Updated Ableton Live 11.

As an annual ritual, I’m going to tell you about the Ableton Live 11 software update.

This new version has been announced through the Ableton website but also through the media in the world of CAM.

Unfortunately, at the time of writing, the software is not yet available. Its commercialization is planned for the first quarter of 2021. Don’t worry, you can always pre-order it on the manufacturer’s website.

Why announce the update now?

Simply because it’s the Christmas and New Year period and what could be nicer than to offer to a member of your family, our boyfriend or girlfriend the version 11 of this essential software that has become Ableton Live!

In addition to the pre-sale effect, this has a significant impact on the Ableton live user community. We are moving from the widely acclaimed 10 version to a version 11 full of promises and from this point of view Ableton spoils us.

What’s new in version 11?

Let’s get to the heart of the matter with a new recording mode known in other software as composite recording.

Recording and assembly of takes:

Now with Ableton live 11 when recording both audio and midi, you’ll be able to select the best moments from each of the different takes and then put them together to make the perfect recording.

Recording and take assembly

A significant advantage of this new recording mode is that it also brings the possibility to work on the sound design, in a new way that I had already explored in this title by gathering samples, of different types of instruments for the assemblies in order to create sudden changes of instrumentation. We’ve already experienced this kind of exploration with Electro music.

And believe me, there are many other ways to experience sound design with this kind of functionality…

Editing of linked tracks:

The objective is to link tracks together to make the edition. This allows to keep the alignment of the different tracks.

This is very useful, for example, when recording the drums, one experiences the experience of recording the bass drum with one microphone at the back and one at the front.

With the editing of linked tracks, you will be able to simultaneously edit the content of each of the two bass drum tracks.

This editing principle is very interesting because it allows to keep the alignment of the rear mic track in relation to the front mic track and allows to respect the phases when recording with the microphones. If you are recording percussion, drums, a guitar amp with several microphones it will save you a lot of time.

It also works with midi tracks! In this context, it will be interesting if you are doing Layering and you want to edit two or more tracks simultaneously.

Ableton Live 11 compatible with MPE controllers!

Ableton Live 11
control of several parameters in real time

In a previous article based on the Midi, I mentioned the arrival of MPE controllers and of course their compatibility with the software on the market. The Ableton Live 11 update solves this lack of compatibility. Now you will be able to use in Ableton Live 11 controllers such as Roli and certainly the much awaited Osmose from Expressive E.

This contribution of expressivity will give new sound perspectives to your compositions where each note can benefit from a control of several parameters in real time for a much more advanced instrumental interpretation. Both in real time and in editing.

Of course new, more expressive sounds are included in this update. Synths like Wavetable, Sampler and Arpeggiator have been updated to support the MPE protocol. Ableton Live 11 will come with MPE presets for each device. This update for MPE controllers allows the push 2 control surface to benefit from expression possibilities allowing the use of polyphonic aftertouch for example.

And the Stage?

This version 11 also brings a lot of new features for musicians on stage, and that’s saying a lot!

Follow the tempo:

Until now, when you wanted to work with Ableton Live on stage, it was necessary to send a click that everyone had to follow. Now LIVE listens to and adjusts the tempo of a predefined audio input in real time! Incredible isn’t it, I can’t wait to try this feature, can you?

Follow the tempo and macro

What about macros?

This new version now allows you to record the state of macros at any given moment in your game and recall them later, which is perfect for creating instant changes to your sounds in the middle of a performance.

In order to benefit from the captures of macros, an improvement of the racks has been carried out in order to benefit from 1 to 16 macros as well as a randomization button. All of this of course assignable to a MIDI controller!

Are you unpredictable?

When you play with a sequencer, whether in the studio or on stage, it is very rare to be unpredictable both in the playing and in the sounds, especially if for example you play an instrument like the guitar and you have to follow the click of your Stan…

Ableton Live 11 can be unpredictable depending on the luck factor!

With the Note Chance parameter it is possible to determine the probability that a note will occur and then let Ableton live 11 generate variations that will evolve and change over time.

Now it is possible to use the Velocity Chance parameter to define ranges of velocity probability to create variations and humanize midi drum or synth clips.

Actions !

Do you use Follow Actions in Live? Personally I love the Follow Actions and knowing that now in Ableton Live 11 the actions can now be linked to the length of the clip to create interesting sequences faster and that’s awesome! This will allow you to create songs that are much more scalable in terms of arrangement and also to be able to switch from one specific clip to another knowing that Ableton Live 11 allows them to be activated or deactivated globally.

