遊戲是一把雙面刀，它可以成為孩子的玩樂工具，更可以使孩子淪為它的“奴隸”。父母必須態度堅決地糾正孩子迷戀遊戲的習慣

孩子的自制力差 有多方面的原因。例如，外在環境的誘惑太多，或早年未形成有始有終的良好習慣，缺乏自己的人生理想、奮鬥精神以及生理因素等等，都會導致孩子的自制力差。所以糾正這種壞習慣也需要透過一個漫長的過程。我覺得父母應該從以下幾個方面著手。

一，把目標具體化，增強他們的激勵性。父母要想辦法，使一些長遠的目標具體化，以此來增強他們的激勵性。

二，設法使孩子集中精神完成一件事。要注意平時孩子的表現，當孩子做事不夠徹底時，要鼓勵他們把事情做完。不管孩子是在玩積木還是畫畫時，都不要把所有的玩具和用具全部擺在孩子面前，以免他散孩子的注意力。

三，減少干擾因素的影響。當孩子安心做一件事時，父母不應隨意打斷，改讓他們做其他的事。

四，努力成為孩子的夥伴。

五，豐富孩子的經驗，培養孩子的興趣。

迷戀於遊戲，是孩子缺乏自制力的一種普遍現象。當發現孩子沉迷於遊戲中而樂不思蜀時，父母必須採取恰當的措施幫助孩子擺脫遊戲的誘惑。比如說：控制孩子的零用錢、規定玩遊戲的時間等等。

希望我以上所說，能對你有幫助。

說到孩子玩遊戲，這其實是讓家長比較頭疼的一個問題。

首先我們必須要根據孩子的情況來具體分析，假如是小孩子,玩本是他們的天性，作為家長，就要適時的引導孩子，必須和他交流溝通明確吸引他玩遊戲的原因。如果他只是為了玩，那麼我們可以分散他的注意力，給他提供多種方式的玩法，比如可以和孩子共同來玩，做些親子活動等。同時家長也要注意在孩子面前，儘量少玩手機或者是遊戲，有時他們玩也是受了大人的影響。

如果是大孩子愛玩遊戲，家長也要和孩子先交流溝通，搞清他們玩遊戲的目的，是否真的沉迷於遊戲，還是為了在同學面前炫耀？因為我們往往知道孩子在玩遊戲的時候，他可能有很多的理由，只是我們沒有靜下心來和他們交流溝通，搞清他們自己內心的真實想法，只是看到孩子一味的沉迷遊戲，往往就會訓斥，呵責，甚而大打出手，搞得一發而不可收。

總之看到孩子玩遊戲，我們還是及早入手，不要等事情搞大了就不好處理了。

大部分孩子沉迷於網路遊戲是因為對遊戲有一種神秘感，可以透過學習程式設計課程讓孩子改掉這個毛病，程式設計可以告訴孩子們遊戲是怎麼開發出來的，遊戲中的各種人物、場景、屬性等都將會以最原始的樣子展現在孩子們面前，孩子們的思路的格局提高了，明白了程式設計師是怎麼開發遊戲的，讓孩子站在更高的角度去看待網路遊戲，避免沉迷於遊戲。

孩子沉迷遊戲，這是一個非常普遍的現象，特別是疫情期間，很多小朋友長時間的接觸電子產品，受到同伴的影響，難免會或多或少的迷上玩遊戲。

家長遇到自己的孩子沉迷於遊戲，千萬不要簡單粗暴的對待。遊戲本身有設定非常多的機制，讓孩子深陷其中。比如遊戲當中聲光電的刺激，實時的反饋，還有遊戲的社互動動功能，排行榜小獎勵等等，都會讓孩子無法抵禦遊戲的魅力。

因此作為家長，我們要把遊戲的成癮機制講述給孩子聽。並站在他的立場上，表示出對他行為的一定理解，同時要指出遊戲的危害，讓孩子自己去制定措施，幫助自己去克服對遊戲的沉迷。家長可以和孩子約法三章，比如說每天可以玩多長時間？在什麼情況下可以玩遊戲？制定好規則之後，家長就可以加強監管。

現在有許多的監管方式和手段，比如說很多智慧手機是有家長和學生模式可以設定。家長可以透過學生模式的設定，限制某些軟體的使用時長。也可以設定手機的禁用時間和啟用時間。

