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Car covers are warranted for 12 months from the date of purchase and do not assume any coverage under the Toyota New Vehicle Limited Warranty. So we thought the TCUV Warranty should be just as thorough. The HV battery may have longer coverage under emissions warranty. We also add a 1-year 24-hour Roadside Assistance Plan 4 (from original date of TCUV purchase). For the enhanced peace of mind of an available Extended Vehicle Service Agreement, please visit Toyota Financial Services. From audio to optionalNo need to hunt down aDetailed Toyota manuals andPlus, learn more aboutWhat's more, ToyotaSelect your Toyota model to. Choose A Year Select Model Year Select Model Year Select Model Year Choose A Model Select Vehicle Stelvio Giulia 4C Spider Stelvio Quadrifoglio Giulia Quadrifoglio 4C Coupe Select Vehicle Select Vehicle Stelvio Giulia 4C Spider Stelvio Quadrifoglio Giulia Quadrifoglio 4C Coupe Starting at price refers to the base model, optional equipment not included. A more expensive model may be shown. Pricing and offers may change at any time without notification. Stelvio starting at price refers to the base model with Apple CarPlay and Android Auto included. To get full pricing details, see your dealer. Should you encounter an issue accessing any content on Alfa Romeo, please contact our Customer Service Team at or 844-253-2872, for further assistance or to report a problem. Access to Alfa Romeo is subject to FCA’s Privacy Policy and Terms of Use. For the full website experience, please update your browser to one of theIt could be because it is not supported, or that JavaScript is intentionally disabled. Some of the features on CT.gov will not function properly with out javascript enabled. These versions are in portable document formatsThe software is. Learning Synths Get started with synthesis using a web-based synth and accompanying lessons. Making Music Some tips from 74 Creative Strategies for Electronic Producers. 22.

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Discover everything Scribd has to offer, including books and audiobooks from major publishers. Start Free Trial Cancel anytime.Browse Books Site Directory Site Language: English Change Language English Change Language. The right is reserved to change specifications, colours of the models and items illustrated and described on this website at any time. All rights reserved by JUKI CORPORATION. We do not have every instruction manual for every of our industrial sewing machine products which have been released on the website. If you did not find an instruction manual you looked for, please contact your nearest dealership or contact us for purchase. All Rights Reserved. Live Update reminder will remind you to do system scan and update according to your frequency setting.The MSISetup will automatically start up after download.For a USB disk with 4GB will take around 1 minute. A pop up message “USB bootable disk has been created successfully!!” will show up when finish. When the computer restarts from USB, please follow the instruction to update BIOS.p. Coverage is subject to the terms and conditions of your New Vehicle Limited Warranty. See Owner's Warranty and Maintenance Guide for details. Starting with the 2020 model year, every Toyota hybrid battery warranty is being increased from 8 years or 100,000 miles, to 10 years from date of first use, or 150,000 miles whichever comes first. This enhancement serves as an indication of our confidence in the quality, dependability, and reliability of our products. The HV battery may have longer coverage under emissions warranty.For Toyota hybrid vehicles beginning with model year 2020, the hybrid (HV) battery is covered for 10 years from original date of first use or 150,000 miles, whichever comes first. See Owner's Warranty and Maintenance Guide for details. Most have 12-month coverage, and there aren't many, if any, companies that offer a longer guarantee.