Scale of play

Let’s go back to something necessary or even useful: in the Midi clip editor you can now block the clip on a precise musical scale so that you don’t get the wrong note. And this function of Ableton live 11 goes even further but I’ll talk about it again with the new features of Push…

New peripherals!

Hybrid Reverb is a convolution and algorithmic model hybridisation, designed to create realistic sound spaces as well as spaces that defy the laws of physics. I can’t wait to try it in sound design…

Imagine breaking down the spectrum of an incoming audio signal into its parts, then stretching, shifting and scrambling it. Then play it as an instrument with MIDI. That’s what Spectral Resonator offers, heavy stuff apparently !!!

And its brother Spectral Time, which transforms sound into partials and passes them through in a frequency-like delay, for results comparable to metallic echoes, frequency shift and reverb effects. The Freeze function captures and holds incoming audio indefinitely. This one tickles my curiosity…

Inspired by Nature is a collection of 6 playful instruments and effects inspired by physical and natural phenomena. Created in collaboration with Dillon Bastan.

Created in collaboration with Robert Henke and based on one of the first digital effects processors, PitchLoop89 creates glitch effects, digital delays with typified tones and unusual vibratos that will give character to sounds both on stage and in the studio.

New sounds!

I will let you discover this when Ableton live 11 is released, but be aware that 3 banks entitled Upright Piano, Brass Quartet and String Quartet have been made in collaboration with Spitfire audio.

What about Push ?

With Ableton Live 11, the management of musical scales is done in connection with the midi and push editor. Now this can be modified from one clip to another.

The display of the new peripherals has been brought to push so that you can view them directly on the controller screen.

When using Wavetable, Sampler, Arpeggiator and VSTs that support MPE performance, it is possible in Push to set polyphonic aftertouch support.

In Push you access macros 9 to 16 on a second page after the rack page with macros 1 to 8 the second page appears automatically as soon as you assign more than 8 macros.

The last word about this update of Ableton live 11.

I would have liked Ableton live 11 to be directly available for download following the announcement of its update, because currently with the lockdown we have time to experiment, create and develop our musical style. Only one question comes to my mind: in the current context, do we have the financial means to do this upgrade?

Certainly Ableton has a limited time offer and maybe it is necessary to put this offer in the Santa Claus list next to the one for me to make your next mixes and masters 😉

Explore Ableton Live 10’s Simpler

For those unfamiliar with Ableton Live 10‘s Simpler, let’s explore a virtual instrument that integrates the basic elements of a sampler with classic synthesizer parameter settings.

Concretely simpler…

Simpler includes some of the features of live clips such as Warp. Warp mode audio clip playback in Simpler automatically plays the loop at the tempo of your composition. It doesn’t matter what note you play on the keyboard or with push2, interesting…

Let’s discover the interface.

Simpler to a simple interface, so to speak! It consists of two parts:

  • The Sample tab which manages samples.
  • The Controls tab which manages the commands

Small tricks by clicking on the button as in the image below, you will get a split view where the settings in the Controls tab take up all the space in the device window.

Simpler with loop
The detached view of Simpler

Swiss Army knife in Ableton.

One-shot samples or audio loops are dropped in.

  • Can be used to play a bass or synth sample over the entire keyboard range.
  • Default with the Drum Rack to play drum samples. One Simpler per Pad or
  • Work the layering in the Drum Rack with a rack instrument on a drum pad to stack several samples of claps or kick for example. Remember the article on the Drum Rack
  • Insert several Simplers into a rack instrument to make layers of sounds such as atmospheres or synths.
  • Do slicing to reappropriate the playing of an audio loop.

Which forces me to talk about reading modes.

What sample player do you want?

In Simpler, the display mode selector allows you to choose one of three sample playback modes. For information we find the management of these modes via the Push2. As shown in the picture below.

Play Modes
Simpler modes

So Classic, 1-shot or Slice?

– The Classic mode

  • Default mode when using Simpler :
  • Optimized for the creation of melodic and harmonic instruments.
  • Polyphonic.
  • Has a full ADSR envelope and allows looping which allows samples to play a sustained note.

– 1-Shot mode

  • Exclusively dedicated to monophonic reading.
  • Optimized for unlooped drum hits. However, this mode has simplified envelope controls and does not allow looping. Warning: the default setting in trigger mode triggers a playback of the entire sample when a note is played, regardless of how long the note is held.

