Ableton Live project to WAV

Drop an .als to bounce it to a WAV, or select a file — it opens in the studio, ready to export.

ALS · ZIP

How to get a WAV out of an Ableton Live project

You need a set as audio, and you need that audio to survive whatever comes next — another DAW, a mastering pass, a brief that asks for 24-bit. The usual answer is Live's own render, and that answer assumes a great deal about the machine you are sitting at. On one that has none of it, what you hold is an arrangement and a list of broken pointers. That arrangement can still be played.

  1. Add your .als: The set itself; the Project folder around it is not needed for this route. If what you want is the recorded audio sitting in that folder, that is File → Import session inside the studio, not this field.
  2. It is read on our server: This one does not run in the browser, unlike the .flp and .rpp converters. A free account covers the read and the render that follows it.
  3. Pick a depth and bounce: A set that has been read has notes and nothing to play them, so instruments come first. File → Export audio… writes WAV at 16-bit, 24-bit or 32-bit float, at the session's own rate or pinned to 44.1 or 48 kHz, with region gains and fades folded in — automation lanes and live plugin chains are not.

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Questions about the ableton Live project to WAV converter?

We have answers.

Can I convert an .als to WAV?

No. Nothing can be extracted from a file that holds no audio — a set is notes and pointers, and the pointers name files and devices that are not in it. The instruments here play the notes; Live's own Export Audio/Video plays your devices, if you have them.

Do I need an account?

Yes, a free one. Reading a Live set happens on our server, and the instrument render runs on a GPU — neither of those steps is anonymous, even though the bounce itself is written in your browser.

Is 24-bit worth the size?

Yes, while anything is still being decided. Every edit, gain move and bounce after the first one eats into the noise floor, and 24-bit puts that floor far enough down that it never becomes audible; 16-bit is a delivery depth, fine for a file going nowhere else. The size difference is half again, not double.

Can I get the tracks separately?

Yes. Pick All stems and every audible track comes out as its own WAV in a zip — the same shape Live's own Export Audio gives you when you render All Individual Tracks, minus the devices and minus anything the set has muted.

Try our free ableton Live project to WAV converter

  • What Live's own render asks for

    Live renders audio itself, and Export Audio/Video is the right route whenever you can take it: it writes the arrangement to WAV at the depth and rate you choose. It asks for three things first — a copy of Live, the devices the set instantiates, and the samples its clips point at. Miss any one of them and the render comes back silent exactly where the missing piece was, which is the failure a collaborator hits opening somebody else's set. It will take the session grid too, though not by reading it: you launch the clips you want, type a length in bars, and Live captures whatever is playing for that long. The arrangement is the part that renders itself.

  • One route performs, the other does not

    Two things can happen to a set here, and which one you get depends on what arrived with it. If the Project folder carries recorded audio, File → Import session is the route: it rebuilds the arrangement and plays each clip from the copy on your own disk, performed by nobody. If the folder is missing, or the parts were always devices rather than recordings, modelled instruments play the notes instead and what lands is a take, NOT your mix. Give it its own name. A take filed beside the set is worth having; a take mistaken for the bounce is not. Both routes end in the same store, which keeps audio as Opus rather than PCM, so either file has an encode behind it already. A take is allowed one. A master is the copy with nothing behind it.

  • What the extra bits actually buy

    The bounce is written in the page, which is the one part of this that never leaves your machine: 16- or 24-bit integer samples, or 32-bit floating point, at the session's own rate or at 44.1 or 48 kHz. What the extra bits buy is range downward. Sixteen of them put the quietest thing a file can describe about 96 dB under full scale; twenty-four put it about 144 dB under, and the ceiling has not moved an inch. That is why a mastering engineer or a sync brief asks for 24-bit, and why it makes no difference at all to how loud the bounce sounds. Stems are the other option in the same dialog: one WAV per track rather than one of the whole.

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