Ableton simple delay only 300 ms8/7/2023 ![]() Even if you don’t use anything else new apart from these automation features, it’ll change your sound. It’s much easier to get more evolving, less blocky envelopes, especially if, like me, you prefer to draw, rather than record, automation.Īnd it’s taken 15 years, but finally, we can get absolute precision in our envelope values by typing the numbers courtesy of the Edit Value button in the context menu. ![]() 10.1 bumps it up again, with the ability to skew automation, and a library of curves that can be called up from the context menu. Live’s automation has progressed in recent years, especially when you factor in the interaction that’s possible with the Push controller. Seriously, this alone will save me a lot of time – thank you Ableton, thank you very much – I’m gonna send some flowers and chocs to Berlin as it’s a very useful day-to-day workflow assist. So often I’ve tried to freeze a track and been blocked by a message saying it can’t be frozen because of sidechaining. Live 10.1 enables track freezing of sidechained tracks. Speaking personally, the next feature is very appreciated, because it fixes an issue I run into all the time. Merging the previous two delays makes sense, especially when Live now includes the fantastic Echo effect as well. Re-Pitch causes a change in pitch as you change delay time, like an old tape delay, and it sounds great Fade crossfades more discreetly between previous and new delay settings and Jump applies the new settings immediately, with abrupt audible changes and no leftovers – this could be a good one to automate, but my heart is with Re-Pitch Mode. The Mode switches are where the fun starts. Ping Pong Delay and Simple Delay have been merged into a new Device (old projects where you’ve used those will open with it and the appropriate settings everything will sound as it should). While Live adds a third EQ, the Delay effect replaces two others. ![]() Channel EQ adds a third option to Live’s EQ Eight and EQ Three, and it looks like a cross between the other two – which I guess is the intention – bringing EQ curves and a high-pass filter to a simple three-band EQ format – good stuff, and very user-friendly. Wavetable is a great addition to Live’s existing suite of synth instruments, and this update deals with the only major omission. Wavetable already includes tonnes of presets and raw source sounds, so you might never need to add your own material, and because of the way wavetable synthesis works, you might not even notice the difference without using the right kind of material, but diehard synth heads will appreciate and use this capability, for sure in fact, look out for our dedicated Wavetable tutorial soon. ams files exported from Live’s Operator synth, which is actually a really good way to start exploring this. Live 10.1 now brings us the ability to add custom wavetables for the Wavetable synth, a new Channel EQ Device, a new Delay Device, as well as improvements to automation, track-freezing behaviour, and navigation.įor a lot of people, the standout feature will be the ability to import custom content into the Wavetable synth this can be ‘proper’ wavetables (a wavetable is a single cycle of an audio waveform that can be used as a synthesis source often you need separate utilities to make these), audio samples, or even. ![]() To cap it all, Max For Live was built into the main application instead of requiring a clunky separate install. It also gave us functional enhancements including Capture (MIDI recording without hitting ‘record’) group tracks inside groups, colour-coded Browser collections and editing of multiple MIDI clips. Ableton Live 10 gave us revamped visuals and new Devices in the form of Wavetable (synthesizer), Drum Buss, Echo, and Pedal (audio effects).
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