總之，家長不要視孩子玩遊戲為洪水猛獸，也不能放任不管。利用成長守護平臺掌握孩子玩遊戲的動態，培養孩子的自律能力，才是長久之策。

題主說的遊戲應該是手機遊戲吧。

控制孩子玩遊戲？

不可能的！除了棒子，說教無益。

成年人都會會沉迷玩遊戲，何況還是自控能力更差的孩子。

與其想辦法杜絕他玩遊戲，不如多花些時間，陪伴他，陪他以起做遊戲。

其實很多孩子玩遊戲的初始，是因為家長沒有時間陪伴他，孩子只好去玩遊戲了。

有的時候是家長為了不讓孩子來打擾自己的工作，就讓孩子自己去玩手機，玩遊戲了。

“給你手機，自己玩去吧，我要工作”這是有些家長在家裡經常掛嘴邊的話，久而久之，你說孩子能不沉迷玩遊戲麼？

而且遊戲的研發，設計本身就是為了玩家沉迷其中的，孩子經常自己玩，不淪陷才怪。

尤其今年疫情期間，孩子上網課，使用手機的頻率劇增！酷炫的遊戲畫面顯然比枯燥無味的網課學習更能吸引孩子的目光。

如果這時家長又不在身邊，你覺得還孩子能抵擋住遊戲的誘惑麼？

如果這時你比較生硬的就讓孩子放棄他喜愛的手機遊戲，100%你們之間的鬧僵。

“我是你爸/媽，我就可以管你”讓孩子特別沒有自我。

這是就要“圍魏救趙，農村包圍城市”：

把孩子叫出去玩，去遊樂場等，總之讓他離開手機。

然後在陪他晚一些，親子游戲啊，或者你兒時玩的遊戲，摔泥巴，拍畫片，捉迷藏，木頭人等遊戲，多一些陪伴。

孩子玩高興了，這時你在和他說不要玩手機遊戲的事兒，他也能接受些許。

不要期望一次就能成功，這是長久的工作。

總之所想控制孩子玩遊戲，就多些陪伴，把他玩遊戲的時間佔用了，他那還有時間玩！

現在的小孩子不愛出去玩，就喜歡在家躺著玩手機，打遊戲。有的時候打得“廢寢忘食”，作為父母，看到孩子這樣既擔憂又無奈，擔憂的是孩子這樣下去身體吃不消，學習成績下降，無奈的是不管怎麼說都沒有效果，即便是繳掉孩子的手機也還是無法解決這個問題。

那麼，有沒有什麼辦法能夠有效地控制孩子玩手機，打遊戲的時間呢？

如果是按照常規的方法，家長透過不間斷收繳孩子手機的手段去控制孩子打遊戲，這樣是很耗時間和人力的，而且效果還不是很好。但是隨這科技的發展，我們有了新選擇，可以透過軟體工具直接控制孩子的手機，從而控制孩子玩手機的時間。

除此之外，家長還可以對單個應用進行控制，比如在孩子允許玩手機的時候，他只能開啟學習軟體，其他的軟體都無法開啟，像遊戲軟體，聊天軟體等，可以讓孩子專心學習。

除此之外，家長還可以給孩子孩子設定一個安全圍欄，當孩子進入或者離開這個圍欄時（比如家、學校），家長就會收到簡訊提醒，幫助家長第一時間瞭解孩子安全情況。

3、監控功能

值得提醒的是，孩子是無法解除安裝該軟體的，除非家長輸入手機號和驗證碼，否則無法被解除安裝，這樣保障了管控的穩定性。

孩子玩遊戲痴迷，家長應該如何管制比較恰當

在孩子玩遊戲或者痴迷遊戲這個問題上，我相信很多家長都非常發愁。

我自己也有一個10歲大的孩子，放假在家的時候也是抱著手機玩遊戲，但是，在我小孩很小的時候，其實我就開始做著預防孩子沉迷遊戲的準備。 首先，我們換位思考一下，在我們青春期的時候，是否也沉迷過例如超級瑪麗、街霸等遊戲，那個時候的你是否也感受著遊戲帶來的樂趣，時過境遷，我們現在成為了家長，為什麼我們就不能先理解一下孩子的世界呢？

