What you can ask for

One word each. "Play" and "stop" run the transport in about a third of a second, without reaching for the space bar — useful when both hands are on an instrument and the keyboard isn't.

Say “metronome” and the click comes on; say it again and it’s off. A button, not a sentence — it answers in under half a second, and it reads the click’s real state first, so it still works after you’ve toggled it by hand.

Change the project tempo by saying the number, mid-session, without stopping what you're playing.

Fire a named clip or a whole scene, and stop them again, without hunting for the right slot in a full Session grid.

Arm the track you're about to play and set its monitoring, so the take starts on your terms instead of after a detour to the mouse.

Punch in and out over a range you name out loud — "bars 5 to 8" — with the transport, the punch points and the record mode all set for you. This is the operation voice wins outright: your hands are already committed.

Play a few passes at a part, then pick one out loud — "keep the last take" — without stopping to drag anything. You can audition first ("play take 1"), and the take stays the subject afterwards, so "keep that one" means the one you just heard. Nothing else is thrown away: the other passes stay in their lanes.

Switch views and hand playback back to the timeline, so you actually hear the arrangement again after working in Session.

Add a MIDI or audio track that arrives already named, instead of a Track 7 you rename later — or never.

Refer to a track the way you think about it. When two tracks could match, Tine asks which one rather than picking.

Say the level you want in the units the mixer shows, rather than dragging a fader towards it.

Place a track in the stereo field by description — hard left, slightly right, back to centre.

The fastest thing to do by hand, and still worth saying when your hands are on an instrument mid-take.

Set how much of a track feeds a return, and create returns to send to — the routing chore, spoken.

Housekeeping that everyone postpones: naming, colour-coding and folding groups so a session stays readable.

Make an empty MIDI or audio clip in the slot you mean, at the length you say, ready to play into.

Name the notes — "C E G C" — or the pattern — "a kick on every beat" — and they land in the clip. Tine writes what you said; it does not invent a part for you.

Empty a clip, or remove what you just put in, without selecting anything by hand first.

Refer to clips by name or by where you're looking. Deleting a clip with content in it asks first.

Loop a clip, or set exactly which bars it loops over, spoken in bars and beats rather than dragged.

Launch mode, quantization and legato for a clip — the settings behind the Clip view's launch panel.

Turn warping on or off for a clip and choose the warp algorithm by name.

Label takes as you record them, so "the chorus one" is something you can actually say later.

Put a device on a track by name — no browser navigation, no dragging onto the right track.

Say the value the way the device displays it — "decay time to 2 seconds" — instead of converting to a 0-to-1 knob position.

A/B a device without finding its power button, or take it off the chain entirely.

Describe the shape — a fade in over the clip, a sweep across two bars — and it's written as clip automation.

Take the loop you've been jamming on and place it on the timeline at the bar you name.

Shift a section to a different bar, or repeat it across the next eight — the block-moving part of arranging, spoken.

Loop the section you're working on by naming its bars, instead of dragging the loop brace to them.

Create, duplicate, name and launch scenes — the structure layer of a Session-view set.

Saves your set with no window coming to the front and no dialog interrupting you. Live's own scripting interface cannot save a project at all — this is one of the operations Tine reaches deeper to get.

Drives the whole export — format, range, destination — while you keep working in another window. Also out of reach of Live's scripting interface.

Commit a part to a WAV without setting up an export by hand.

Split audio into vocals, drums, bass and everything else, with the parts arriving back as tracks in your set rather than as files to re-import.

Convert a recorded part into notes you can edit, using Live's own conversion.

Apply the same thing to every clip on a track, or every track in a set, as one instruction. This only works unattended because the operations underneath never need the foreground.

Open a clean set without leaving what you're doing to click through Live's menus.