Ableton Live 10.1 is here, a free update to Live 10.1 with some new devices, streamlined automation and editing, and new sound features. So what should dig into after the download? Here’s a place to start.
There’s no surprise reveal here since 10.1 has been in public beta and was announced in the winter. Here’s the full run-down of what’s in the release from February (still accurate):
I’ve been working with the beta for some time, to the point of not wanting to go back even to 10.0 (or even getting a bit confused when switching to a friend’s machine that didn’t have 10.1).
So let’s skip ahead to stuff you should check out right away when you download:
Refresh a track in Arrangement View
I will shortly do a separate story just on getting around Arrangement View quickly, but — there’s a lot of fun to be had. (Yes, fun, not just screaming at the screen as you painstakingly move envelopes around.)
Ableton have accordingly updated their Arrangement View tutorials:
(Video is actually a terrible medium for shortcuts, but more on those soon.)
Here are some quick things to try:
Resize the Arrangement Overview (that’s the bit at the top of Arrangement View)
Draw some shapes! Right click, pick some shapes, and you can draw in envelopes. Try this actually two ways: first, select some time and draw in shapes. Next, deselect time, and try drawing with different grid values – you’ll get different corresponding quantization.
Get at fades directly. Press the F key.
Clean up envelopes. Right click on a time selection and choose Simplify Envelope.
Stretch and scale! Select some time in automation, and you’ll see handles so you can move both horizontally (amount/scale) and vertically (in time).
Enter some specific values. Right click, choose Edit value, type in a number, and hit enter.
There’s a lot more. But all of this is an opportunity to duplicate one of your projects and give it a refresh by going nuts with some modulation because – why not.
You know, conventional wisdom says, don’t mess with your existing tracks too much. The hell with that. If I were a painter, I would definitely be the kind constantly scraping away and painting over canvases. You can always save a backup. Sometimes it’s fun to mess around and take something somewhere else entirely.
Go ahead and freeze whatever you want! Track has a sidechain? It’ll freeze. It’ll even still be a source for other sidechains. (There are actually a bunch of things that had to happen for this to work – check Arrangement Editing in release notes if you’re curious. But the beauty is you don’t really have to think about it.)
Here’s a new explanation of how it works:
Try your own wavetables
User wavetables make the Live 10 Wavetable synth far more interesting.
Like arrangement, this probably deserves it’s own story, but here’s a place to get started:
And for extra help exploiting that feature, there are some useful utilities that will assist you in creating wavetables:
While you’re in there, Ableton quietly added a very powerful randomization feature inside Wavetable for glitching out still more:
Added a new “Rand” modulation source to Wavetable’s MIDI tab, which generates a random value when a note starts.
Pinch and zoom
Trackpads and touchscreens (most of them, anyway) now support pinch gestures in Arrangement View, so try that out. It works for me both on a Razer and (of course) Apple laptop; lots of other hardware will work, too. It’s a little thing, but zooming is a big part of getting around an arrangement.
Try Channel EQ as a creative tool or live
There are already a lot of EQs out there. The Channel EQ however has some draw as a potential equivalent for live PA / experimental sets of what the EQ Three has been for DJ sets.
Stop futzing around with sends when you export stems
Okay, see if this is familiar:
You output stems – say for a remix artist or to mix in a different tool – and suddenly everything sounds completely differently than you expected because you used sends and returns and/or master effects.
That’s no longer an issue in 10.1, as there’s now a new export option that addresses this.
So, time to go make some stems, right?
Make some new sounds with Delay
Okay, Delay at first glance may seem like a step backward from the excitement of Space Echo-ish Echo in Live 10. Isn’t it just a combination of Simple Delay and Ping Pong Delay into one Device?
Well, it is that, but it also has an LFO built in that can modulate both delay time and filter frequency.
These modes were there before, but you now surface Repitch, Fade, and Jump modes as buttons.
So put all of this together, and the combination of things that were there that you didn’t notice, with new things that are simple but very powerful, all together in one unit becomes very powerful indeed.
That is, if you’re modulating something like delay time, then changing between Repitch, Fade, and Jump actually gives you a lot of different sonic possibilities. And yes, this is the sort of thing people with modular rigs like to do with wires but… if you’re a Live 10 owner, it’ll cost you nothing to check out right now.
Specifically, maxforcats pointed us to some cool granular-ish sounds when you choose Fade mode and start modulating delay time.
