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It's not like Live 8 added a slew of substantial features anyway, the most interesting parts of "Live 8" are the APC itself and Max For Live.
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Jun 10, 2009 20:22
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Buy it instead of pirating it, Urs is infamous for hiding all sorts of goofy behavior that activates in pirated copies.
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Nov 7, 2009 22:32
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Yes, the important part is not "free Live 8 update", it's that they will "suspend all development towards new features" until the various bugs are sorted out.
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Dec 29, 2009 02:00
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It depends on whether you are a programmer or a musician and how you feel about learning some programming type skills. If you already have the skills and have an idea for something to make with it, then sure it's worth the money. If you don't and don't want to learn, then it's not, unless someone else has already made something with it that you want to use. If you don't and want to learn, then it depends on what you want to make and how much time you have... Anyone can learn to make some real simple things pretty quickly, but the more complicated projects that most people seem to envision will cost you hundreds of hours.
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Jan 8, 2010 07:44
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moron posted:I can reduce the latency by reducing the buffer size in the audio section of the preferences (it's now at '200'), but it still sounds flanged and generally poo poo. Make sure the "Delay compensation" option is checked in the options menu. Also it's recommended to use a buffer that is a power of 2, so I'd adjust it back up to 256 (or down to 128 if that works for you).
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Jan 10, 2010 23:03
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The Lemur does a lot of stuff that TouchOSC doesn't. That can surely be improved but it has a ways to go still. Lemur has got a bunch of objects that TouchOSC doesn't, the physics implementation and also the scripting language which is what really lets you do the cool poo poo. The lack of a wired connection through which IO can be done sucks too... Wireless works 95% of the time but the other 5% is a problem. It's a minor thing but the Lemur can track a basically unlimited number of points and the iPad presumably will only do 5 as on the iPhone (but we'll see I guess). If not the iPad then the iPad 2 or some other tablet device that's coming out, but people have been saying that the Lemur will be killed next month for 3 years now. Sooner or later, maybe sooner at this point, something more cost effective and just as good will come around but wake me up when I can actually buy it.
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Jan 31, 2010 21:44
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They are a special kind of track in Live. It sounds like you are adding an audio track, and you want to add a return track instead. After you add it, it should show up on the right side, just to the left of the master track. Each return track will get its own send knob on your normal tracks. The leftmost of the return tracks is always A and they always go sequentially through the alphabet from there.
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Feb 5, 2010 09:05
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Pickup or takeover mode means that the hardware control is ignored until you move it to the point where the software control is located. If you turn it off then, if the fader is all the way up in the software and all the way down on the hardware, as soon as you move the hardware, the software fader will jump down to the bottom. Which is better just depends on how you use the APC I guess.
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Mar 19, 2010 05:10
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Senator Woofington posted:So... uh... what is a compressor and what is it used for? It's a little misleading, but the general idea is that a compressor controls the level of a signal, as if you were moving the fader on a channel. In particular, it turns the output level further down as the input level goes further up. The basic controls are: Threshold - the level at which the compressor starts working, Ratio - the amount of reduction in the signal level, Attack - the amount of time before the compressor is fully engaged once a signal goes over the threshold, Release - the amount of time before the compressor is fully disengaged once the signal goes back under the threshold. In practice those definitions aren't exact and what "attack" does exactly depends on the specific compressor, but in any case it will do something similar to what I said above. Compressors can be used for stuff like evening out the levels in a passage that's a bit loud in some spots and too quiet in others. But more importantly these days, they can be used to shape the amplitude envelope of a sound, and have effects on timbre that can be quite dramatic when you push them hard. So, they are a very useful tool for designing and modifying sounds. Just run a steady kick or snare into one and start turning the knobs around, you'll get the idea.
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Apr 3, 2010 23:34
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No "almost," when you're working on a DAW the master track should never go red. Unless there is some DAW where red doesn't mean clipping, I guess. Generally individual tracks going above 0db won't cause clipping in and of itself, but obviously they are then likely to cause the master to clip. For the sake of sanity and a repeatable workflow it's a good idea to leave the master fader at unity and keep the individual track levels such that it never clips. So, no red at all, anywhere.
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Dec 14, 2010 02:17
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I comprehend what you are saying about slapping a limiter on so that it no longer clips. I think the process that leads to it exceeding 0db in the first place is a bad habit to get into and causes the kind of problems that the dude had in the first place. It's easy to avoid by treating anything over 0db as an error (which it ultimately will be absent some other action down the line). You can even get a more consistent, repeatable workflow as an added benefit if you do something along the lines of what I described. If you or he prefers not to do it that way, fine with me, just adding another opinion to the thread.
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Dec 15, 2010 08:00
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There was some mention earlier of having to switch to arrangement view, but the same thing does work in session/clip view, the thing is just hitting that configure button on the device and then clicking on poo poo in the plugin.
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Jun 2, 2011 04:01
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He wants to change the preset not just a parameter. In Guitar Rig 4, whenever it gets a program change, it uses that to pick from whatever current list of presets you have up. So what you want to do is make a custom tag, give it to all the presets you want to choose from, pull up that tag in the browser, then use the Program parameter on live clips to switch between presets. I don't remember if it works the same way in GR3.
