# ElectronicMusic.UK — Max for Live devices 2026.10 beta 3 · 31 October 2026 · early access · 11 devices NoteFold is the new name for Eightfold. This download contains the latest 31 October device builds, their required scripts and this setup guide. ## What's new in beta 3 - **Shimmer Chops 0.6:** repairs a fresh-load DSP compile fault that could silence the device. Input/output meters and dB readouts show the signal before and after processing on every page. - **LIVE / LOCAL clock:** while Live plays, chopping and loop timing lock to its audio-rate beat phase. With Live stopped, they keep moving at the Set's tempo. The device's Clip button still controls only its track's Session clip. - Existing loop playback gain, meters and statuses are retained. Other devices are unchanged from beta 2. ## Included beta 2 improvements - **Shimmer Chops 0.5:** separate loop A/B playback gain (−12 to +24 dB), playback meters and dBFS readouts, plus OFF/ARMED/RECORDING/PLAYING status. - **Sample Capture 0.6:** optional playback auto-level and adjustable Preview dB. - **Live Sampler 0.7:** matching auto-level, complete one-shot playback after note release, and a clearer velocity/pressure amplitude baseline. - **Performance Master 0.3:** modulated, diffuse delay/reverb/shimmer tails develop as Filter and Smile rise. | Device | Included version | | --- | --- | | NoteFold MPE | 0.3 | | Attractor | 0.4 | | Live Sampler | 0.7 | | Sample Capture | 0.6 | | MIDI Spew | 0.2 | | Shimmer Chops | 0.6 | | Performance Master | 0.3 | | Audio Send / Audio Receive | 0.4 / 0.4 | | MIDI Send / MIDI Receive | 0.4 / 0.4 | MIDI chops, captured voices, expressive synths and effects for a live session. These are Max for Live devices, not VST/AU plugins or browser instruments. ## Install Close Live before replacing an existing installation, then reopen your Set. Captured samples are held in RAM: record any sample you want to keep first. 1. Extract the ZIP. Keep the entire **ElectronicMusic UK** folder together: its `.amxd` devices need the neighbouring `emuk-*.js` files. 2. Put that folder somewhere permanent, then add it with **Add Folder** in Live's browser. Drag a device from that folder onto a suitable track. 3. Use Live with Max for Live available. Development has been on Windows, Live 12.4.7 Suite and its bundled Max 9. Other Live versions and macOS are not verified. No external Max packages are required. 4. Start with a modest output level. The devices' Mute switches silence their own processing; they are separate from track activation and Main volume. The scripts and DSP run locally. No account, network service or subscription is needed for the devices. Captured audio stays in local memory. The public download contains no private Live Set, recordings or Ableton factory devices. The 30 October UI revision uses matching 12 pt header text, with the device name bold and ElectronicMusic.UK in regular weight. Clip display updates reuse their Live API handles and skip unchanged redraw messages. Device controls initialise from Live's device-ready signal. Sustained live-performance validation remains pending. ## The Clip button never starts or stops Live The small button at the far left controls a **Session clip on its own track**. It stops the currently playing clip; with Live still running it can relaunch the last clip, or the highlighted clip if that clip belongs to the same track. It respects clip/global launch quantisation. It restarts rather than pauses at an exact audio position. **Start Live from Live or Push first.** The device refuses to fire a clip while Live is stopped because doing that could implicitly start the whole transport. Return and Main tracks have no Session clips: their button has no effect. Arrangement playback is controlled in Live. Clip control is not sample audition. ## Capture a sound, audition it, play it from MIDI The sampler has two parts. **Sample Capture is an audio effect. Live Sampler is an instrument on a MIDI track.** The Slot number links them; it is not a track number. One capture source per Slot; up to eight Slots are available. Use the branded Capture and Sampler together: they use a separate buffer namespace from the earlier unbranded devices. 1. Put **EMUK Sample Capture** on the source audio track. Choose the correct Audio From input, and set the track's Monitor to **In** so the device continuously receives audio. A moving meter confirms that input is live. 2. Leave the device's **Hear input** switch off if you want silent capture. That mutes only its dry-through path; the input still reaches the recorder. Turn it on if this track is also your normal live vocal channel. 3. Put **EMUK Live Sampler** on a MIDI track. Select the same Slot in both devices. Arm the MIDI track, choose the controller input, and use Monitor Auto (or deliberately use In). MIDI needs an armed/monitored track. 4. Choose a length and Forward capture. Press **Capture in the MIDI device** to record remotely from the audio device. Play or sing during that window. Wait for READY. The audio device's Capture button does the same job locally. 