grain size, which are just really small slices. The smaller the grain size, the more you get what i called granular stretching in experimental electronic music. Texture is doing the exact same thing, but also gives you the Flux control which randomises the grain sizes. This is great for sound design and reshaping sound!
Repitch is not going to do desctructive slicing, it’s more like speeding up and slowing down a traditional record player. When you choose this mode you can no longer transpose your audio – the pitch is tied to the speed. The faster you play it, the more “chipmunky” it sounds. The slower you play it, the more “screwed” it sounds.
Complex is great because we can transpose as well as time-stretch the audio! It doesn’t slice audio, so overall you get quite good audio quality for any material. What I noticed though is that Complex dulls out high frequency content like hats, shakers, etc. Also, when doing extreme time stretching results in some articfacts, grains, warbling.
Complex Pro is similar to Complex but optimised for vocals, offering additional control over Formants and Envelope. Formants tries to preserve vowels sound (a,e,i,o,u), because formant clarity can often get lost when time stretching. A lot of producers choose Complex Pro by default, but it’s not always the best choice. If you are warping a drum break, you will loose some punch in Complex Pro, here Beats – as the name suggests – is the right way to go!
All clear on Warp Modes in Ableton Live?
Hopefully given what I told you now, you have an easier time picking the right warp mode for your specific audio file and get the best results from it.