And keep using Echo. The big challenge with an effect like Echo is balancing loudness. As it happens, there’s a little right-click option that solves this for you in Echo:
In the Echo device, the Dry/Wet knob now features a context menu to switch to “Equal-Loudness”. When enabled, a 50/50 mix will sound equally loud for most signals, instead of being attenuated. In the Delay device, the maximum delay time offset is now consistent with the Simple Delay and Ping Pong Delay devices.
Discover Simpler, again
Simpler is weirdly a lot of the time a reason to use Ableton Live for its absurd combination of directness and power – in contrast to mostly overcomplicated software (and harwdare, for that matter).
Now you can mess around with volume envelopes (even synced ones) and loop time, previously only in Sampler – for both powerful sound design and beat-synced ideas:
Added a Loop Mode chooser, Loop Time slider and Beat Sync/Rate slider to the Volume Envelope in Simpler’s Classic Playback Mode. Previously, these controls were exclusively available in Sampler.
Oh, and go map some macros
You’d probably easily miss this, too – it means that now mapping macros works the way you’d expect, in fewer steps:
When mapping a parameter to an empty macro, the macro assumes the full range of the target parameter, and will be set to the current value of the target parameter.
— and while using mice for everything is no fun, macros are also a great intermediary between what you’re doing onscreen and twisting knobs on controller hardware (Push, certainly, but lots of other gear, too).
Speaking of which, that nice compact NI keyboard controller works thanks to this update, too, making it an ideal thing to throw in your bag with a laptop for a mobile Ableton Live work rig.
It’s all about voltage these days. Ableton’s new CV Tools are designed for integrating with modular and semi-modular/desktop gear with CV. And they’re built in Max – meaning builders can learn from these tools and build their own.
The basic idea of CV Tools, like any software-CV integration, is to use your computer as an additional source of modulation and control. You route analog signal directly to your audio interface – you’ll need an interface that has DC coupled outputs (more about that separately). But once you do that, you can make your software and hardware rigs work together, and use your computer’s visual interface and open-ended possibilities to do still more stuff with analog gear.
This is coming on the eve of Superbooth, and certainly a lot of the audience will be people with modular racks. But nowadays, hardware with CV I/O is hardly limited to Eurorack – gear from the likes of Moog, Arturia, KORG, and others also makes sense with CV.
CV Tools aren’t the first Max for Live tools for Ableton Live – not by far. Spektro Audio makes the free CV Toolkit Mini, for instance. Its main advantage is a single, integrated interface – and a clever patch bay. There’s a more extensive version available for US$19.99.
Ableton’s own CV Tools is news, though, in that these modules are powerful, flexible, and polished, and have a very Ableton-esque UI. They also come from a collaboration with Skinnerbox, the live performance-oriented gearheads here in Berlin, so I have no doubt they’ll be useful. (Yep, that’s them in the video.) I think there’s no reason not to grab this and Spektro and go to town.
And since these are built in Max, Max patchers may want to take a look inside – to mod or use as the basis of your own.
What you get:
CV Instrument lets you treat outboard modular/analog gear as if it’s integrated with Live as a plug-in.
Trigger drums and rhythms with CV Triggers.
CV Utility is a signal processing hub inside Live.
CV Instrument, with complements existing Ableton devices for integrating outboard MIDI instruments and effects with your projects in Live
CV Triggers for sequencing drum modules
CV Utility for adding automation curves, add/shift/multiple signals, and other processing tools
CV Clock In and CV Clock Out for clocking Live from outboard analog gear and visa versa
CV In which connects outboard analog signal directly to modulation of parameters inside Live
CV Shaper, CV Envelope Follower, and CV LFO which gives you graphical tools for designing modulation inside Live and using it for CV control of your analog hardware
And there’s more: the Rotating Rhythm Generator, which lets you dial up polyrhythms. This one works with both MIDI and CV, so you can work with either kind of external hardware.
I got to chat with Skinnerbox, and there’s even more here than may be immediately obvious.
For one thing, you get what they tell us is “extremely accurate broad-range” auto calibration of oscillators, filters, and so on. That’s often an issue with analog equipment, especially once you start getting complex or adding polyphony (or creating polyphony by mixing your software instruments with your hardware). Here’s a quick demo:
Clocking they say is “jitter free” and “super high resolution.”
So this means you can make a monster hybrid combining your computer running Ableton Live (and all your software) with hardware, without having to have the clock be all over the place or everything out of tune. (Well, unless that’s what you’re going for!)
If you’re in Berlin, Skinnerbox will play live with the rig this Friday at Superbooth.
They sent us this quick demo of working with the calibration tools, resulting in an accurate ten-octave range (here with oscillator from Endorphin.es).
