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Another interesting addition is the real-time recording feature, which includes time stretching and beat-matching capabilities. The new real-time features are only available to those who have a license for Max4Live, however, but Ive no doubt theyll be widely adopted by DAWs in the future. It also allows you to record a clip, save a version of that clip and then rearrange the parts and effects of that clip to make different versions of the clip, which is a useful function for a multitrack recording format.

Ableton Live 10 adds a powerful new feature to Live: the ability to control devices directly from Live, whether its controlling a mixer, a hardware interface, a synth or whatever. Live can now interface with what it considers to be external devices, which is pretty much everything else aside from the Music Production software. This is achieved using a new device called the Audio-in, which integrates a Push controller and is therefore the perfect companion for the Push controller. The iOS app also includes a Synth section that lets you play and edit synth sounds using the Push.

The most under-the-radar change is the Push 2, which finally brings tactile control to the world of computer music devices. Push 2 is the first in a line of new audio products from Ableton and adds to the usual suspects of Push and Push 2 hardware, Push Rack, Push Controller, Push Duo, Push Video and Push 2 Rack. Live 11 also offers a new Launchpad for recording performances, Push 2s ability to function as a control surface for Peak, an improved mixer and FX, the newly enhanced Push 2 mic and the addition of a new drum machine. More will be updated on Push 2 and Push Rack as we get our hands on the devices, but for now enjoy these snapshot videos of Push 2 in action!

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Live isnt going to be for everyone, and thats okay. If you arent interested in making music as a collaborative task, Live does have a number of flaws. Creating a Live project is complex and takes time to setup and configure, and for some, simply choosing which synths and plugins to use and where to drop them on the timeline can be a daunting task. Live is flexible and expressive, but as can be expected some users will find its lack of intuitive controls a turnoff, and its interface will appear to be dated in comparison to some of the more intuitive and visual options found on other professional DAWs.

But there are some things about Live that are worth mentioning. For one, Live has a veritable army of truly enthusiastic and highly skilled users online that will be only too happy to help inexperienced users get their first project started. Theres also a thriving community of users , who gather to exchange ideas and critique their creations. There is also a wealth of tutorials and books aimed specifically at getting beginners up and running, including How to Use Ableton Live Cracked , a step by step guide that walks new users through the basics of working on a Live project. For advanced users, theres How to Use Ableton Live Advanced , a book that covers all aspects of Live, including patching, automation, hardware, and how to use Push and Push to operate digital instruments.

I think its fair to say that once youve used Live youll realise what its always been. A powerful, flexible and accessible musical instrument that allows you to produce creative musical ideas. Thats what its always been, and thats what Live should always be.

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The Session view has been expanded, making it easier to work with groups of clips, but also making it difficult to tell what is going on. The Chord and Melody Channels have been replaced with new Channel Objects, something Live calls a track, which are basically groups of audio and MIDI clips. The Group could be used as a main track, and you could add or subtract clips from the Group, which could then be moved around, added or deleted as a track. The Channel UI in Live 11 is fairly easy to work with, though it could use a manual.

As with Pro Tools, you can record audio and MIDI live and manipulate the audio and MIDI in real-time, but another huge, and welcome change is the ability to shift between editing and monitoring views. You can just as easily add a new clip in the Arrangement view and play it back as you like, using the new Compose mode, or you can press the triangle button to instantly put your cursor into the Session view and start making changes there.

Because Live tracks are so large, it is often convenient to split them into smaller pieces called Vounds. I was able to move across the threshold of around 100 tracks — the limit is different for each user and may be set higher in a preferences dialog — much more than I would have been able to do in Live 10.

Videolayer transitions are now built into Live, not added on later as in Live 10. They can be chained together, and animated via Time Stretch. In addition to up to four timeline transitions for each object, they provide audio and MIDI scripting to play across any clips in the arrangement, regardless of clipset-up (although the scripting language is restricted to audio parameters for now).

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• Save Ableton Live Racks
• Save Buses
• Save Plugs
• Save Song Templates
• Save Scenes
• Save Arp&Automation
• Save >Preset
• Quickly Load Presets
• Save Presets To Clips, Scenes, Songs
• Save Templates As Rack Presets
• Saving and Loading Racks

• Simpler and less intuitive user interface
• More robust, faster and more stable sound engine
• Better reliability and stability
• Better handling of irregular media
• Video support
• Cross-platform project files
• Improved audio processing
• Improved support for USB audio devices
• Easier multi-track recording
• Video/audio sync
• Support for up to 64 audio/video tracks
• Improved keyboard support

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