– Slice mode

  • Automatically cuts the sample non-destructively.
  • The slices obtained are read chromatically.
  • You can create the slices from the following options :
    • Transient: to detect attack transients.
    • Beat: according to the time grid of the Warp mode.
    • Region: from 2 to 64 slices from the whole sample or a a part of it.
    • Manual: create and move slices manually.
Sliced by menu
Sliced by menu

I confess to being a fan of this mode that I regularly use to reappropriate sounds from loops and reinterpret them at my convenience.

Let’s go back to the classic

To give you a better understanding of the Classic mode, let’s detail what we see in the Sample tab.

Classic Simpler mode
Classic mode settings
  • Gain: determines the reading level of the sample. It is different from the volume potentiometer that determines the output level of Simpler.
  • Start: Starting point of the sample reading in percent, as it is determined by the start marker.
  • Loop: define the percentage length read in the loop within the sample. This mode only works if the loop button is activated.
  • Length: the percentage length of the sample playback between the start and end marker.
  • Fade: Fades between the end and start of the loop to attenuate digital clicks. This is very useful when making sounds like pads or textures.
  • The Loop and Snap buttons: Loop activates loop playback within the sample and Snap forces Simpler’s loop and region markers to set to zero amplitude points.
  • Voices: sets the maximum number of channels Simpler can play for this sample.
  • Retrig: the held note will be cut if the same note is played again. Only works with long samples and if the Voices setting is greater than 1.
  • WARP: I will discuss the WARP mode in more detail in a future article, but please note that it is identical to the audio clip mode and works in all three modes.

Some information about the 1-Shot mode

1-Shot Mode view
1-Shot Mode
  • The markers (triangles) on the left and right define the playable region, as in Classic mode, without the Loop and Length controls. The 1-Shot mode is strictly monophonic.
  • Gain same as in Classic mode
  • Trigger activated, the sample continues to play even after the note is released.
  • Gate stops playing the sample when the note is released, the reverse of Trigger mode.
  • Snap works as in Classic mode, affecting only the start and end markers.

This is a very useful mode for percussion or drum samples.

Slice mode to reveal your talent

Sliced Mode
Sliced Mode view

Slice mode is one of my favorite modes.

  • Gain is the same as in Classic mode
  • Trigger activated, the sample continues to play until the next slice.
  • Gate stops the sample playback when the note in the slice is released.
  • Sliced by, determines the slicing mode of the sample.
    • Transient, the sound attack transients determines the slicing mode.
      • Sensitivity sets the sensitivity of the transient level limited to a maximum of 64 slices.
    • Beat uses rhythmic divisions to determine the slicing mode
      • Division allows you to choose the rhythmic division for cutting the sample
    • Region sets the cutting mode at regular time intervals.
      • Regions determines the creation of the number of slices of identical length.
    • Manual this setting allows manual positioning of the sample cutout.
  • Playback determines the number of slices that can be triggered simultaneously.
    • Mono for monophonic; only one slice can be played at a time.
    • Poly, several slices can be played at the same time. The Voices and Retrig controls work as in Classic playback mode.
    • Thru playback is monophonic, but triggering one slice causes the rest of the sample region to play.

Little trick to use !!!

In Transient mode, using the CMD shortcut by clicking on a slice will toggle between manual and automatic slicing. Slices created manually in Transient mode are preserved regardless of the Sensitivity setting.

A little bit of Warp

The Warp mode in Simpler works just like for audio clips, as I said earlier in this article, it allows you to work with samples that instead of having their own rhythm and being played at different pitches because of the playback speed, are playable at Ableton’s tempo speed. This is very handy for drum beats to quickly synchronize them to different playing tones from the original version. I’ll come back in a future article about the Warp mode. Because it’s a very powerful live tool.

Apart from using it with drum loops, it’s extremely powerful with guitar loops and really I’m a big fan of it.

Flirting with the Filter

Filtre Simpler
On the left the filter in Clean mode and on the right in OSR mode.

The Filter section of Simpler offers various types of filters:

  • Clean is a high quality, CPU-saving model, identical to the filters used in the EQ Eight.
  • OSR is a state variable type with resonance limited by a single clipping diode. Modeled after the filters used in a rare British mono synthesizer called Ableton.
  • MS2 uses a Sallen-Key design and soft clipping to limit resonance. Ableton reports that the modeling comes from the filters used in a famous Japanese semi-modular mono synth.
  • PRD uses a ladder design and has no clear resonance limitation. Modeled after the filters used in an old mono synth with double oscillator from the United States according to Ableton.
  • SMP is a customized model not inspired by any particular material. It is based on the characteristics of the MS2 and PRD circuits.

