The answer lies in the Envelopes pane of the Clip View - specifically, the Linked/Unlinked button, which, in the latter mode, lets you specify an independent loop length for automation envelopes in that clip, allowing them to run on for as long as you like while the clip itself loops around alongside them. One way to do it would be to move over to the Arrangement view, pasting the clip out four times and drawing your automation envelope onto the track, but you're not done in the Session view yet, so you'd really rather not. The scenario: you have a four-bar-long clip that you're looping in the Session view, but you want to automate a 16-bar reverb swell using a Reverb device inserted on the clip's channel. From there, you can either drag an entire track into the Session or Arrangement view - where it'll be recreated with all devices, plugins and clips in place - or hit the disclosure button on the track in the browser to unfold a list of its hosted clips, which can then be dragged in individually, again along with their associated devices and plugins. Navigate to any project file in the browser and click its disclosure triangle to reveal all of its component tracks. One of the best things about Live's browser is its ability to import tracks and clips from other projects into the one you're working on. or a Fairlight dog bark and a shotgun), simply rename them, say, MetronomeORIG.wav and MetronomeUpORIG.wav (for backup and to prevent accidental overwriting), then copy your chosen new sounds into the same location, renamed as Metronome.wav and MetronomeUp.wav. To change them to the alternative samples of your choice (a shaker and a clave, perhaps. These samples are contained within the application itself on OS X (Applications/Ableton Live 9.app/Contents/ App-Resources/Misc/Metronome/Samples), and in the folder C:\ProgramData\Ableton\ Live 9\Resources\Misc\Metronome\Samples on Windows. It might surprise you to learn that Live's metronome sound is just a pair of samples (Metronome.wav and MetronomeUp.wav, the latter being the downbeat), rather than any kind of real-time synthesised tone.
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