並且，玩遊戲並不是一個孩子的行為，而是一群孩子的行為，當其他孩子都在玩遊戲的，你的孩子不玩，最終的結果是你的孩子和其他孩子沒法透過一個共有行為來產生溝通，這就很可能導致孩子被孤立。 在想明白了上面的孩子的行為特徵後，我們其實可以做出一個很簡單的結論，就算你用盡一切力量去阻止孩子玩遊戲，其實孩子也會找到各種方法和藉口去玩，那麼，你是希望你的孩子在你看得見的時候玩遊戲呢，還是在你看不見的時候（例如逃學）玩遊戲呢？

所以，在如何管制孩子玩遊戲這個問題上，我對孩子的處理方式是疏勝於堵，我並不阻止我的孩子玩遊戲，但是，我會很早就教育他要有節制，且遊戲只是打發休閒時光的“一種方式”，當孩子完成他自己應該做的事情（例如學習）以後，我會讓他玩遊戲，甚至和他一起組隊玩遊戲，但是，由於玩遊戲只是很多休閒娛樂方式中的一種，所以，我的孩子會在玩一會（一般就是30—50分鐘）遊戲後就主動停止。並且，在和孩子一起玩遊戲的過程中，可以讓孩子覺得你和孩子之間的代溝沒有那麼嚴重，這樣，當孩子有新遊戲或者在學校發生什麼事情的時候，更願意和你溝通。

從玩遊戲到成為軟體工程師

小孩是玩網遊的一代，這潮流勢不可檔卻可順勢導之引入先對電子音樂產生興趣，逐漸而探牽心繫軟體程式設計，掌握阿波系列Ableton live，進而成為DJ和音樂製作人。也是一條成材之道這裡一系列問題，從小引起思考，和

1，畫一個人，如何在遊戲裡動竹

2，如何上彩色

3，始何產生聲音

4，如何把聲音配合到人上

5，如何把不同顏色的人，配吉他聲，鋼琴聲，打鼓去，:與此同時，玩遊戲的家長們應準備上面這些筒單示範，掌握C++語言，最好也移情到道人在網上的一系列進入電子音樂專論-。學習如下重要的關於此款新軟體的頂層設計的宏觀思路對大人，小孩都有好處