As with synthesizers the most important filter parameters are:

  • Frequency the frequency or Cutoff for aficionados, determines where the filter applies in the harmonic spectrum.
  • Res for resonance, which accentuates frequencies near this point.

When using a filter other than the Clean filter, an additional potentiometer called drive appears to add distortion upstream of the filter.

When we talk about a filter we obviously mean high pass, low pass, notch bandpass. In Simpler there is a special filter called Morph that you find when you select Clean or OSR. The Morph knob continuously changes the filter type in a loop from low-pass to band-pass to high-pass to notch to come back to low-pass. I recommend that you experiment with this filter.

Morph Filter mode
Morph via OSR filter

Oldies but goodies

Open a Set that was created in a version of Live prior to 9.5, any Simpler in the Set will open with the old filters instead of the filters mentioned above. These are standard 12dB or 24dB filters, which do not have a Drive control. Each Simpler loaded with the old filters will display an upgrade button in its title bar. Having all my sets updated for Ableton Live 10, I have not found any older versions in my hard drives to show you.


In Simpler there are 3 Standard ADSR envelopes.

Simpler's envelopes
Filter, Amplitude and Pitch Envelopes

Each with its own settings as in the picture above. The influence of the envelopes on the filter’s cutoff frequency and pitch can be adjusted via the Amount parameter. For the amplitude envelope, the following list of settings can be found in the mode setting at the top next to Time:

  • Loop: If a note is held at the end of the decay phase, the envelope will start again from its initial value.
  • Beat allows a note that is held beyond the Rate slider setting to restart from its initial value.
  • Sync Same as Beat mode
  • Trigger same as in Loop mode

Time defines the time required to go from the hold level to the initial value.

LFO low frequency oscillator history

The LFO window
The LFO window

The LFO offers sinusoidal, square, triangular, sawtooth down, sawtooth up and random waveforms. It oscillates freely at frequencies between 0.01 and 30 Hz, or synchronizes to divisions of the set tempo. In Simpler, the LFOs are applied individually to each voice, or note played, which is particularly interesting.

  • The Millisecond Attack control determines how long it takes for the LFO to reach maximum intensity.
  • The R knob switches the retrigger. When activated, the phase of the LFO resets to the offset value called Offset at each new note. Note that Offset has no effect when retriggering is disabled.
  • Key controls the speed of the LFO to the pitch of the notes received via the midi keyboard.
    • A high Key setting affects a higher LFO speed to higher pitched notes.
    • If Key is set to zero, the LFOs of all voices have the same speed and can just be out of phase.
  • The Vol, Pitch, Pan and Filter sliders determine the amount of volume, pitch, pan and filter modulation by the LFO respectively.

It’s very interesting to spend some time on the envelopes and the LFO. Believe my experience.

Global parameters

Global parameters
Global parameters

For information Simpler plays the sample at its original value on the note of C 3rd Octave. Delicate when importing a sample in another key than C 3. Fortunately in this section of Simpler the transpose parameter allows you a range of +/- 48 semitones to tune your sample correctly.

It’s a shame that you can’t find the same mode of operation as in Sampler or that you can enter the sample note directly in Root Key mode.

A quick word about Glide mode. This glide mode allows you to switch from one played note to the new played note. Glide exists in two versions Glide which works monophonically and Portamento which works polyphonically.

Spread allows you to enlarge a mono sample to be tested with discernment.

Pan or pan in standard setting. It can be modulated by the LFO.

Ran>Pan assigns a random factor to panning.

In conclusion

For me Simpler is a real Swiss Army Knife in Ableton Live 10. Its evolution over the versions makes it indispensable and allows to have a simplistic approach quite different from an extremely complex sampler. It’s a pure joy to build your own banks in Simpler knowing that you can access if you right-click on the Simpler title bar to a drop-down menu to convert to Drum Rack or to Sampler. Certainly some will tell me that you lose the Slice mode, but it’s still interesting.

How to fully exploit the Ableton live 10 Drum Rack.

For all those who have Ableton Live, the Drum Rack is really a very interesting and powerful tool.

Following a training session this month (thanks to Vincent for these questions) to help you discover the Drum Rack in depth.

What is the Drum Rack?

When you load an empty Drum Rack, you have this window with pads. Each pad will correspond to a note on the keyboard or a pad if you have a Push 2 or Novation Launch Pad controller.

Drum Rack by default

On the side we have 5 circular buttons that I will talk about later. And right next to that we have blocks of 16 pads.