5. **Audition on Sample Capture** plays the source once on the audio track, independently of Hear input. **Auto level** targets a −6 dBFS captured peak with bounded playback compensation (−18 to +18 dB); **Preview dB** adds −24 to +6 dB of preview trim. A local ceiling limits preview peaks. Auto level does not rewrite the sample or repair a clipped input. **Audition on Live Sampler** plays a note through the sampler's current sound, harmony and timing settings. Press again to stop the preview. Neither controls Live's clock. 6. In One-shot mode, a strike plays the full captured phrase after note-off; Loop mode follows held notes. Play MIDI notes. The detected source pitch becomes the sample's estimated root; use Manual MIDI root if detection is wrong. Note 60 is MIDI middle C, displayed as C3 in Live's naming. This is single-note root detection, not polyphonic chord analysis or formant-preserving vocal synthesis. **Rolling / grab** continuously fills the chosen window. Capture freezes the current window; a MIDI note also grabs it. The sampler resumes rolling after the last held note and its release. Capture-device Audition temporarily grabs the rolling window and resumes rolling when audition ends. Avoid two Capture devices writing to the same Slot. **RAM, not permanent storage:** the sample buffers are not embedded in the Live Set. Record the sampler's audio onto an audio track to keep a take. Reopening/reloading devices may clear a captured sound. ### Sampler pages - **Capture:** Slot, length, mode, remote Capture, harmony, one-shot/loop and output. Harmony supplies scale-degree triads or sevenths; it does not detect incoming chords. Use Live scale to take the root/scale from the Live Set. - **Pitch:** automatic/manual root, attack/release, tone and pressure depth. - **Time:** Resample changes pitch and duration together. Stretch uses grains to separate note pitch from a target note/bar length. Grain size changes texture; it is not transparent vocal time correction. Free speed applies when a fixed musical stretch length is not chosen. Reverse is available. - **MPE:** member/manager bend and expression. **Auto trim start** skips detected leading silence at playback; off preserves the initial gap for timing. It does not destructively rewrite the buffer. ## MIDI Spew — MIDI effect before an instrument Switch Process on; Bypass passes the incoming MIDI. Echo repeats each strike. Held chops repeat held notes; the arpeggiator orders a held group. Grid sets the musical spacing. Gate shortens notes, velocity decay fades repeats, and output velocity scales them. The Chop page has patterns, chance, small/big lengths, their balance and drift amount/cycle. Pitch supplies relative weights for original/+12/-12 and scale-degree steps. Drum mode preserves pad pitches. Dry notes controls original notes independently of the generated part. MPE copies retain member-channel expression with bounded voice allocation. The MPE page sets the voice budget, latch and behaviour when Live is stopped. Stop/Panic clears owned generated notes. Start with a small repeat count; complex chords multiplied into long repeats can become musically dense. ## Shimmer Chops — audio effect Insert it after an instrument/audio source, or use it on a return with Mix fully wet. It chops the actual input; it does not generate an input signal. The always-visible IN meter measures the incoming audio before the DSP; OUT measures the processed audio. IN silent: check the source, monitoring and send. IN active / OUT silent: check Mute, Mix and effect/loop levels. LIVE means the clock follows Live's playing transport; LOCAL keeps chops and loop playback moving at the Set tempo while Live is stopped. When capturing after a silent load, send a sound first, then press each loop's Capture button. - **Play:** clock grid, patterns, density, small/big chops and big-chop chance. Drift time uses note/bar units; sync locks the motion cycle to Live. Swing shifts chop onsets around the grid. Free mode uses the free-time control. Cross-mod changes the relationship between the two drifting paths. Lift is the one-knob compression/level push for the mixed effect signal. - **Loops:** enable/capture A and B, choose their lengths and directions, then set Level, Gain dB, overdub and regeneration. Each loop has its own playback meter and numeric dBFS readout after Level and Gain, plus capture/ playback status. Gain defaults to 0 dB and ranges from −12 to +24 dB, with smoothed changes and a local −1 dBFS ceiling. It sits outside the tape write and loop cross-feedback paths. A→B and B→A cross-feed remain separate. Capture replaces the relevant loop on the next beat boundary. Musical lengths follow tempo/signature. A silent meter measures silent playback, not the incoming audio: check that the loop is on and has captured a sound. Global scale is on PITCH; Gain dB also appears in each loop's Push bank. - **FX:** delay, reverb and shimmer each have amount, regeneration/decay and a limiter ceiling. Directed cross-feeds warn before first enabling each path. Start with one route