參考文獻

This chapter introduces the essential concepts of Live. We advise you to read this chapter early in your Live career, as a solid understanding of the program’s basic principles will help you fully exploit Live’s potential for your music-making. 4.1 The Browser Live’s browser (see 5.1) is the place where you interact with your library of musical assets: the core library of sounds that are installed with the program, any additional sounds you’ve installed via Ableton Packs, presets and samples you’ve saved, your Ableton and third-party devices, and any folders that you’ve added manually. Live’s Browser. 4.2 Live Sets The type of document that you create and work on in Live is called a Live Set (see 5.5). Live Sets reside in a Live Project — a folder that collects related materials — and can be opened either through the File menu’s Open command or via Live’s browser. A Live Set in the Browser. 4.3 Arrangement and Session The basic musical building blocks of Live are called clips. A clip is a piece of musical material: a melody, a drum pattern, a bassline or a complete song. Live allows you to record and alter clips, and to create larger musical structures from them: songs, scores, remixes, DJ sets or stage shows. A Live Set consists of two environments that can hold clips: The Arrangement is a layout of clips along a musical timeline; the Session is a real-time-oriented “launching base” for clips. Every Session clip has its own play button that allows launching the clip at any time and in any order. Each clip’s behavior upon launch can be precisely specified through a number of settings (see Chapter 13). Clips in the Session View (Left) and in the Arrangement View (Right). The Arrangement is accessed via the Arrangement View (see Chapter 6) and the Session via the Session View (see Chapter 7). If you’re using Live in a single window, you can toggle between the two views using the computer’s Tab key or their respective selectors. If you’re using two windows, pressing Tab will swap the Session and Arrangement from one window to the other. Because the two views have distinct applications, they each hold individual collections of clips. However, it is important to understand that toggling or swapping the views simply changes the appearance of the Live Set and does not switch modes, alter what you hear or change what is stored. The Arrangement and Session View Selectors. The Arrangement View and the Session View interact in useful ways. One can, for instance, improvise with Session clips and record a log of the improvisation (see 7.5) into the Arrangement for further refinement. This works because Arrangement and Session are connected via tracks. 4.4 Tracks Tracks host clips and also manage the flow of signals, as well as the creation of new clips through recording, sound synthesis, effects processing and mixing. A Track in the Arrangement View. The Session and Arrangement share the same set of tracks. In the Session View, the tracks are laid out in columns, while in the Arrangement View they are stacked vertically, with time moving from left to right. A simple rule governs the cohabitation of clips in a track: A track can only play one clip at a time. Therefore, one usually puts clips that should play alternatively in the same Session View column, and spreads out clips that should play together across tracks in rows, or what we call scenes (see 7.2). A Scene in the Session View. At any one time, a track can be playing either a Session clip or an Arrangement clip, but never both. So, who wins? When a Session clip is launched, the respective track stops whatever it is doing to play that clip. In particular, if the track was playing an Arrangement clip, it will stop it in favor of the Session clip — even as the other tracks continue to play what is in the Arrangement. The track will not resume Arrangement playback until explicitly told to do so. This is what the Back to Arrangement button is for, which is found in the Master Track in the Session View and at the top-right of the scrub area in the Arrangement View. This button lights up to indicate that one or more tracks are currently not playing the Arrangement, but are playing a clip from the Session instead. The Back to Arrangement Button in the Session View. The Back to Arrangement Button in the Arrangement View. We can click this button to make all tracks go back to playing the Arrangement. Each track in the Arrangement View also has its own Back to Arrangement button, allowing you to resume Arrangement playback of only certain tracks. A Single Track’s Back to Arrangement Button. We can also capture the current state into the Arrangement by activating the Arrangement Record button. Disengaging Record Mode or stopping Live using the Stop button leaves us with an altered Arrangement. 4.5 Audio and MIDI Clips represent recorded signals. Live deals with two types of signals: audio and MIDI. In the digital world, an audio signal is a series of numbers that approximates a continuous signal as generated by a microphone or delivered to a loudspeaker. A MIDI signal is a sequence of commands, such as “now play a C4 at mezzo piano.“ MIDI is a symbolic representation of musical material, one that is closer to a written score than to an audio recording. MIDI signals are generated by input devices such as MIDI or USB keyboards. It takes an instrument (see Chapter 17) to convert MIDI signals into audio signals that can actually be heard. Some instruments, such as Live’s Simpler (see 24.8), are for chromatic playing of one sound via the keyboard. Other instruments, such as Live’s Impulse (see 24.5), have a different percussion sound assigned to each keyboard key. Audio signals are recorded and played back using audio tracks, and MIDI signals are recorded and played back using MIDI tracks. The two track types have their own corresponding clip types. Audio clips cannot live on MIDI tracks and vice versa. Information about inserting, reordering and deleting audio and MIDI tracks is found here (see 15.2). 4.6 Audio Clips and Samples An audio clip contains a reference to a sample (also known as a “sound file“ or “audio file“) or a compressed sample (such as an MP3 file). The clip tells Live where on the computer’s drives to find the sample, what part of the sample to play and how to play it. When a sample is dragged in from Live’s built-in browser, Live automatically creates a clip to play that sample. Prior to dragging in a sample, one can audition or preview it directly in the browser; the switch in the browser with the headphone icon activates previewing. Samples Are Dragged in from Live’s Browser. Live offers many options for playing samples in exciting new ways, allowing you to create an abundance of new sounds without actually changing the original sample — all the changes are computed in real time, while the sample is played. The respective settings are made in the Clip View (see Chapter 8), which appears on screen when a clip is double-clicked. An Audio Clip’s Properties as Displayed in the Clip View. Many powerful manipulations arise from Live’s warping capabilities (see 9.2). Warping means changing the speed of sample playback independently from the pitch so as to match the song tempo. The tempo can be adjusted on the fly in the Control Bar’s Tempo field. The Control Bar’s Tempo Field. The most elementary use of this technique, and one that usually requires no manual setup, is synchronizing sample loops to the chosen tempo. Live’s Auto-Warp algorithm actually makes it easy to line up any sample with the song tempo, such as a recording of a drunken jazz band’s performance. It is also possible to radically change the sonic signature of a sound using extreme warp settings. 