In my expereince, Live sounds as good as other DAWs. If you’re the type that has to have 43 instruments and effects on every channel, err… use Return tracks (busses in Logic), or consider simplifying your approach.Ībleton’s Push 2 controller/hardware interface for Live.
Indeed, I can manage with Live on a 2011 MacBook Air if the project is mostly audio. Given those constraints, Live does quite well, thank you. Also, for live performance Live must play back glitch-free, while other operations are being performed. Audio warping is basically always-on (you can enable/disable it for individual clips) and allows you to speed up and slow down songs without so much a how-do-you-do. Command-Up/Down to change the note selection is a cool add, as well. The latter, combined with the randomize velocity function, is a colossal timesaver when I tweak my weak keyboard or drum performances. The major new features are very good, but two small tweaks actually convinced me to dump Live 10 for 11. Pressing the “C” key now arms or disarms the current track for recording, and if you start typing a number while a note is selected in the MIDI editor, it will change its velocity. The colored bars at the top of the editing pane indicate which track and clip the notes are from. See the image below.Ībleton Live 11’s multi-clip editing now allows you to edit notes from all selected clips at the same time. Where Live formerly required recording on the 16 different tracks to capture and edit MPE, it now only requires one. MIDI, the digital communications protocol for musical equipment, originally followed a strict one channel/one instrument model. MPE took the original 16 channels and re-tasked them for use on a single instrument, allowing each note to use the corresponding channel’s expression data (pitch bend, modulation, pressure née after-touch, etc.). News at 11Ī huge new feature for cutting-edge keyboard performers is vastly improved support for MIDI Polyphonic expression (MPE).
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Live also supports different color schemes and a third-party online scheme/theme generator is available at Live Themes 2.0. Moving your mouse to the top of the screen reveals said menu when you need it.
Notably, you can run Live full-screen to recapture the space normally used by the main menu. You can also run the program full-screen to recapture the space taken up by the menu. Live 11 at 100% scaling and 200% scaling with the same song. As its name implies, Ableton (the company) designed Live at the outset for live performances and quick composition using audio samples. Ableton Live is a relative newcomer, appearing around 2000.
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Programs such as Logic, Pro Tools, and Cubase trace their lineage back to the 1980s. Ableton Live, on the other hand, is a DAW that was designed by musicians for musicians, and likely a better fit for the average Mac-wielding, musical type.
However, Logic, like nearly all Digital Audio Workstations (DAWs), follows a design bent more on accomodating studios and audio engineers than creatives.
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It sometimes needs it as Live is far pricier than Apple’s loss-leader, Logic, which does the same thing and more, if not nearly so elegantly.Īpple’s feature-packed Logic Pro software gets the lion’s share of attention from the musical-oriented Mac media-with a gigantic feature set and at its comparitively affordable $200 price, that’s rightfully so. MPE support, new content, and a host of welcome tweaks sweeten the deal. New for version 11 is comping and linked track editing which make it more appealing for traditional studio recording. Live’s clean interface and clever workflow minimize interference with the creative process and performance.
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