- #ABLETON LIVE LITE 9 ARTIST PACKS UPDATE#
- #ABLETON LIVE LITE 9 ARTIST PACKS UPGRADE#
- #ABLETON LIVE LITE 9 ARTIST PACKS PRO#
- #ABLETON LIVE LITE 9 ARTIST PACKS SOFTWARE#
- #ABLETON LIVE LITE 9 ARTIST PACKS SERIES#
In an Ableton twist, you can insert blank take lanes at any point, bringing some of that Session view flexibility to Live’s Arrangement view. It means your edit is always preserved until you actively change it. In fact, if there’s a discrepancy, it will deactivate the highlight on your take lane, and you have to select that section again.
#ABLETON LIVE LITE 9 ARTIST PACKS UPDATE#
Once you’ve sent a take lane selection to the comp, anything you do to that take - quantize, change notes – won’t automatically update the comp version. This is true to the protectionist behaviour of the comp lane. However, you have to do it before making any selections, as the colour of your comp lane selections don’t automatically update if you change the take lane colours after you’ve made a selection. If you pre-colour your takes, you can use that to easily identify which takes make up your comp. Once you’ve got your comp in the ballpark, you can also drag the split points between takes around. If you’re not in Draw mode, you can click and drag to highlight the section you’d like to send to your comp, then hit Enter. The easiest is by hitting ‘B’ to enter Draw mode and just run the pencil cursor over the bits of takes you want. There are three ways of manipulating your comp. Besides, it doesn’t have to be used to craft the perfect take, it’s just as likely to be used for improvisation.Ībleton’s comping implementation works largely the same as other comping systems, and across both audio and MIDI channels. I felt I’d been around the DAW block enough times to be entrusted with a tool that had become a staple of every other mainstream DAW. On the other hand it was time to take the kid gloves off. I couldn’t go back and select another take if my arrangement started to go awry. It also forced me to pay better attention to how each part fit as I was laying it down. Having to delete a section in order to redo it really made me pay fresh attention to each recording’s pitch, timing and rhythm. In many ways, it was a net benefit to go back to tape-style tracking. Mind you, I did try all the workarounds in a desperate attempt to imitate the feature but eventually gave up trying. When comping was stripped away from me back during ‘the move’, I still managed. Still, one omission seemed to sit on the fence, swaying between the backyards of ‘fast and loose’ and OCD. When it comes to getting ideas down into coloured blocks, thou shalt not delay, except as an effect, in which case, go wild. The idea of labouring over a section of music seems at odds with Ableton’s manifesto. Dispensing with ‘serious’ tools in favour of fun.
#ABLETON LIVE LITE 9 ARTIST PACKS PRO#
After finally getting my hands on a copy of Ableton Live 9, and then my head around how a scene-based workflow could jumpstart my creative juices, I was hooked, and now it’s a staple in my live sets, too.Ĭoming from Logic and Pro Tools, I could handle the lack of editing tools, but Ableton has stubbornly held on to its electronic musician’s toy chest perception. I was a latecomer to the Ableton party, holding on desperately to a solely linear workflow for music production, and never dreaming of using playback live. Let’s dig in and see if Live 11 is worth it for you, too. If you’re just looking for some new toys to play with, Suite users in particular are treated to an array of new packs and effects, including Hybrid Reverb (Ableton’s best reverb by a mile), spectral filter effects, and a solid collection of useful packs. Macro counts have been doubled, snapshots enabled, follow actions have been reworked and can now be applied to scenes (hooray!), and Live can now follow the tempo of an audio source, which has limited recording applications, too, but more on that later. Long-time users of Ableton in a live context haven’t been left out either.
#ABLETON LIVE LITE 9 ARTIST PACKS SERIES#
Those that like it a bit random will welcome the new built-in randomisation and chance features, as well as the Inspired by Nature series and Spectral devices. For expressive players, MPE has arrived with a solid implementation that makes it easy to visualise and edit parameters. For edit hounds, to go with comping, there’s also linked editing and a scale highlighting option for note editing.
However, it seems that Ableton has made sure to throw in at least one compelling feature for every taste.
#ABLETON LIVE LITE 9 ARTIST PACKS UPGRADE#
I’ll readily concede that what makes the upgrade worth it for me (ahem, comping) might be a waste of time, and therefore money, to you. Right off the bat, Ableton Live 11 is worth it for me. Could you really be bothered upgrading if it’s going to mean any deviation from your normal routine?
#ABLETON LIVE LITE 9 ARTIST PACKS SOFTWARE#
There’s the price associated with the risk of adopting new software too early. There’s the actual price, you know, the money thing. Any ‘whole number’ DAW release comes with a price.
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