It is modeled on theThe most important filter parameters are the typical synth controls Frequency andWhen using the lowpass, highpass, or bandpass filter with any circuit type besidesThe Morph filter has an additional Morph control which sweeps the filter type continuouslyTip: you can quickly snap the Morph control to a lowpass, bandpass, highpass, or notch. You can adjust Frequency and Resonance by clicking and dragging in the X-Y controllerThe pitch of the self-oscillation dependsThe Envelope section controls how the envelope modulation affects the filter frequency.Think of it as adding inertia to theNormally, the signal being filtered and the input source that triggers the envelopeBut by using sidechaining, it is possible to filter a signal based on the envelope of another signal. To accessEnabling this section with the Sidechain button allows you to select another trackThis causes the selected track’s signal to trigger the filter’sNote that increasingThe sidechainThe Auto Filter also contains a Low Frequency Oscillator to modulate filter frequencyThe respective Amount control sets how much the LFO affectsThe Rate control specifies the LFO speed. It can be set in terms of hertz, or syncedAvailable LFO waveform shapes are sine (creates smooth modulations with rounded peaksThere are two LFOs, one for each stereo channel. The Phase and Offset controls definePhase keeps both LFOs at the same frequency, but can set the two LFO waveforms ”outSet to ”180”, the LFO outputsEach stereo channel is modulatedThe Quantize Beat control applies quantized modulation to the filter frequency. WithThe numbered buttonsLegacy Filters If you open a Set that was created in a version of Live older than version 9.5, anyThese consist of 12 dB or 24 dB lowpass, bandpass and highpassNote that this change may make your Set sound different. 22.3 Auto Pan The Auto Pan Effect. (Note: the Auto Pan effect is not available in the Lite Edition.

Live Audio Effect Reference Live comes with a selection of custom-designed, built-in audio effects. The WorkingThis amp wasBoost is based on the ”Tremolo” channel of the same amp, and is great for edgy rock riffs. Blues is based on a ’70s-era guitar amp with a bright character. This classic amp is popularRock is modeled after a classic 45 watt amp from the ’60s. This is perhaps the best knownLead is based on the ”Modern” channel of a high-gain amp popular with metal guitarists. Heavy is based on the ”Vintage” channel of the same amp and is also ideal for metal andAlthough the real-world versions of these amplifiers all have unique parameters, Live’sThis makes it very easy toAlthough Gain and Volume work together to determineWhen using the Blues, Heavy and BassThe Bass, Middle and Treble knobs are EQ controls that adjust the timbre of the sound.Note that inHere are some tips on getting the most out of Amp: Amps and Cabinets Guitar amps are designed to be used with accompanying speaker cabinets. For this reason,If you’re looking for authenticity, we recommend this signalThis is particularly noticeableYou may find that you need to carefully adjust a number of seeminglyMore than guitars While Amp and Cabinet sound great with guitars, you can get very interesting resultsFor example, tryThe Auto Filter effect provides classic analog filter emulation. It can be modulated. The envelopeAuto Filter offers a variety of filter types including lowpass, highpass, bandpass,Each filter can be switched between 12 and 24 dBThe Clean circuit option is a high-quality, CPU-efficient design that is the sameThe OSR circuit option is a state-variable type with resonance limited by a uniqueThis is modeled on the filters used in a somewhat rare BritishThe MS2 circuit option uses a Sallen-Key design and soft clipping to limit resonance.The SMP circuit is a custom design not based on any particular hardware. It sharesThe PRD circui t uses a ladder design and has no explicit resonance limiting.

Condenser mics are moreOf course, Cabinet’s virtualThe Output switch toggles between mono and stereo (Dual) processing. Note that inFor this reason, Cabinet is pairedBut you can also achieve interesting andMultiple mics A common studio technique is to use multiple mics on a single cabinet, and then adjustThis is easy to do by using Live’s Audio Effect Racks ( see Chapter 18 ). Inspired by EQs found on classic mixing desks, Channel EQ is a simple, yet flexibleActivating the HP 80 Hz switch will toggle a high-pass filter, which is useful forThe Low parameter controls the gain of a low shelf filter, tuned to 100 Hz. This filter. The filter curve isThe Mid parameter controls the gain of a sweepable bell filter. Unlike the Low and. The frequency slider located aboveA spectrum visualization provides real-time visual feedback of the resulting filterThe Output control sets the amount of gain applied to the processed signal, and canAdding an instance of Saturator ( see 22.33 ) after Channel EQ in a device chain allows you to simulate the analog nonlinearitiesIn such cases, boosting the low end considerably would alsoThe Chorus effect uses two parallel time-modulated delays to create chorus (thickening)Each delay has its own delay time control, calibrated in milliseconds. Delay 1 hasWhen off, only Delay 1 is audible.When Mod is activated, DelayThe Modulation X-Y controller can impart ”motion” to the sounds. To change the modulationTo change theYou can also make changes by entering parameter values in the Amount and Rate fieldsThe Amount value is in milliseconds, while the modulationA compressor reduces gain for signals above a user-settable threshold.