4.7 MIDI Clips and MIDI Files A MIDI clip contains musical material in the form of MIDI notes and controller envelopes. When MIDI is imported from a MIDI file (see 5.3), the data gets incorporated into the Live Set, and the original file is not referenced thereafter. In Live’s browser, a MIDI file appears with a special icon, and with the .mid file extension. MIDI Files Are Dragged in from Live’s Browsers. As you’d expect, a MIDI clip’s contents can be accessed and edited (see Chapter 10) via the Clip View, for instance to change a melody or “paint“ a drum pattern. The Device View Displaying a MIDI Track’s Device Chain. A MIDI Clip’s Properties as Displayed in the Clip View. 4.8 Devices and the Mixer A track can have not only clips but also a chain of devices (see Chapter 17) for processing signals. Double-clicking a track’s title bar brings up the Device View, which shows the track’s device chain. The Device View Displaying a MIDI Track’s Device Chain. Live’s built-in audio effects (see Chapter 22), MIDI effects (see Chapter 23) and instruments (see Chapter 24) are available from the browser and can be added to tracks by dragging them from there into the Device View, or into a Session or Arrangement track. Live’s Built-in Devices Are Available from the Browser. You can also use plug-in devices (see 17.2) in Live. VST and Audio Units (Mac OS X only) Plug-ins are available from the browser’s Plug-Ins label. Plug-In Devices Are Available from the Browser’s Plug-Ins Label. Consider an audio clip playing in an audio track. The audio signal from the clip reaches the leftmost device in the chain. This device processes (changes) the signal and feeds the result into the next device, and so on. The number of devices per track is theoretically unlimited. In practice, the computer’s processor speed imposes a limit on the number of devices you can use at the same time, a topic that deserves separate discussion (see 31.1). Note that the signal connections between audio devices are always stereo, but the software’s inputs and outputs can be configured to be mono in the Audio Preferences. When the signal has passed through the device chain, it ends up in Live’s mixer (see 15.1). As the Session and Arrangement share the same set of tracks, they also share the mixer. The mixer can be shown in both views for convenience. To optimize the screen layout, the individual mixer sections can be shown or hidden using the View menu’s entries. The Live Mixer in the Arrangement View (Left) and Session View (Right). The mixer has controls for volume, pan position and sends, which adjust the contribution each track makes to the input of any return tracks. Return tracks only host effects, and not clips. Via their sends, all tracks can feed a part of their signal into a return track and share its effects. The mixer also includes a crossfader (see 15.5), which can create smooth transitions between clips playing on different tracks. Live’s crossfader works like a typical DJ mixer crossfader, except that it allows crossfading not only two but any number of tracks — including the returns. Live’s Crossfader. Devices that receive and deliver audio signals are called audio effects. Audio effects are the only type of device that fit in an audio track or a return track. However, two more types of devices are available for use in MIDI tracks: MIDI effects and instruments. Consider a MIDI track playing a clip. The MIDI signal from the clip is fed into the track’s device chain. There, it is first processed by any number of MIDI effects. A MIDI effect receives and delivers MIDI signals. One example is the Scale effect, which maps the incoming notes onto a user-defined musical scale. The last MIDI effect in the chain is followed by an instrument. Instruments, for instance Live’s Simpler and Impulse, receive MIDI and deliver audio. Following the instrument, there can be any number of audio effects — as in an audio track. A MIDI Effect, an Instrument and an Audio Effect in a MIDI Track. If a MIDI track has no instrument (and no audio effects), then the track’s output is a plain MIDI signal, which has to be sent somewhere else to be converted into audio. In this case, the track’s mix and Send controls disappear from the mixer. The Mixer for a MIDI Track without an Instrument. 4.9 Presets and Racks Every Live device can store and retrieve particular sets of parameter values as presets (see 17.1.1). As presets are stored independently from Live Sets, new presets become part of your user library that any project can draw from. Live’s Instrument, Drum and Effect Racks (see Chapter 18) allow saving combinations of devices and their settings as a single preset. This feature allows for the creation of powerful multi-device creations and effectively adds all the capabilities of Live’s MIDI and audio effects to the built-in instruments. 4.10 Routing As we have seen, all tracks deliver signals, either audio or MIDI. Where do these signals go? This is set up in the mixer’s In/Out section, which offers, for every track, choosers to select a signal source and destination. The In/Out section, accessible through the View menu’s In/Out option, is Live’s “patchbay.“ Its routing options (see Chapter 14) enable valuable creative and technical methods such as resampling, submixing, layering of synths, complex effects setups and more. Track Routing Is Set up Using the In/Out Section in the Arrangement (Left) or Session View (Right). Signals from the tracks can be sent to the outside world via the computer’s audio and MIDI interfaces, to other programs that are connected to Live via ReWire (see 30.4) or to other tracks or devices within Live. Tracks can also be combined into a Group Track (see 15.3) which serves as a submixer for the selected tracks. Likewise, a track can be set up to receive an input signal to be played through the track’s devices. Again, tracks can receive their input from the outside, from a ReWire program or from another track or device in Live. The Monitor controls regulate the conditions under which the input signal is heard through the track. It is also possible to route signals to external hardware devices from within a track’s device chain, by using the External Audio Effect (see 22.15) and External Instrument (see 24.4) devices. (Note: these devices are not available in the Lite or Intro Editions.) 