Keyboard Magazine - March 2008 - (Page 60) AUDITION ABLETON LIVE 7 can also drag these slices into Simpler (or Sampler, of course) for an instant glitchy drum kit. Although I didn’t need to use the slice feature for this particular performance, I mention it because in my opinion, it’s a strong reason to upgrade to Live 7. A strong point of Live in general is the ease of adding effects, so I tossed Redux (a lo-fi decimator) and a Filter Delay in Simpler’s signal path. Next, I experimented with different clips combinations to create different scenes, then brought in hardware control. Live lets you control parameters from your QWERTY keyboard or a MIDI controller: I tied the keyboard to difference scenes, then used the faders on a Peavey PC-1600X to control the levels for 16 audio channels, and its buttons to solo the channels for doing breakbeats. The remix was really starting to take shape. I opened up a channel for live guitar input so I could process my guitar playing with Live’s effects. What I really need to emphasize is how much fun this process can be — working with loops, changing stretching characteristics, throwing loops against each other to see what works — there’s nothing quite like it. CONCLUSIONS Live 7 incorporates several new features other than those mentioned above: It can export videos for which you’ve done soundtracks, let you nudge tempo when free-syncing to other performers, sidechain the Compressor, Gate, and Auto Filter effects, and employ new, high-res modes for the Operator instrument and Dynamic Tube and Saturator effects. The EQ Eight equalizer has been revamped, there’s a spectrum analyzer to check out incoming signals, an improved Compressor effect, and easier integration of external hardware effects — an input/output combination on your audio interface can be made to show up in Live’s plug-in menu. Another new feature, SmartPriming, “unloads” samples that aren’t in use from RAM, which lets you use large sample libraries without maxing out your computer. That’s all welcome, but Live is about its core concept. The Claim Check (see above left) isn’t kidding; Live truly does “compete with everything and nothing, all at once,” because it can do a lot of what more conventional DAWs can do, but also has unique features that nothing else can touch. I could go on, but you probably get the point: I love this program. While I don’t use it as a DAW, it’s given me a unique, fun way to do live performance, and its DAW features come in very handy when editing. Even though Live 7 still isn’t a full replacement for a more linear DAW, the Keyboard editorial team unanimously agrees it deserves a Key Buy award. Why? There’s still no other software that lets you weave diverse audio and MIDI sources into compositions, remixes, and realtime performances with this degree of immediacy, fluidity, and addictiveness. Check out the demo, and you may fall under Live’s spell as well. It’s brilliant. 60 keyboard 03-2008 CLAIM CHECK Ableton’s David Cross says, “For Live version 7, we focused on three major areas of development. Our first priority was to rebuild and enhance the core audio and MIDI engines, with 64-bit summing and improved MIDI timing. Our second priority was to integrate our most-requested features, namely time signature changes, video export, multiple automation lanes, side-chaining and tempo nudge. Third, we developed a new workflow for beat production called the Drum Rack. We think we’ve hit on something pretty cool here, using our Rack paradigm to help people construct complicated drum grooves in a simple interface. “Our broad focus forces us to tread carefully in product development. We endeavor to implement features that simultaneously address the needs of multiple musicians from varied skill levels and disciplines. And thanks to ReWire support (both as host and client), we like to think that we compete with everything and nothing, all at once.” http://www.keyboardmag.com http://www.keyboardmag.com
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