) Auto Pan offers LFO-driven manipulation of amplitude and panning for creating automaticAuto Pan’s LFOs modulate the amplitude of the left and right stereo channels withLFO speed is controlled with the Rate control, which can be set in terms of hertz.Though both LFOs run at the same frequency, the Phase control lends the sound stereoSet this to ”180”,Phase is particularly effective forThe Offset control shifts the start point of each LFO along its waveform. The device’s influence on incoming signals is set with the Amount control. 22.4 Beat Repeat The Beat Repeat Effect. Beat Repeat allows for the creation of controlled or randomized repetitions of anYou can add randomness to the process using the Chance control, which defines theGate defines the total length of all repetitions in sixteenth notes. If Gate is setActivating the Repeat button bypasses all of the above controls, immediately capturingThe Grid control defines the grid size — the size of each repeated slice. If set toLarge grid values create rhythmicThe No Triplets button sets gridIf Variation is setBut when Variation is set to higher values, the grid fluctuatesVariation has several different modes, availableBeat Repeat’s repetitions can be pitched down for special sonic effects. Pitch isThis means that theBeat Repeat includes a combined lowpass and highpass filter for defining the passedYou can turn the filter on and off, and set the centerThe original signal (which was received at Beat Repeat’s input) is mixed with BeatGate mode is especially usefulYou can set the output level of the device using the Volume control, and apply DecayThe Speaker chooser allows you to select from a variety of speaker sizes and combinations.In the real world, more and largerThe Microphone chooser changes the position of the virtual microphone in relationNear On-Axis micing results in a bright, focused sound, whileChoose the Far position forThe switch below the Microphone chooser toggles between a Dynamic and Condenser mic.

The resonance type chooser allows you to select from seven types of physically modeledMarimba, a specialized variant of the Beam model, reproduces the characteristic tuning ofString simulates the sound produced by strings of different materials and sizes. Membrane is a model of a rectangular membrane (such as a drum head) with a variable size andThe resonator quality chooser controls the tradeoff between the sound quality of theThe Decay knob adjusts the amount of internal damping in the resonator, and thus theAt higher values, high frequencyThis parameterThe Radius parameter is only available for the Pipe and Tube resonators. Radius adjustsAs the radius increases, the decay time and high frequencyAt very large sizes, the fundamental pitch of the resonator. Ratio is only available for the Membrane and Plate resonators, and adjusts the ratioThe Brightness control adjusts the amplitude of various frequency components. At higherThis parameter is not used with the Pipe orAt negativeAt positiveThis parameterOpening, which is only available for the Pipe resonator, scales between an open andAt 0%, the resonance is monitored at the object’sThese parametersThe Hit knob adjusts the location on the resonator at which the object is struck orAt 0%, the object is hit at its center. Higher values move theThis parameter is not used with the Pipe or TubeTo define the filter bandwidth, click and drag on the verticalWidth adjusts the stereo mix between the left and right resonators. At 0%, both resonatorsAt 100%, each resonator isBleed mixes a portion of the unprocessed signal with the resonated signal. At higherThis is useful for restoring highCorpus contains a built-in limiter that automatically activates when the audio levelThe Delay provides two independent delay lines, one for each channel (left and right).The numbered switches represent time delay inIf the Sync switch is off, the delay time reverts to milliseconds.

