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Programming in Live 10 was a little like putting together a puzzle. You had to keep track of all the little parts; at least the “easy ones” like song keys, the tape cues, and the drum patterns that you could choose from. The fact that I couldn’t see what I was putting together did not help.
The new Max patch is a long overdue addition to Live’s collection of utilities, and it’s one that will appeal to both those who have been using the program for years, and those who are just coming in. Max allows you to generate anything from custom drum beats to mellow, ambient soundscapes and full musical compositions, on-the-fly. You can start by selecting one of the preset samples, or create a new sample out of an existing MP3 file, and you can then control such settings as the track’s tempo, the number of notes played per beat, and a variety of other parameters. But the real fun comes in adding on your own custom beats and sounds. You can generate an unlimited number of clips by cycling through the available samples, and you can also build your own synth patches by choosing from a range of preset sounds and tweaking them with the Max controls. In addition, you can save a musical composition as a sequence of clips, and you can mix, layer, and record each part to add real-time control over your sound mix.
Live is a powerful tool, but it’s also a learning experience. There are so many more features and settings that you’ll want to discover and try out. The developers have been kind enough to provide a trove of help with, for example, the custom kits, user accounts, and the many, many SoundCloud integration options available. In the demo, let alone in the music world, I’d say most musicians will be hard-pressed to find another DAW that offers such a versatile and powerful platform at a price as attractive as Live’s. If you’re looking for a complete, wide-ranging music production system that’s versatile, powerful, and easy to use, live is a great choice, a fact that seemed to greatly impress the folks at Ableton.
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It has been a little over a month since Ableton released Live 9.0, but its still very early days. The release of Live 9.0 means, of course, that all previous purchasers of Live 8 have a free upgrade to Live 9. If your only major complaint is that the CPU on your machine is slow, Live 9 should be able to handle it on par with Live 8.
Live is the missing link in the DAW landscape. Working with Max, the only way to produce and sequence live instruments and loops is to forgo your other DAW and simply rely on Live for everything. Ive used Live 8 for about a year now, and its come a long way since the previous version and yet at the same time it still does not quite take off as a serious competitor to Cubase despite some pretty big changes. One of the major features missing in Live is the ability to write to disk. Not only does Live still not support that functionality, its made even harder for Live users by now not being listed in the list of the available formats for exporting files.
Live has been creeping towards its 10th birthday for some time now and there is still plenty of room for growth. This growth continues with the 10th and final version of Live, Live 9. Until quite recently Live was a throwaway DAW, something people would use to produce a few songs or an album before tossing it out. While that continues to be the goal for many, others have become devoted to Live, using it for nearly all of their DAW needs. The ability to write to disk is something many users have been asking for for years and its finally here. You can look at it as the first step towards creating an all-in-one DAW, or as a simple tweak towards one of the basic functions of Live. In either case it has the potential to revolutionise the DAW space. Even for non-creative users its now possible to export a session of one, two or even three projects to disk with an easily navigable interface. When combined with the extended export format support from the previous versions of Live, theres no longer a reason to use a separate DAW like Cubase, as every task could be performed within Live.
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Immediately I wanted to call in the experts to perform the piece, so I reached out to the departments at the time University of Toronto School of Music to find people who understood this music and who might perform the piece with me. I was successful in assembling a group consisting of Jonathan Holloway, Prof. Dr. Nathan Yanofsky, and Ryan Balling, all young pianists who had all encountered, learned, performed and performed again with the famous American composer. I knew that I wanted the ensemble to consist of a variety of instruments to make it more interesting, so I asked Prof. Dr. Yanofsky if he would be willing to use a variety of unusual instruments to help him play the score. This was the first time I heard of Max For Live, so I went to the Ableton website to try and figure out what it was all about. I couldnt find very much documentation, so I sent Prof. Dr. Yanofsky an email asking him if he knew what I was talking about. His reply came back pretty quickly: he uses Max For Live in his teaching studio and it was certainly getting used by the students. It looked very interesting. The same day I came across the video documentation of an early Max For Live device, the “Hands on Piano” from Resonate: Sound, Music and Affects, a device in the original Arduino format . I was intrigued. I had recently returned from a music course at McGill University where we had taught electronic music theory and production and had been excited to learn that we had been using Max as an active learning tool. I then downloaded the Max For Live program from the Resonate site and downloaded the Hands on Piano sample from the Ableton GitHub. When I fired up the piano I saw a visual representation of the piano in the Live desktop. I started playing a small portion of the song, which was not bad considering Im not a pianist, and it sounded very reasonable. During the course Im taught, we had used a variety of unusual instruments in our music studios, so I had learned of several others that were definitely the real deal. I checked out SynthMaster: Not Just a Drum, a modular polyphonic synthesizer and Rockman: A Guitar Amped Up with Propellerheads Audio software, an x-y table with a built-in guitar amplifier . I had more tricks up my sleeve, namely Roland DR-880 Analog Drum Drums, a full sized, analog drum machine , and in particular a Roland FZ1 synth from
What’s new in Ableton Live
- Captures – Ableton sends out MIDI clips with as much as 5 different track and parameter values before they are recorded.
- Groups in Groups – Ableton allows you to group clips together within a single group.
- Preview – Ableton places a preview button on the clip that you are working on to look at what the clip will playback as.
- Sections – Ableton allows you to organize sounds into sections for more granular editing.
- New browser – Ableton’s browser has been improved to make it easier to sort and navigate.
- Scratch effect – Ableton has finally added the Scratch effect to its ReWire plugin.
- Max for Live – Fully integrated. You can play, record and effect clips by scripting into Live with Live instruments.
- Patch Banks – Ableton now allows you to make several audio instances live, each with their own set of audio parameters, by creating their own Patch-Banks.
Ableton Live Features
- Access additional Actions for clips with the help of the Compose tool. Unlike in a typical Studio that is connected with MIDI instruments, Live lets you create entirely unique and spontaneous musical events by coding basic actions directly into clips.
- You can assign your clips to play a predictable musical pattern. Record each clip to play a different note, for instance, then layer them with multiple-tracked patterns.
- Trigger external MIDI sources from inside Live by routing MIDI tracks to Live’s MIDI effects. Then, change the way you play the MIDI data across multiple clips by using the MIDI Options in the Main Tool Window.
- Create audio effects by creating single audio tracks and then loading audio clips or MIDI data into them. The Multi-Effect rack supplies a variety of these audio effects.
- The Multitrack tool allows you to group a range of audio clips into a single multitrack. You can then access all of the audio clips at the same time, so you can make changes to all of them at the same time.
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