To interface with their gear, they’re using the Expert Sleepers ES8 interface in the modular. You could also use a DC-coupled audio interface, though – MOTU audio interfaces are a popular choice, since they’ve got a huge range of interfaces with DC coupling across various interface configurations.
CV Tools is listed as “coming soon,” but a beta version is available now.
For full CV control of analog gear, you’ll want a DC-coupled audio interface. Most audio interfaces lack that feature – I’m writing an explanation of this in a separate story – but if you do have one with compatible outputs, you’ll be able to take full advantage of the features here, including tuned pitch control. MOTU have probably made more interfaces that work than anyone else. You can also look to a dedicated interface like the Expert Sleepers one Skinnerbox used in the video above.
See MOTU and Expert Sleepers, both of which Skinnerbox have tested:
Universal Audio have already written to say they’ll be demoing DC coupling on their audio interfaces at Superbooth with Ableton’s CV Tools, so their stuff works, too. (Double-checking which models they’re using.)
But wait – just because you lack the hardware doesn’t mean you can’t use some of the functionality here with other audio interfaces. Skinnerbox remind us that any audio interface inputs will work with CV In in Pitch mode. Clock in and out will work with any device, too.
YouTube is elevating new voices to prominence in music technology as in other fields. But the platform’s esoteric rules are also ripe for abuse – as one YouTube host claims.
The story begins with around a product, the Unison MIDI Chord Pack. This US$67 pack is already, on its surface, a bit strange. Understandably, users without musical training may like the idea of drag-and-drop chords and harmony – nothing wrong with that. But the actual product appears to be just a set of folders full of MIDI files … of, like, chords. Not real presets, but just raw MIDI chords. They even demo the product in Ableton Live, which already contains built-in chord and arpeggiator tools.
You can watch the demo video on their product page – at first, I couldn’t quite believe my eyes. They claim that this will help you to create chords “with the right notes, in the right order” without theory background – except most of the drag-and-drop material is made up of root position triads, labeled via terminology you’d need some theory to even read.
It’d be a little bit like someone selling you a Build Your Own House Construction Set that was made up of a bag of nails… and the nails were just ones they’d found lying on the ground. Maybe I’m missing something, but I definitely can’t figure out this product from their documentation.
Ave Mcree aka Traptendo, a well-known YouTube host, decided to take on the developers. Calling the product a “scam,” he says he pointed to other, free sources for the same MIDI content – meaning that, as it wasn’t actually original, at best the Unison product amounts to plagiarism.
As if it weren’t already strange enough that these developers were selling MIDI files of chords, they then responded to Ave Mcree’s video by filing a copyright claim. At this point, our story is picked up by Tim Webb at the excellent Discchord blog, who choose a nice, succinct headline:
A video about Unison Audio copyright striking my “Unison Audio Chord MIDI Pack Scam” video! This is a channel strike which is affects my monetization rights and could get my channel deleted. I don’t care if that happens because I’m not going to stand for people hustling you. It’s sad that YouTube allows shills and dishonest companies to strike honest reviewers. It’s censorship at it finest! YouTube as a company has lost all of it’s charm when it stop caring about the community on here. Do I like doing videos like these? No, but it’s necessary when people are using their influence for the wrong things. I’m not knocking their hustle by NO MEANS, but offer a product that is 100% YOURS!!!!!
What makes this story so disturbing: not only is YouTube’s lax structure vulnerable to abuse, it seems to actively encourage scammers.
The copyright claim appears to be based on the the pack included for demonstration purposes in his video. While I’m not a lawyer, this should fall dead center under the doctrine of fair use as well as the royalty free license provided by the developers themselves.
Here’s where YouTube’s scale and automation, though, collide with the intricacies of copyright law requirements (mainly in the USA, but possibly soon impacted by changes in the European Union). It’s easy to file a copyright claim, but hard to get videos reinstated once that claim is filed.
As a result: there’s almost nothing stopping someone from filing a fraudulent copyright claim just because they don’t like your video. In this case, Unison can simply use a made-up copyright claim as a tool to kill a video they didn’t like.
You can read up on this world of hurt on Google’s own site:
After all the recent fears about the EU and filtering, automated filtering doesn’t result in a strike – strikes require an explicit request. The problem is, creators have little recourse once that strike is processed. They can contact whomever made the complaint and get them to reverse it – which doesn’t work here, if Unison’s whole goal was removing the video. They can wait 90 days – an eternity in Internet time. Or they can file a “counter notification” – but even this is slow:
After we process your counter notification by forwarding it to the claimant, the claimant has 10 business days to provide us with evidence that they have initiated a court action to keep the content down. This time period is a requirement of copyright law, so please be patient.