Because yes, the Drums Rack does not only contain 16 pads but a total of 64 pads!

In these pads you can load different categories of elements:

  1. Samples in wav – aiff – mp3 format
  2. EQ-type audio effects – Compressors and much more.
  3. Software instruments such as those from Ableton such as Analog – Electric and of course VST
  4. Ableton’s Midi Effects are also available and we will see why later…
  5. For the samples, nothing could be easier, in my audio library, I select a kick for example and I will put it on the C1 pad and there I can trigger it (play it).

A little tip if you want to use several samples in the Drum Rack, select them in your library and drag all the samples in one operation.

Let’s load a sample!

Once you have loaded your wav files into the Drum Rack, you have the name that appears on the pad

Drum Rack Loaded

The name is also displayed in the upper part of Simpler which is an Ableton plug-in for playing audio samples.

A Play button, a mute button and the solo button appear on the pad.

As explained, plug-ins can also be loaded in two different ways:

  • By pad as below with the EQ as in the example below.
Drum Rack Pad effect
  • Overall on the whole Drum Rack as with the Glue Compressor below.
Drum Rack Overall Effect

Let’s now look at a Drum Rack with several samples.

Let’s start with the three small buttons at the top left:

Drum Rack buttons
  • First button displays the macros that are used to control one or more parameters of an effect with a single button.
Drum Rack Macro
  • Second button displays the chain for each pad.
Drum Rack Chain
  • Third button shows or hides the processing chain.
Drum Rack Chain view

Then we have the following 3 buttons

  • I/O: This button is displayed when the channel mode is activated. It displays the received note and the note played in Simpler, the Choke function, volume, pan, mute solo and hot swap. It also displays the output called Rack Output.
Drum Rack In/Out
  • S: Send button, this button allows you to view in the I/O chain independent effects sendings for each pad. Example how to put the sound of the snare drum into the reverb bus without affecting the other sounds. You must activate the R button and insert an effect.
  • A: Return button, use in conjunction with the Send button. It is possible as shown in the image below to set the output (a Reverb in this example) on a return track. This provides consistency throughout the song.
Drum Rack Send & Return

Let’s explore this tool further

1. Choke

As you can see in the image above, there is the Choke switch that allows you to assign the channel to one of the sixteen exclusion groups! In concrete terms, the triggering of a chain silences the other chains belonging to the same exclusion group.

This is useful for example to cut an open Hit hat (Charleston) by playing a closed Hit hat. This brings a more natural game, because in battery mode you can’t play an open Hit hat at the same time as a closed hit hat.

Drum Rack Choke

2. Layering of samples method 1

The layering technique consists in stacking several sounds to form one. This technique is used in the work of drum sounds. There are several methods to do this here is the first.

In this example I want my kick in C1 to play with the kick in C2. As shown in the image below, the note received by pad C2 (Receive) is assigned to the same note received on pad C1 (in example C1) the name of the pad changes and is called Multi. You are free to rename it at your convenience.

Drum Rack Layering 1

3. Layering method 2

As I explain at the beginning of the article, you can insert virtual instruments into the pads of the Drum Rack. For this layering technique, I will use a Rack instrument that I will place on note C1. In this Instrument Rack we will use several Simplers to perform our layering. An advantage over the previous method? This saves pads and no need to assign the received score to each Simpler string!

Drum Rack Layering 2

4. Midi Pitch

Let’s imagine that we have the sample of a kick that sounds good, but that we like to hear it more deeply in the octave below. We can in the Simpler transpose our sample, know there is another method. By using a midi plug-in!

As shown in the example below, the midi plug-in Chord is inserted between the chain and the Simpler. The Shift potentiometer 1 is set to the value -12, which corresponds to the octave below. This method can be easier to make pitch ramps in EDM production for you to see!

Drum Rack Midi Pitch

This example also shows you that midi plug-ins fit into the Drum Rack.

5. Copy values into chains Sibling

This is a very practical function in the Drum Rack, in concrete terms. You load several samples and the volume values for example in the Simplers are all at -12. There is a quick way to put all Simplers with the same output volume. Go to a Simpler and set the parameter to the desired value, example -6, right click with the mouse or on your trackpad and in the drop-down menu, click on copy Chain sibling value (6). In this example the menu informs you that it will change the settings of the other 6 chains. Practical, isn’t it?!

Drum Rack Chain Sibling

Be careful with this function, because the setting applies to all chains and not only to the chains you would like this is not yet possible.