at a low amount; Mute stops this device's output. - **Pitch:** relative original/+12/-12 weights, scale-degree chance/interval, manual scale, tone and output. Live scale uses the Set's scale-safe intervals; the effect does not analyse each incoming note and retune every audio slice. ## Attractor and NoteFold — MPE instruments Attractor offers paired oscillator types, blend/ratio, nonlinear interaction, fold and bite, then tone/envelope, touch, modulation and LFO pages. NoteFold adds an eight-voice coupled network. Both have sharp initial attacks, separate pressure response and explicit destinations/depths for expressive modulation. Changing oscillator Blend should change the oscillator balance, not Device On. For a LinnStrument lower zone, use channel 1 as manager and channels 2–16 as members; match member bend to ±48 semitones and manager bend to ±2. Match the device's zone and ranges to the controller. X is bend, Y is CC74, Z is pressure. Use a lower pressure-to-amplitude depth for an immediate strike; increase it for held-note swells. Synth velocity/pressure curves and smoothing are separate. Global scale constrains starting pitches; continuous MPE bends stay expressive. ## Performance Master — audio effect Filter is bipolar: left low-pass, centre flat, right high-pass. Rez controls resonance; Smile lifts lows and air; Width changes stereo spread. Motion, wet amount, drive and output provide performance changes. Filter and Smile also raise modulated, diffuse delay/reverb/shimmer tails; lower them to let the stored tail decay. It is not itself the complete limiter/master rack from the private performance set. ## Anywhere Audio / MIDI Send and Receive Use a matching Send/Receive pair with the same Bus 1–8. The audio pair uses Live's auxiliary device ports, with source/tap selectors on Receive if automatic matching needs help. Send can keep or mute local through. Receive can mix its local signal with the received signal. The MIDI pair carries notes and expression through the matching local bus. Use one sender per bus, and avoid connecting a receiver back into the same sender. Bus numbers are local routing labels, not hardware MIDI channels or cross-computer network connections. ## Push, macros and automation Select the actual custom device in Device mode for its named banks, then use bank/page buttons. The private set's outer racks retain Filter, Rez, four sound controls, Drive and Level. Mapped inner controls are grey because the rack macro owns them. Refine and save a named rack variation for a useful sound. Return and Main automation can be recorded directly in Arrangement with Automation Arm and Arrangement Record. Launch quantisation/grid affects the musical launch points. The custom Clip button does not arm recording or turn Arrangement playback into a separate per-track transport. ## If something is silent - **Capture meter moves, no dry audio:** Hear input is off; this is intentional for silent capture. Audition the recorded sample or turn Hear input on. - **Sampler is silent:** confirm a ready sample, matching Slots, the MIDI track armed/monitored, correct rack chain selected and a useful output level. - **No clip / Host off:** use Live/Push to run transport, and select/fire the intended Session clip on this device's track. Returns/Main have no clips. - **Wrong pitch / extra note:** use Harmony = Single, Free speed = 1 and a correct automatic or Manual MIDI root. Check both MPE bend ranges. A MIDI effect before the sampler can add octave notes even in Single mode; check MIDI Spew's generated notes and Dry notes. Root detection is monophonic. - **Routing pair silent:** match bus, confirm enabled/level and check the audio Receive source + auxiliary send tap. Do not enable feedback to diagnose it. - **Scripts missing:** re-extract and keep the `.js` files beside the devices. ## Early access and feedback This is a work in progress. The 31 October changes have focused native Max/Live audio checks and MIDI regression checks. Shimmer's playback-gain render measured +12.002 dB and +6.000 dB for +12/+6 dB settings, with finite bounded output in a high-feedback check. These are focused checks, not a show-length soak or physical-controller certification. Software checks do not establish compatibility on every machine or reliability for an entire show. The private Plugines catalogue is prepared without automatic playback/test clips and is not included in this download. Please post feedback at https://electronicmusic.uk/community.html with the device/version, Live/Max/OS, controller, preset, and a short sequence of steps. Tell us what you expected, what happened, and any useful musical result. For sound examples, share only audio you have permission to publish. Do not post private Live Sets or crash dumps containing personal details. ElectronicMusic.UK · https://electronicmusic.uk/ Shimmer 0.6 validation: fresh native Gen audio render across stopped/running clock changes and tempo changes, followed by input/output and both-loop capture/playback checks on a Live return. Show-length soak testing remains open.