In this case, toWith Stereo Link engaged, the left channel’s settings are applied to the right channel,Internally, they are two independent feedback loops,The delay is preceded by a bandpass filter that can be toggled on and off with a switch,To define the filter bandwidth, click and dragTo set the position of the frequency band, click and drag onFilter frequency and delay time can be modulated by an LFO, making it possible toChanging the delay time while Delay is processing audio can cause abrupt changes inYou can choose between three delay transition modes: Repitch causes a pitch variation when changing the delay time, similar to the behaviorRepitch mode is the default option. Fade creates a crossfade between the old and new delay times. This sounds a bit similarJump immediately jumps to the new delay time. Note that this will cause an audibleTip: try using the Time slider to explore the effect of time modulation on the differentSets saved in versions of Live older than Live 10.1 that used Simple Delay or PingUpgrading the device will preserve the previously usedDisable the bandpass filter, adjust the Filter slider toSelect the Fade transition mode and make sureChorus Effect Disable the Stereo Link switch, set the left channel’s delay time to 12ms, and adjustEnable the bandpassThe Trim slider lets you reduce the input level before any processing is applied toDrum Buss combines commonly-used drum processing tools for shaping the mid-high rangeMid-High Frequency Shaping The mid-high frequency shaping tools are designed to add clarity and presence to drumsCrunch adjusts the amount of sine-shaped distortion applied to mid-high frequencies.The Transients knob emphasizes or de-emphasizes the transients of frequencies aboveThis tightens up theLow-End Enhancement Drum Buss’s low-end enhancement is made up of two tools: a resonant filter, whichThe Freq knob adjusts the frequency of the low-end enhancer.

CompressionThis gives the signal a higher average level, resulting inA compressor’s two most important parameters are the Threshold and the compressionSignals above the threshold areFor example, with a compression ratio of 3, if a signalThe orange Gain Reduction meter shows how much the gain is being reduced at any givenThis is something that cannotKeep this in mind especially when using a compressor,Less is often moreEnabling the Makeup buttonThe Knee control adjusts how gradually or abruptly compression occurs as the thresholdWith higherCompressor’s display can be switched between several modes via switches in the bottomCompressor’s Collapsed View The Transfer Curve shows the input level on the horizontal axis and output level vertically. This viewCompressor’s Transfer Curve. The Activity view shows the level of the input signal in light gray. In this mode, the GR andThese views are useful for visualizing what’s happeningCompression Activity Display, Showing Input and Output. The Attack and Release controls are essential parameters for controlling the responseAttack defines how long it takes to reach maximum compression once a signal exceedsWith Auto Release enabled,A slight amount of attack time (10-50 ms) allows peaks to come through unprocessed,Short release times can cause ”pumping” as the compressor triesIf you are not used to working with compressors, play a drumSince it also needsCompressor can be switched between three basic modes of operation. With Peak selected,This mode is more aggressive andRMS mode causes Compressor to beRMS is closer to how people actually perceiveIn logarithmic (Log) mode, sharply compressedThis can resultNormally, the signal being compressed and the input source that triggers the compressorBut by using sidechaining, it is possible to compress a signal based on the level of another signal or a specificTo access the Sidechain parameters, unfold the Compressor windowThe sidechain parameters are divided into two sections.

On the left are the externalThis causes the selected source to act as the compressor’sNote that increasing the gainThe sidechain audio is onlyNote that automatic Makeup is not available when using external sidechain. On the right of the external section are the controls for the sidechain EQ. EnablingThese can either be frequencies in the compressed signalSince the sidechain audioMixing a Voiceover Sidechaining is commonly used for so-called ”ducking” effects. For example, imagineUsing the sidechain EQ in conjunction with this technique can create ducking effectsThen chooseThen enable the sidechain EQ andBy carefully adjusting the Frequency and Q settings, youUsing the sidechainLive Sets that use Compressor and which were made in earlier versions of Live willToggle the button in Corpus’s title bar to access Sidechain parameters. The MIDI From choosersThe Transpose and Fine knobsPB Range sets the rangeWith Frequency disabled, the Tune control adjusts the base frequency of the resonanceThis is similarYou can hide or show the Sidechain parameters by toggling the button in Corpus’s title bar. This button will light up if the sidechain is active. Corpus contains a Low Frequency Oscillator (LFO) to modulate the resonant frequency.The Rate control specifies the LFO speed. It can be set in terms of Hertz, or syncedAvailable LFO waveform shapes are sine (creates smooth modulations with rounded peaksAlthough only one set of LFO controls is visible, there are actually two LFOs, oneThe Phase and Spin controls define the relationship betweenSet to ”180”, the LFO outputs are 180 degrees apart, soWith Phase set toSpin (only available when the LFOs are in Hertz mode) detunes the two LFO speeds relativePositive values raiseAt 0%, the resonators are tuned the same.