6. Random Pan

A very practical function that is located in the Simpler. Make a Ran>Pan (Random Pan) setting in the Controls tab of the Simpler as in the example in the window below, here we see it dosed at 80% you will give movement to your shaker, tambourine and other percussion….

Simpler Random Pan

7. Synthesized in the Drum Rack

I often use different sounds in Epic music to create reminders. I use these synth sounds very often on a track called Fx Epic. Instead of loading 5 tracks with 5 synths, as I only use one note at a given time, I place my synths in the Drum Rack. Saving time and energy for me. It is up to you to see if you have the usefulness of this process… an example in the image below.

Drum Rack Synths

One last tip!

When you insert a Drum Rack on a track in session mode at the top right of the track. On the small arrow, click on it, you open the tracks created in the Drum Rack, as well as the effects tracks. You can make your settings directly in session mode. Practical if you find like me that the Drum Rack is not resizable.

Drum Rack Session

Of course there is a lot we can do with the Drum Rack and I haven’t shown you everything particularly I haven’t explained Simpler. It will be the subject of another chapter… If you have any questions, don’t hesitate to send me an email and if you need a composition or arrangement, a remix from your Ableton project, it’s possible

Choose Ableton Live 10

I decided to talk about Ableton Live in the blog after the release of version 10

Ableton manufactures software called Live. Live is a professional music sequencer that exists on OS X and Windows.

It is a tool for composition and arrangement, but also for sound design. Its design and ergonomics are mainly intended for use in concert. It appeared on the market in 2001.

There are several versions of the software. The most complete is Ableton Live suite.

Choisir Ableton Live 10
Ableton Live 10 in live session

The configuration I describe is based on three criteria:

1: Ableton Live Controller

The most suitable controller for Ableton Live is the Push2. It is specifically dedicated to Live and manufactured by Ableton.

To use it since it was released, I am extremely happy with the changes that have been made to it. There is no better controller.

There are of course other controllers such as:


Novation Launchpad

It is also possible to use controllers that have a script to be operated with Ableton Live as Maschine and Maschine Jam of native instruments.The management via a controller dedicated to mixing is done with the Push2.

From my setup

I use a control surface: Artist Mix from Avid.
The implementation of this surface with Ableton Live is reduced to volume and panoramic.

Using Ableton Live with Push2 and Maschine provides an advanced composition and creation tool.

I must admit that this is what I use regularly. In addition, both can be interfaced in two ways:

– either with the Link mode

– or with Maschine as a plug-in in Live.

2: Ableton sound card

I have never had a sound card problem with Ableton Live.

I still have a slight preference for sound cards UAD Apollo.

Ableton Live is a tool for the stage and if you want to use it with several outputs, it is important to think of a card made to do it.

Another important point: Ableton Live is really a software oriented to work with physical synths via midi and it is also a powerful tool for sampling…

So think of a card with enough inputs to connect your synths to….

When I work on sound design, my configuration is to use an Apollo Twin UAD on my MacBook Pro!

3: Ableton midi keyboard

On the keyboard side, you have a lot to choose from. From the simple midi keyboard to the keyboards with integrated pad, cursor and rotary encoder like the Novation Launchkey recognized in Live’s preferences.

Personally I work with the Komplete Kontrol S61 in my studio and I use on my MacBook Pro an Alesis v25 keyboard.

Many users are still on Ableton Live 9. I’m not going to go into the details of version 9 and get interested in version 10

Ableton Live 10.1

If you are considering buying Ableton, the version will be 10.1 (at the time of writing).

Be aware that the new features are more than interesting and useful to save time in our workflow.

Because a day only lasts 24 hours….

To avoid wasting time detailing them, you will find here a description

For the information, I noticed a bug in version 10.1. The playback head disappears after stopping… From my point of view, it’s embarrassing, because we don’t know where we stopped in the project and if we forget to shift + space bar, the playback starts again at the beginning of the title ! In the studio, come again, but recently a client told me that it happened to him on stage! Under these conditions, it is even more difficult to manage, especially for the metronome counts with the other musicians!

For reflection

I like Ableton Live! It allows me to do many things, both in composition and sound design.  It still has flexibility, ergonomics and especially the Push2 to work, sample and allow you to jam sessions with Link !

Soon you will even be able to control your old synthesizers or your Modular in CV gate with CV Tools

Contact me if you wish an  Ableton Live training course, tailor-made, individual, according to your schedule.

And for those who doubt it, it is possible to compose, mix and master on Ableton Live 10…