It was only a matter of time before music and music tech encountered the problems with this system, as YouTube grows. Other online media – including CDM – are subject to liability for copyright and libel, as we should be. But legal systems are also set up to prevent frivolous claims, or attempts to use these rules simply to gag your critics. That’s not the case with YouTube; Google has an incentive to protect itself more than its creators, and it’s clear the system they’ve set up has inadequate protections against abuse.
What kind of abuse?
Fuck Jerry, the Instagram “influencer” agency that ripped off memes and helped build the ill-fated Fyre Festival, used copyright strikes to remove a video critical of its operation.
And it gets worse from there: the system can result in outright extortion, with Google proving unresponsive to complains. The Verge reported on this phenomenon earlier this year, and while Google claimed to be working on the problem, observed that even major channels needed their woes to go viral before even getting a response from the company:
This isn’t the only problem on YouTube’s platform for music and music technology. While the service is promoting new personalities, disclosure around their relationships with sponsors are often opaque. Traptendo also observes that videos toutingvarious tutorials on working with harmony may be sponsored by Unison Audio, with little or no acknowledgement of that relationship.
That same complaint has been leveled at CDM and me not to mention… okay, all the print magazines I’ve ever written for. But we at least have to answer for our credibility, or lose you as readers. (And sometimes losing you as readers is exactly what happens.) YouTube’s automated algorithms, by contrast, mean videos that simply mention the right keywords or appeal to particular machine heuristics can be promoted without any of that human judgment.
YouTube has unquestionable value, and to pretend otherwise would be foolhardy. Traptendo’s videos are great; I hope this one that was removed gets reinstated.
At the same time, we need to be aware of some of the downsides of this platform. And I’m concerned that we’ve become dependent on a single platform from a single vendor – which also means if anything goes wrong, creators are just as quickly de-platformed.
And regardless of what’s going on with YouTube, it’s also important for humans to spread the word – at least to say, friends don’t let friends spend their money on … chords.
I don’t believe all music “needs to be free,” but I would least say triads are. Actually, wait… I could use some spare spending money. Excuse me, I’m going to slip into the night to go sell some all-interval tetrachords on the black market.
Here’s Traptendo showing you how to mess with harmony in FL Studio – minus the overpriced “pack”:
Oh yeah and – check out Ave’s site on the open Web, complete with full blog:
Fidelity? High-quality sound? No – degradation! And if you don’t have a ragged VHS deck or cassette Walkman handy, these free effects racks in Ableton Live will sort you out.
Downgrade is the work of Tom Cosm, long-time Ableton guru. There are five effects:
— plus if you give him literally US$1 or more (you cheapskate), you get an additional Stutter rack.
Basically, you get loads of controls for manipulating downsampling, tape effects, saturation, distortion, modulation of various kinds, echo, vocoder, and more. It’s a sort of retro Vaporwave starter kit if you’d like to think of it that way – or an easy, dial-up greatest hits of everything Ableton Live can now do to make your sound worse. And by worse, I mean better, naturally.
Ableton have been gradually adding all these digital downsampling features (early on) and simulated analog tape and saturation effects and nonlinear modulation (more recently). Tom has neatly packed them into one very useful set of Racks.
Notice I say “Racks,” not Max for Live devices. That means these will mostly run on different editions of Live, and they’re a bit easier to pick apart and adjust/modify – without requiring Max knowledge.
Max 8 – and by extension the latest Max for Live – offers some serious powers to build your own sonic and visual stuff. So let’s tune in some videos to learn more.
The major revolution in Max 8 – and a reason to look again at Max even if you’ve lapsed for some years – is really MC. It’s “multichannel,” so it has significance in things like multichannel speaker arrays and spatial audio. But even that doesn’t do it justice. By transforming the architecture of how Max treats multiple, well, things, you get a freedom in sketching new sonic and instrumental ideas that’s unprecedented in almost any environment. (SuperCollider’s bus and instance system is capable of some feats, for example, but it isn’t as broad or intuitive as this.)
The best way to have a look at that is via a video from Ableton Loop, where the creators of the tech talk through how it works and why it’s significant.
In this presentation, Cycling ’74’s CEO and founder David Zicarelli and Content Specialist Tom Hall introduce us to MC – a new multi-channel audio programming system in Max 8.
