Combine the best of multiple audio or MIDI passes into your perfect take with Live’s new comping feature. Record hardware synths, software instruments, guitars, vocals or any audio from the real world. Live has the tools to both capture your ideas and discover ones you never expected. Or record an arrangement directly from the Session View and improvise a finished composition. The Arrangement View is where you organize music along a timeline and build sections of your song. Session View lets you sketch ideas fast: play, mix and match MIDI and audio loops of different lengths and tempos without ever stopping the music. With Live’s two modes of working, and a ton of creative tools and sounds with endless ways to combine them, the only limit on your music is your imagination. scale, ranges, and chance.A license code will be sent via email after purchase* These sequencers actually generate complete musical variations while being constrained to a set of rules, ie. the aforementioned USTA, Vector Sequencer, Eloquencer, Mutable Marbles, and several others. While the presented probability features of Live 11 are great for adding dynamics and variation (aka "adding space") by removing notes, it really doesn't equate to "generative" or what we are seeing in devices in the modular world - ie. These probability values can be set for a whole clip or each individual note. If you have a scale set, it will limit those notes to any note in that scale above or below by one octave. If you don't have the scale set to something other than chromatic, setting both of these values to 50%, means that every time a note is to be played, it will be something other than what you recorded half the time, and will be either above or below the original note by one octave. I was really hoping that they would have implemented the probability functionality that has made my Frap Tools USTA sequencer in my eurorack the centre of my creative/generative workflow.Įach note is given two values: The chance that a note will be the exact pitch you played (pitch probability), and the amount of variation +/- 2 octaves (amount of pitch variation). In my opinion - this is only half of the definition of "probability" is for the subject of making music - it solves the " will the machine play a note?", but not the "what note will it play?" I am actually a bit disappointed that the Probability features in Live 11 are only for velocity and chance of a note being played, especially since they've brought the scales feature over from Push2. Its not a deal breaker, but it is something that, imo needs to be addressed, especially since we are talking about the top selling(?) DAW, for the last few years.Īh got it, I don't use their automation extensively, but automation not having latency compensation seems pretty major with how much they push their automation/modulation system. So you need to print to audio and then do said processing. Ways around it are aligning automation by ear, using time critical plugs, before plugs that induce a lot of latency, but sometimes you want to use a gate plug in that sync to project tempo, after a heavy plug in.and it sounds way off. and automating said channels and making sure the automation works properly by ear, because what you see (for aforementioned channels with "heavy" plug ins), is not what you get in terms of audio. Using synced gate, ducking effects after plug ins that induce latency (lots of it) like Acustica Audio, UAD, etc. What problems are people having? My biggest issue with Live was always comping, it was wild to me it didn’t exist. I hear people mentioning delay compensation problems in Live all the time but I’ve never encountered one that couldn’t be fixed after figuring out why Live chose to handle it a certain way. I think Live 11 is more a "Live 10.2" than a Live 11. I am glad I stuck with Live 9 and skipped on Live 10 till this offer, cause I paid the discounted price for Live 10 a week ago and got the license for Live 11 for "free" as well.Īlthough I am planning on moving away from making finished tracks in Ableton and moving to Reaper, I am planning on Rewiring Ableton to Reaper and I also have students that use Ableton Live, so I have to be up to date. I have a 3,1 cheese grater that I patched with 10.13.6 and works just fine. I won't be getting it unless I get a new machine to replace my Graphics Mac Mini and get it for that one. It is stuck on 10.11 El Capitan and runs Live 10 just fine on it, along with Reason 11 and many older plugins. I saw that the system requirements were OSX 10.13 High Sierra and my music machine, a 8-core Cheese Grater tower, can't go that high. I went to preorder Live 11 and then had to cancel the order.
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