Cenk 
If you you got access to the upper halls at ableton and ess has a push3 now. Please try to convince them to open up the M4L Api, so the community really can start developing for that thing.
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Go go go! 
Is anyone using a P3S in Standalone with a headphone splitter to create an effects loop with a mono effect pedal? I am not getting quite the results I expect and wonder if it is user error (probably).
thanks!
I haven’t done it yet, but I’ll set it up now.
What’s wrong with the return signal, or what are you expecting vs what you’re receiving?
*Edit, and why do you need the splitter… is it to send the same signal to multiple devices, or are you using the headphone out, splitting the R/L and then return to Push?
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Thanks for this one.
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I have a headphone splitter going out from the P3S headphone jack ins Standalone into a Mood.
In the Audio menu I have the Outputs set to 3/4 to headphones, 1/2 to main (connected to speakers).
I set the Output of a Track to Output 3, the “left side” of the headphone output. That Output is connected to the Mood in; the Mood is then connected to Input 1 on the P3S.
Using this configuration I would expect to ONLY hear the Track via Output 3, through the Mood. Turning the Mood fully wet should eliminate the dry signal, but it does not. I do not think I have ever messed with the wet/dry trimmers on the Mood, which maybe is what is going on?
What do you get? When you send a Track to a particular output does the P3s only send the signal on that Track to that output?
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Changed I/O settings: Headphones 3/4
I sent track 1 via External Out to 3/4
*Added Utility to change signal to Mono, since it’s a stereo recording.
Separate Audio Track receives audio on 1
I’m using MOOD also and I believe I’m getting a blend of Dry/Wet when is maxed.
I need to double check the manual for MOOD, but I think this is a CBA/MOOD issue (or setting).
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I took a look at the manual on this point and I don’t have any Ramping on. I can’t recall if I messed with the trimmers, but I would have wanted to set them so I could have a fully wet signal. I know I opened it up and adjusted trimmers, but I think that I adjusted input sensitivity, not anything to do with wet/dry.
You’re right… from the manual:
All the way CCW is 100% dry signal and wet volume increases as you turn this knob CW. In maximum CW position, there will be no dry signal.
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Looks like I might have to find another way to test. Gonna put a pin in it for now to try it out with something else…
Edit: Thank you very much for testing it out! 
I figured out the problem!
I had the effects on and the MOOD channel toggle was set in the middle so I’m hearing both channels separately.
I confirm your exact setup works/records properly too in Push. It only recorded wet signal when Wet was fully CW.
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I have the same toggle to the right and the dry signal still bleeds through when Mix is set to what should be fully wet/no dry signal.
Edit: I will try this set up out with a pedal or device that is a bit more… normal. And easier to use. lol
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Quick question, have you found any sort of M4L device which allows us to control the playback speed of a given Clip? I use this technique all the time in Drambo and would love to play a clip at 1/4, 1/2 or 1/16 the speed of the overall Speed/Tempo of the Project.
You can also do this in Logic via the Step Sequencer Clip type.
Let me know if you need more details on this to explain it further.
Thanks.
This one does it for the entire project:
This might work
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I think what @echo_opera is getting at is something more along the lines of “scale” in the Elektronverse. That is, changing the speed of MIDI playback (rather than audio playback) at a track/clip level.
I agree this would be a nice thing to have in Ableton. Sure, you can just edit a clip and use the *2 or /2 commands, but those change the underlying sequencer data rather than non-destructively changing the playback speed of the clip.
[edit] On further reflection, the idea of a dedicated “step sequencer” type of clip is pretty appealing. I’m not familiar with Logic’s implementation, but there is a real difference in use cases between a modern piano-roll sequence and a traditional step-sequence.
Live (and to an even greater extent Push) just stores step sequences in the same piano-roll format as everything else, but it’s a bit of a kludge in some ways. Like when you p-lock on Push, it’s storing automation values and automatically lining them up with notes, but that’s really not the same thing as attaching a p-lock value to a note trig itself, which is how an Elektron sequencer handles it.
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I actually think they work similarly since neither one is destructive. The bigger difference is the parameter being hidden in the Clip Edit, when I always thought it should be a performance control.
I use them often for trying out different ideas, both dividing/multiplying and then returning to normal if it doesn’t work.
And keeping in line with Push 3. This feature is one that I miss the most.
If it’s audio file, you can adjust playback timing (/2 vs x2) in Simpler, but not when you load an audio loop as a clip in Session View, and not on Midi Clips.
These are cool, but not quite what I was looking for. @presteign has a good description of it from an Elektron way of doing it. Only a few apps do it that I am aware of, Drambo and Logic, and of course Elektron hardware.
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Hmm. I suppose “destructive” is a little misleading here given that you can apply the opposite command to go back to exactly what you had before, but unless I’m misunderstanding how Live does this, it is technically still a destructive action as it’s discarding the original sequencer data and replacing it with a 2x or 0.5x version. I would use the term “reversible” rather than “nondestructive” to describe it.
In practice, there’s no real difference, as the time resolution available in any given clip is still far greater than most anyone would need. Still, that’s what I like about the idea of a “step sequencer clip” – a sequence with a predefined resolution, where you’re not just quantizing arbitrary time to a grid, but you’re starting with the grid and working out from there.
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Is anyone using the push 3 standalone mainly to record external instruments? Specifically guitar. Was thinking it would be pretty awesome to be able to just have a guitar and the push for recording tracks and looping and stuff, but I’m worried that after using mostly neural dsp plugins, i’m going to be super disappointed in whatever stock amp stuff ableton has.
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I would think if you really want to record a lot of guitar you should take an HX Stomp or something and record from that.
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