MC unlocks immense sonic complexity with simple patching. David and Tom demonstrate techniques for generating rich and interesting soundscapes that they discovered during MC’s development. The video presentation touches on the psychoacoustics behind our recognition of multiple sources in an audio stream, and demonstrates how to use these insights in both musical and sound design work.
The patches aren’t all ready for download (hmm, some cleanup work being done?), but watch this space.
If that’s got you in the learning mood, there are now a number of great video tutorials up for Max 8 to get you started. (That said, I also recommend the newly expanded documentation in Max 8 for more at-your-own-pace learning, though this is nice for some feature highlights.)
dude837 has an aptly-titled “delicious” tutorial series covering both musical and visual techniques – and the dude abides, skipping directly to the coolest sound stuff and best eye candy.
Yes to all of these:
There’s a more step-by-step set of tutorials by dearjohnreed (including the basics of installation, so really hand-holding from step one):
Suffice to say that also could mean some interesting creations running inside Ableton Live.
It’s not a tutorial, but on the visual side, Vizzie is also a major breakthrough in the software:
That’s a lot of looking at screens, so let’s close out with some musical inspiration – and a reminder of why doing this learning can pay off later. Here’s Second Woman, favorite of mine, at LA’s excellent Bl__K Noise series:
Day in, day out, a lot of producers spend a lot of time editing in Ableton Live. Here’s a free tool that automates some common tasks so you can work more quickly – easing some FL Studio envy in the process.
This one comes to us from Madeleine Bloom’s terrific Sonic Bloom, the best destination for resources on learning and using Ableton Live. Live Enhancement Suite is Windows-only for the moment, but a Mac version is coming soon.
The basic idea is, LES adds shortcuts for producers, and some custom features (like sane drawing) you might expect from other tools:
Add devices (like your favorite plug-ins) using a customizable pop-up menu of your favorites (with a double right-click)
Draw notes easily with the ~ key in Piano Roll.
Pop up a shortcut menu with scales in Piano Roll
Add locators (right shift + L) at the cursor
Pan with your mouse, not just the keyboard (via the middle mouse button, so you’ll need a three-button mouse for this one)
Save multiple versions (a feature FL Studio users know well)
Ctrl-shift-Z to redo
Alt-E to view envelope mode in piano roll
And there’s more customizations and multi-monitor support, too.
Ableton are gradually addressing long-running user requests to make editing easier; Live 10.1 builds on the work of Live 10. Case in point: 10.1 finally lets you solo a selected track (mentioned in the video as previously requiring one of these shortcuts). But it’s likewise nice to see users add in what’s missing.
Oh, and… you’re totally allowed to call it “Ableton.” People regularly refer to cars by the make rather than the model. We know what you mean.
Here’s a video walking through these tools and the creator Dylan Tallchief’s approach:
It’s the season of the wavetable – again. With Ableton Live 10.1 on the horizon and its free Wavetable device, we’ve got yet another free Max for Live device for making sound materials – and this time, you can make your wavetables from images.
Let’s catch you up first.
Ableton Live 10.1 will bring Wavetable as a new instrument to Standard and Suite editions – arguably one of the bigger native synth editions to Live in its history, ranking with the likes of Operator. And sure, as when Operator came out, you already have plug-ins that do the same; Ableton’s pitch is as always their unique approach to UI (love it or hate it), and integration with the host, and … having it right in the box:
Earlier this week, we saw one free device that makes wavetables for you, built as a Max for Live device. (Odds are anyone able to run this will have a copy of Live with Wavetable in it, since it targets 10.1, but it also exports to other tools). Wave Weld focuses on dialing in the sounds you need and spitting out precise, algorithmic results:
One thing Wave Weld cannot do, however, is make a wavetable out of a picture of a cat.
For that, you want Image2Wavetable. The name says it all: it generates wavetable samples from image data.
This means if you’re handy with graphics software, or graphics code like Processing, you can also make visual patterns that generate interesting wavetables. It reminds me of my happy hours and hours spent using U+I Software’s ground-breaking MetaSynth, which employs some similar concepts to build an entire sound laboratory around graphic tools. (It’s still worth a spin today if you’ve got a Mac; among other things, it is evidently responsible for those sweeping digital sounds in the original Matrix film, I’m told.)
Image2Wavetable is new, the creation of Dillon Bastan and Carlo Cattano – and there are some rough edges, so be patient and it sounds like they’re ready to hear some feedback on how it works.
But the workflow is really simple: drag and drop image, drag and drop resulting wavetable into the Wavetable instrument.
Okay, I suspect I know what I’m doing for the rest of the night.