4.11 Recording New Clips Audio tracks and MIDI tracks can record their input signal and thereby create new clips (see Chapter 16). Recording is enabled on a track by pressing its Arm button. With multiple tracks selected, pressing any of their Arm buttons will arm all of them. You can also hold down the CTRL(PC) / CMD(Mac) modifier when clicking the Arm buttons to arm several tracks at once. If the Exclusive Arm option is enabled in the Record Preferences, inserting an instrument into a new or empty MIDI track will automatically arm the track. When the Control Bar’s Arrangement Record button is on, every armed track records its input signal into the Arrangement. Every take yields a new clip per track. Track Arm Buttons, as They Appear in the Session View. It is also possible to record into Session View slots on the fly (see 16.3.2). This technique is very useful for the jamming musician, as Session recording does not require stopping the music. Clicking the Session Record button records a new clip in the selected Session scene in all armed tracks. The Control Bar’s Session Record Button. Clicking the Session Record button again defines the end of the recording and launches the new clips. As these actions are subject to real-time launch quantization, the resulting clips can be automatically cut to the beat. The Control Bar’s Quantization Chooser. Session recording in conjunction with overdubbing and Record Quantization is the method of choice for creating drum patterns, which are built up by successively adding notes to the pattern while it plays in a loop. It only takes a MIDI keyboard (or the computer keyboard) and a MIDI track with Live’s Impulse percussion instrument to do this (see 24.5). 4.12 Automation Envelopes Often, when working with Live’s mixer and effects, you will want the controls’ movements to become part of the Set. The movement of a control across the Arrangement timeline or Session clip is called automation (see Chapter 19); a control whose value changes over time is automated. Automation is represented by breakpoint envelopes, which can be drawn, edited and recorded in real-time. The Automated Pan Control and its Envelope. Practically all mixer and effect controls in Live can be automated, even the song tempo. Recording automation is straightforward: all changes of a control that occur while the Control Bar’s Automation Arm and Arrangement Record buttons are on become automation in the Arrangement View. Automation is recorded to Session View clips if controls are adjusted while recording with the Automation Arm button enabled. Changing an automated control’s value while not recording is similar to launching a Session clip while the Arrangement is playing: It deactivates the control’s automation (in favor of the new control setting). The control will stop tracking its automation and rest with the new value until the Re-Enable Automation button is pressed or a Session clip that contains automation is launched. 4.13 Clip Envelopes Envelopes can be found in both tracks and clips. Clip envelopes (see Chapter 20) are used to automate or modulate device and mixer controls. Audio clips have, in addition, clip envelopes to influence the clip’s pitch, volume and more; these can be used to change the melody and rhythm of recorded audio. MIDI clips have additional clip envelopes to represent MIDI controller data. Clip envelopes can be unlinked from the clip to give them independent loop settings, so that larger movements (like fade-outs) or smaller gestures (like an arpeggio) can be superimposed onto the clip’s material. An Envelope for Clip Transposition. 4.14 MIDI and Key Remote To liberate the musician from the mouse, most of Live’s controls can be “remote-controlled“ via an external MIDI controller. Remote mappings are established in MIDI Map Mode (see 27.2.1), which is engaged by pressing the MIDI switch in the Control Bar. In this mode, you can click on any mixer or effect control, and then assign it to a controller simply by sending the desired MIDI message (for example, by turning a knob on your MIDI control box). Your assignments take effect immediately after you leave MIDI Map Mode. Session clips can be mapped to a MIDI key or even a keyboard range for chromatic playing. MIDI keys and controllers that have been mapped to Live’s controls are not available for recording via MIDI tracks. These messages are filtered out before the incoming MIDI is passed on to the MIDI tracks. The Key/MIDI Map Controls. Session clips, switches, buttons and radio buttons can be mapped to computer keyboard keys as well. This happens in Key Map Mode (see 27.2.5), which works just like MIDI Map Mode. Live offers, in addition to this general purpose mapping technique, dedicated support for Ableton Push (see Chapter 28) and Push 2. 4.15 Saving and Exporting Saving a Live Set saves everything it contains, including all clips, their positions and settings, and settings for devices and controls. An audio clip can, however, lose the reference to its corresponding sample if it is moved or deleted from disk. The links between samples and their clips can be preserved with a special command, Collect and Save (see 5.8), which makes a copy of each sample and stores it in a project folder along with the Live Set. A separate Save button in the Clip View saves a set of default clip settings (see 8.2.5) along with the sample, so that each time the sample is dragged into the program, it will automatically appear with these settings. This is especially useful if you have made warp settings for a clip and want to use it in multiple Live Sets. Exporting audio from Live can be done from both the Session and Arrangement Views. By default, Live will export the audio coming through on the Master output as an audio file of your specifications via Export Audio/Video (see 5.2.3). Live can also export individual MIDI clips as MIDI files (see 5.3.1). Exporting and saving material for later use in Live can be done very conveniently with the Live Clip format (see 5.4). Session View clips can be dragged back out of a Live Set to the browser, and thereby exported to the disk as Live Clips. A Live Clip in the Browser. Live Clips are a very powerful way of storing ideas, as they save not only the clip’s Clip View settings, but also the corresponding track’s instruments and effects chain. Live Clips in the browser can be previewed and added to any open Live Set just like sample files. In the Live Set, they restore the original clip’s creative options. Using Live Clips, you can build your own personalized library of: MIDI sequences with matching instruments and effects, e.g., a MIDI drum pattern with the associated Impulse and effects settings; Different regions or loops (see 8.2.2) referencing the same source file; Variations of a sample loop created by applying Warp Markers (see 9.2), clip envelopes (see Chapter 20) and effects (see Chapter 17); Ideas that may not fit your current project but could be useful in the future.

