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. 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. 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. 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? 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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