Live has the ability to choose an audio input channel to control Live's internal pace. You can even use warping to correct multitrack elements. This allows you to quickly create and edit multitrack layers. It is still a powerful feature that can be used with track lanes. You can adjust the relative fade times of clips that are playing at the same clip on different tracks but not the fade times for multiple clips on the track at once. However, its functionality is limited to the ability to affect clips at the same position. It will also prove valuable to people who deal with multi-track vocal or drum recordings. This can be useful for working with multiple copies of the same material. This allows you to edit audio on multiple tracks simultaneously. Tracks can be linked so that any selections made on one track will reflect on the other. Select multiple tracks and right-click one of the track headers to select "Link Tracks". Similar to linked tracks, they work in an easy way. This is a simple solution to a long-awaited feature that will delight all who are eagerly waiting. You can also use draw mode - drag over a portion of the clip to place it on the main track lane. To comp the recorded material, select the desired track lane and press the enter key to place it in the main lane. They are displayed under the main lanes in a similar fashion to multiple automation lanes. You can view take lanes by right-clicking on track headers and selecting Show Take Lanes. However, each cycle will be recorded on a different take lane. Comping works as follows: Record audio or MIDI on a looped section and the data will still go to a single clip. The new comping and linked tracks capabilities for Live will be a great addition. You can also use polyphonic aftertouch on Live's Push devices. MPE can also be used with a compatible hardware controller and can be programmed directly in the Expressions tab, next to the Notes or Envelopes tabs of the MIDI clip editor. This works in the same way as the familiar 'attack velocity' but is applied to the ends of the notes. Each note can have its own discrete value. MPE allows you to pitchbend individual notes and also provides individual Slide or Pressure parameters that can be used as modulation sources. Live now supports MIDI Polyphonic Expression, which allows for more precise control of compatible instruments. Flanger and Phaser have been combined into one more powerful effect, much like Simple Delay or Ping Pong Delay in the Live 10 update. Their quirky nature makes them a great complement to 11's chance-based features.Īdditionally, some existing effects were upgraded: Redux, Chorus, and Phaser are now more fully-featured. The Live 11 Suite includes three new instruments with great sound that were created with Spitfire Audio (Upright Piano and Brass Quartet), three new sound pack (Voice Box and Mood Reel), six 'Inspired by Nature’ chance-based instruments and effects, and three new instruments (Ball Quartet, String Quartet, and String Quartet).Īlthough they don't feel as full as the previous meatier Live additions, Echo and Wavetable, these are still of decent quality. The Suite edition of Live 11 contains four new effects: PitchLoop89, a pitchshifting effect based on a primitive digital pitch-shifter called the Publison DHM 89 b2), Hybrid Reverb (a dual algorithmic/convolution reverb that can be used for standard and sound design-esque reverbs), Spectral Resonator (which creates resonant comb filter-like effects and granular delay effects) and Spectral Time. They can be divided into three broad categories: improved tracking capabilities, new tools that are primarily used in live performance contexts, and upgrades to Live’s sound generation, processing, and sequencing capabilities. Live 11 follows this tradition and features many improvements and changes. This is a tradition that Ableton has had for a while. Ableton's DAW has been improving incrementally over time, rather than being radically altered.
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