你好我在另一個問題裡回答過這個問題，在那個問題(13歲孩子每天不寫作業玩遊戲，家長該怎麼辦才好)裡，我的觀點如下:

首先，瞭解孩子的想法。跟孩子聊聊天(就只是聊天，不是責問，也不是評判)，瞭解孩子的真正想法，就是那些他自己的本身的想法，而絕不是迫於某種威壓下的應對之法。

然後，根據孩子的具體情況，做出適當的反饋。分享自己的觀點(是分享，絕不是應該或不應該這樣的校正，就像是朋友想你尋求意見，你只是提出建議而絕不能對朋友說你必須如何如何。跟孩子的分享需要在親情基礎上更多一些朋友關係。)

繼之，為孩子尋找解壓放鬆的途徑。和孩子溝通商討一類穩定的休息放鬆放鬆。因為現在的教育制度下，孩子的學習好累，跟上班族差不多。也要完成業績，製作報告，組織團建，一份簡單的學習卻有數不清的人眼審查表隨時統計評估，不比成人輕鬆啊，別忘了他們還只是孩子。

看到你的問題，我想問你幾個問題:

1，你為什麼要控制孩子玩遊戲？我說的是“控制”二字，你想控制孩子玩遊戲是為了控制他學習對嗎？平時我用電腦時螢幕太亮了我會調節一下亮度，用空調時太涼了，我會調高一些溫度。做的這些事，我認為才是一種控制，讓電腦也好，空調也好或者手機也好，讓它們被我掌控，符合我的需求，為我服務。這樣的事情叫控制，不是嗎？還有一個，我很不願意講因為怕你生氣，監獄裡的獄警要控制著違法或犯罪的人的活動範圍，傳銷組織要控制著成員的舉動等，這些也是控制，可是很明顯，孩子與那些機器或者這類人群都不一樣，都不是一回事。所以我很不明白你為什麼要想控制孩子做的事情，控制玩遊戲或者學習。

2，你瞭解孩子嗎？我說的瞭解不是他的年齡身高學習情況穿什麼衣服，吃什麼上火等等。我說的瞭解是他本身的喜好和想法，就是本身的，不是在某種情況下得承認。比如買衣服時，你為他選的還是他自己選的，或者他選的衣服你不喜歡時，你有沒有問過他“這衣服多好看呀是不是”這類的話，如果你們不是關係很好，無事不談相互理解，那麼你問了類似的這種問題，就在無意中忽略掉了他本身的喜歡。也就是無視了他的感受，強行讓他順從你的感受。這個例子可能不適合你，沒關係，我想問的是，你是否瞭解孩子的生活習慣之外的東西，比如他本身的喜好，想法？

