This is something they cooked up at Ableton. Re: Collections – Before anyone says anything about colour blindness and the amount of colours being limited because of their distinctiveness or whatever: the colour part was not specifically necessary for the tagging system. But as a professional user, after having paid for the last two upgrade cycles in the vain hope that the new version would finally bring these structural improvements, I feel Ableton is now lacking compared to its competitors and also extremely sluggish at picking up on what their users actually want (judging by the most popular feature requests on Centercode).Īgainst that background ‘a new MPE synth’ seems to cater (yet again) to the wishes of a niche, rather than to those of their loyal core users, which I feel is a shame and has me (and apparently many others) consider alternatives now. I definitely get the excitement that comes with (free) added features, especially if making music is a past-time. ![]() ![]() It’s almost as if they don’t use their own software and therefore do not understand its issues. ![]() The addition of the colour tags (Collections) that came with Live 10 is a superficial workaround that was oddly limited to just 7 colours, but for what reason? Why add a ‘solution’ that is not really a solution to what has been requested. For the end-user to have next to no organisational control over this seems somewhat perverse. It makes no sense in a creative context – instead it seems organised from a dev mindset. I mean, why it is still sorted on plugin type (native/vst/vst3/au/m4l) is a mystery to me. With the kind of updates they have been doing over the last couple of years, I can very much imagine your niche request will be addressed sooner than any of the structural improvements that a large part of the user base has been begging for in the last decade like ‘bounce-in-place’, ‘same playback hotkeys across editors’, or (perhaps most importantly) an overhaul of the library browser with the implementation of a proper tagging system. I primarily just use live and would prefer to keep it that way however 11 has been the first version I haven’t been a fan of they’ve just dropped all the audio stuff I was using if that’s wise personally between ping pong delay the multi-band delay the 8 th point EQ completely threw off my workflow. it’s like they couldn’t come up with anything better to do this year and just said whatever we’ll just come out with this thing instead of trying to address the more forefront issues at hand. when it comes to mixing and mastering you can only go so far and live I feel and then the next best move is to bring your track possibly into pro tools if you want to get more serious or move it into a better studio and environment. Between hardware and the vsts I already use I don’t need any more help in the synthesizer department I believe or when it comes to live depending on if I’m coming up with a song idea or if I’m trying to mix and master something that’s where it starts to decline for me. They should be focus on work flow or anything that just makes live a lot easier to do that requires less than you dive in an easier ways to throw together songs and ideas on the fly they pretty much have it dumb down to a good science however they definitely don’t need any more additional synthesizer instruments. If you’re a Live 11 user, you join the Beta program to get the update now.ġ00% with you there. An updated Core Library with expressive content is available in 11.3.This offers a creative way for MPE modulation to change over time. ![]() Note Echo now supports MPE with feedback controls for each dimension.The MPE Control device now has added functionality, an updated UI and reduced CPU load.Many features in Live 11 have now been updated to support MPE: This free update to Live 11 also adds MPE capability to Analog, Collision, Electric and Tension, giving you more options when you want to add more expressive control to your music. Its minimal layout and interactive controls make adjusting the sound easy for musicians new to synthesis, while the sounds it can produce will give even experienced sound designers a broader sonic palette. Inspired by classic hardware, but borrowing heavily from modern synths and Eurorack modules, Drift has been carefully tuned by ear to deliver great sound at any setting, quickly and easily. Drift is described as “a characterful device”, capable of a wide variety of sounds from every era of modern music. Live 11.3 adds Drift, an all-new MPE-capable synth and the first for all editions of Live – including Live Lite. Ableton today released Live 11.3 as a public beta, an update that adds a new synth, updates for MPE and more.
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