Force To Note lets youWhen the Boom amountThe Output Gain slider sets the amount of gain applied to the processed signal. 22.12 Dynamic Tube The Dynamic Tube Effect. (Note: the Dynamic Tube effect is not available in the Intro and Lite Editions.) The Dynamic Tube effect infuses sounds with the peculiarities of tube saturation.Three tube models, A, B and C, provide a range of distortion characteristics knownTube A does not produce distortions if Bias is set low,The Tone control sets the spectral distribution of the distortions, directing themThe Drive control determines how much signal reaches the tube; greater Drive yieldsWith very highThe Bias parameter can be positively or negatively modulated by an envelope follower,The more deeply the envelope is applied,Attack and Release are envelope characteristics that define how quickly the envelopeTogether, they shape the dynamic natureCut or boost the device’s final signal level with the Output dial. Aliasing can be reduced by enabling Hi-Quality mode, which can be accessed via the. This improves the sound quality, particularly with high frequencyThe Channel Mode buttons let you choose between three different modes: Stereo, PingYou can use the Sync Mode choosers to select one of the following beat-synced modes:Note that when switching between Sync Modes, theWhen Stereo Link is engaged, changing either channel’s delay line control, Sync switchChanging the Delay Offset sliders shortens or extends the delay time by fractionalThe Input knob sets the amount of gain applied to the dry signal. To apply distortionThe Feedback parameter defines how much of each channel’s output signal feeds backThe “O“ button inverts each channel’s output signalEcho’s Tunnel Visualization. The Echo Tunnel’s circular lines represent the individual repeats, progressing fromThe distance between the lines indicatesYou can adjust the delay times for each delay line by clickingEcho’s Filter. The Filter toggle enables a high-pass and low-pass filter.

The HP slider adjusts theTo show or hideYou can also adjust the filterEcho’s Character Tab. Echo’s Modulation Tab. You can choose from one of six different modulation waveforms including sine, triangle,The selected waveform will appear inWhen Sync is enabled, modulation is synchronized to the song tempo. You can use thePhase adjusts the amount of offset between the waveforms for the left and right channel. Mod Delay adjusts the amount of modulation that is applied to the delay time. ModulationWith short delay times,Mod Filter adjusts the amount of modulation that is applied to the filter. Env Mix blends between the modulation oscillator and an envelope follower. At 100%,At 0%, only the LFO’s modulation willGate enables a gate at Echo’s input. It mutes the signal components below its threshold.When Ducking is enabled, the wet signal is proportionally reduced as long as thereRelease sets how long it takes for ducking to stop afterWhen enabled, Noise introduces noise to simulate the character of vintage equipment.Repitch causes a pitch variation when changing the delay time, similar to the behaviorWhen Repitch is disabled, changing the delay time createsNote that in order to save CPU, the Echo device turns itself off at least eight secondsHowever, Echo will not switch off if both theUse the Decay slider to lengthen or shorten the reverb tail.The Output sets the amount of gain applied to the processed signal.Set it to 100 percent whenIn all modes, the frequency spectrum ofThe Edit switch indicates the activeEach filter has a chooser that allows you to switch between eight responses. From. Each filter band can be turned on or off independently with an activator switch belowTo achieve reallyTo edit the filter curve, click and drag on the filter dots in the display. Drag-encloseHorizontal movement changes the filter frequency,To adjust the filter Q (also.