3，孩子瞭解你嗎？成人會主動讓別人瞭解自己和主動了解別人，可也並不是所有的成人都會這樣做，孩子在主動了解別人和主動讓別人瞭解自己方面也是不同的。 如果我們不瞭解別人我們不會隨意干涉別人，因為那樣不禮貌，如果別人不瞭解我們，我們也不會隨意干涉別人，也因為那樣不禮貌。

4，你給了孩子多長時間來明白你的目的？孩子和成人一樣，如果衣食無憂未來無愁，你不願意玩遊戲嗎？(虛擬的遊戲或者現實的遊戲)成人尚且控制不住自己整天小影片一個接一個的看，孩子貪玩遊戲難道不可理解體諒一下嗎？畢竟也沒人陪著如同沒有網路是年代那樣在玩耍中學習。可這並不是說我支援孩子玩遊戲，我是說現在的誘惑太多也太大，讓孩子明白自己的苦衷需要時間，可能需要很久。而你給了孩子多少時間來明白你講的大道理呢？

小朋友玩遊戲很正常啊！父母可以陪伴一起玩，這樣可以控制遊戲時間。與孩子一起玩，無論玩什麼專案，父母都要掌握時間及遊戲內容。這樣可以增加孩子對事物產生興趣！

用其他事情去替代比較好，不然讓孩子幹什麼呢？不要總想控制一切。

多安排戶外運動什麼的，甚至給孩子安排點需要動起來的活，比如家務勞動。把主動權掌握在手裡，這樣不至於產生激烈的對抗。

在就是儘可能避免接觸遊戲的機會。當孩子智力發育之後某一些比較低階的遊戲一般不大可能引起太大的興趣之後要好一些。

還有個損招：陪他玩個夠，並且不斷地在遊戲中打擊他，否定他，注意僅限於遊戲中。這樣自然會膩歪起來...

我們每一個做父母的，在培養孩子成長的過程中，都希望把最好的給自己的孩子，也更希望把孩子教育的出類拔萃，給孩子配備各種開發智力的遊戲，或者是工具等等，玩遊戲機就是其中之一。

孩子們，剛接觸遊戲機的到時候，孩子們一個又一個遊戲，或者玩的時候打一關衝擊另一關，至使孩子們控制不住時間，或者是遊戲機不離手，有的孩子吃飯的時候都一邊玩遊戲機。

何況是孩子們，父母是孩子的第一個啟蒙老師，孩子在成長過程中，父母的一言一行一舉一動，都潛移默化的影響孩子的所有。父母在帶孩子的時候，每一件事情都要給孩子定出來“規則”。

每一件事情，都要講清楚，怎麼是對的，什麼是錯的，哪些地方不可以逾越的，必須說清楚。

不管是成年人，還是教育自己的孩子，首先必須學會自律，自律對於任何一個人的人生髮展，都是至關重要問題，讓孩子從小養成自律的好習慣，才是最重要的。

所以，我給兒子買第一個遊戲機，事先約法三章，告訴他，你做到約法三章，就一切都好，如果，中途違約的時候，自己必須要把遊戲機教出來。

因為，孩子那時候還小，玩到一定程度的時候，想讓他停下來，實話實說太過分或者影響他的思維，這樣情況可以寬容一點點，但是大多數時候，如果我兒子玩超時的時候。

我一言不發，默默看著他，當他發現自己超時間了，表示出自己錯了，我也不批評他他自己以後，更注意時間，這就是培養孩子，養成自律習慣的好處。

每一個父母，都希望自己的孩子，出類拔萃鶴立雞群，那麼就要，教會孩子自律和培養孩子，嚴格要求自己，這不是一天兩天時間就可以，而是，父母言傳身教，以身作則，在和孩子談話交流的時候，父母必須放下來手機。

父母的每一個微小動作，都影響孩子的一生成長過程中，建議題主，不要採取打壓方式，而是，採取規則和約法三章，讓孩子自己學會控制自己，最後祝題主的孩子成為一個，出類拔萃的佼佼者。