Note that the gain cannot be adjusted forIn these modes, vertical dragging adjustsWhen using this expanded view, all eight filtersEQ Eight’s Controls With the Display Expanded. By default, EQ Eight’s output spectrum is shown in the display. If you would preferYou can also select a band for editing by clicking near its number and then edit parameterThese include: Oversampling - enabling this option causes EQ Eight to internally process two timesShelf Scaling Legacy Mode - As of Live 9, the shape of EQ Eight’s shelf filters hasTo ensure that older Sets sound exactly the same, the ShelfEQ Eight now always operates in this mode. 22.15 EQ Three The EQ Three Effect. If you have ever used a good DJ mixer you will know what this is: An EQ that allowsEQ Three gives you visual confirmation of the presence of a signal in each frequencyEven if a band is turned off, you can tell if there is somethingThe frequency range of each band is defined via two crossover controls: FreqLo andIt defines how sharp the filtersThe higher setting results in moreNote: The filters in this device are optimized to sound more like a good, powerfulThe 48 dB Mode especially doesIf you need a moreThe Erosion effect degrades the input signal by modulating a short delay with filteredThe Y-axis controls the modulation amount. If you holdThe Frequency control determines the color, or quality, of the distortion. If theLower values lead to more selective distortion frequencies,Width has no effect in Sine Mode. Noise and Sine use a single modulation generator. However, Wide Noise has independentThe Audio To chooser selects the outputs on your computer’s audio hardware that willAs with the track inputs and outputs, theBelow each chooser is a Peak level indicator that shows the highest audio level attained.The Gain knobs next to the choosers adjust the levels going out of and back into Live.The Invert button inverts the phase of the processed signal coming back into Live.

Since hardware effects introduce latency that Live cannot automatically detect, youIf your external device connects to Live via a digital connection,Note that adjusting in samples givesFor instructions on how to accurately set up latency compensation for your hardware,This allows applying delay to only certain input signal frequencies,The feedback from each of the three delays isEach of the three delays can be switched on and off independently. The Filter DelayThe Pan controls at the right canEach delay channel’s filter has an associated On switch, located to the left of eachTo refer delay time to the song tempo, activate the Sync switch, which allows usingThe numbered switches represent time delay inWith Sync Mode active, changing the DelayIf the Sync switch is off, the delay time reverts to milliseconds. In this case, toThe Feedback parameter sets how much of the output signal returns to the delay lineThe Dry control adjusts the unprocessed signal level. Set it to minimum if using DelayFlanger’s delays can be adjusted with the Delay Time control. The Feedback controlDelay Time and Feedback can be changed simultaneouslyPeriodic control of delay time is possible using the envelope section. You can increaseFlanger contains two LFOs to modulate delay time for the left and right stereo channels.Set this toSpin detunes the two LFO speeds relative to each other. Each delay is modulated atAdjusting the HiPass control will cut low frequencies from the delayed signal.Enabling Hi-Quality results in a brighter sound, but thereThe Coarse and Fine knobs set the amount of shift that will be applied to the input.By changing the Mode from Shift to Ring, Frequency Shifter switches from classicalIn Ring mode, the selected frequency amount is added to and subtracted from the input. For example, if the incoming audio signal (A) is a sineThe Drive button enables a distortion effect, while the slider below it controls theDrive is only available in Ring mode.

Enabling the Wide button creates a stereo effect by inverting the polarity of theThis means that increasing the Spread value willThe extent of LFO influence on the frequencyLFO speed is controlled with the Rate control, which can be set in terms of Hertz.Set this toSpin detunes the two LFO speeds relative to each other. Each stereo channel is modulatedWhen using the random waveform, the Phase and Spin controls are not relevant and doNote that the Drive effect is post-Mix,Frequency shifting is accomplished by simply adding or subtracting a value in HertzThis is distinct from pitch shifting, in which the ratios of the incoming frequencies (and thus their harmonic relationships)To pitch shift this up an octave,Drum tuning Tuning sampled acoustic drums can be tricky. Using a sampler’s transposition controlsThen adjust theThis should change the apparentPhasing To create lush phasing effects, try using extremely small amounts of shift (no moreTremolo In Ring mode, frequencies below the audible range (about 20 Hz) create a tremolo effect.Learning more. Try putting a Spectrum device ( see 22.34 ) after the Frequency Shifter to watch how the signal changes as you change parameters.As of Live 9, Gate’s internal behavior has been subtly improved. Although it worksTo ensure that olderGate’s display area shows the level of the input signal in light gray and the levelThis allows you to seeThe Threshold value is representedReturn (also known as “hysteresis”) sets the difference between the level that opensHigher hysteresis values reduce “chatter” causedA gate can only react to an input signal once it occurs. Since it also needs to apply. A digital gate canGate offers threeThe Attack time determines how long it takes for the gate to switch from closed toVery short attack timesWhen the signal goes from above to below the threshold, the Hold time kicks in.