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Oct 16, 2011 17:35
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You can go to any one you want, you don't have to go through them in order. Live associates the program number with a clip. Make a clip, double click it, then look for the "Notes" box in the edit area. The Program option should be in that box. Whenever that clip launches Live will send the Program Change, and GR4 will go to the corresponding present in the list currently open in the browser. Of course you can also send a Program Change with some external midi controller if you're using one. breaks fucked around with this message at 01:37 on Oct 17, 2011 |
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Oct 17, 2011 01:35
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Dr Rotcod posted:edit: Or the other way around: have the midi track program change routed to GR4 on the audio track. Not sure if this meant you already figured it out, but just in case yeah this is what you need to do. Set the midi track's "Midi To" to the track you have GR4 on. Once you've set that, the box below it will have a list of all MIDI inputs available on that track and you just need to pick GR4 specifically. If you don't see a "Midi To" option on your MIDI track you probably just need to enable the I/O bubble in the lower right part of the top view, just below the scrollbar.
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Oct 18, 2011 00:40
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Thoogsby posted:I downloaded the Valhallaroom demo. Haven't gotten a good chance to play with it but whoever thought it was a good idea to have all the presets default at 100% Dry/Wet is an rear end in a top hat. If you click or maybe shift-click the mix label it will lock the mix setting even when you change presets.
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Feb 14, 2012 20:47
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Just take a track you like, import it into your project as audio, match it to the tempo of your song, and copy the structure of it. Wherever it adds or takes away a sound, do the same thing in your track. Don't try to duplicate the sounds themselves (though that's good practice too, do it separately, since you always want to be making new stuff in addition to learning by copying).
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Mar 12, 2012 04:48
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troll for dollars posted:What are your guys thoughts on Max For Live? I just upgraded to Live proper form Live Lite, and while Max looks neat I don't know a whole lot about programming. Just curious for some opinions. If you know a lot about programming or want to learn, you can do some cool stuff with it, but if you don't then base your purchase decision on whether other people have already made M4L devices that you'd want to use. Making cool poo poo is non-trivial. Personally I prefer Reaktor over Max, but that's really mostly because I have a lot more experience with the former. Each has it's advantages and disadvantages, and obviously Reaktor is not as integrated into Live (though I'd argue that the Max4Live isn't integrated as seamlessly as it should be anyway, but that's another story...).
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Jun 17, 2012 23:14
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So someone accidentally uploaded this to the Ableton Youtube channel, and of course it was downloaded and reupped once they took it down... https://www.youtube.com/watch?v=itYzaNeisUQ
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Oct 21, 2012 02:57
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They actually raised the upgrade prices by something like 33-50% yesterday. Really disappointing, I was all set to upgrade this weekend and grab Push when it came out, but rethinking it at this point. There are a lot of things I like about Live, but it has lots of dumb technical issues that aren't problems in other DAWs that have prevented me from switching over to it full time, and they are asking 150% of the cost of a full version of Logic for an upgrade, and the main feature of the upgrade is their $600 controller...
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Oct 28, 2012 04:17
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The more stuff has to be mixed the more work it is of course, but unless you're talking about hundreds of tracks, it's so trivial in comparison to the resources that your plugins use that you're not likely to ever notice.
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Nov 4, 2012 01:29
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I've been waiting more than a week for an answer to the very same question... I'll mention something here whenever I get a response.
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Nov 7, 2012 02:27
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They actually wrote me back this morning to say that I'm supposed to get a $60 discount for owning M4L, but they didn't shed any light on why it's not there, so I had to ask again...
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Nov 7, 2012 17:57
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I think that's because you have suite, so you get a lower upgrade price. My price is 399 crossed out to 299, which is the right 25% discount for Live 8 Regular -> Live 9 Suite. I'm supposed to get another 60 bucks off that for having m4l... To me it sounds like yours is also missing the m4l discount, but who knows, their pricing is a bit obtuse.
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Nov 8, 2012 05:30
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https://www.ableton.com/en/beta-signup/ breaks fucked around with this message at 02:30 on Nov 29, 2012 |
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Nov 28, 2012 19:32
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JamesKPolk posted:Which kind of plugins? I don't think this would be a big deal for me but just in case... Live just doesn't delay compensate automation at all, so any plugin that introduces latency will cause it to be off by at least a little bit. Also, Live adds latency to every VST plugin even if the plugin doesn't have any latency of it's own. The amount is set by the "plugin buffer size" option. As a result of those two things, for any track that you've got VST plugins on, your automation is not where it is on the screen.  If I remember correctly native Live devices can operate without latency, though obviously some of them do introduce latency as part of their functionality. Not sure about M4L. breaks fucked around with this message at 18:54 on Mar 20, 2013 |
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Mar 20, 2013 18:44
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No, Reaktor is all visual also. In general you work with a couple handfuls of fairly low level modules in Reaktor, and a large number of high level modules in Max. I should add that you should keep an eye on Loomer's sequencing/MIDI plugin which will be scriptable whenever it finally comes out. I think it's a year or 18 months late at this point. Anyway look for the Epoch thread in his forum on KVR, though it has a new not yet revealed name. breaks fucked around with this message at 01:21 on Nov 17, 2013 |
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Nov 17, 2013 01:17
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The main thing is to really EQ the poo poo out of the reverb. Like go absolutely nuts with it and just eliminate everything over 500 or so and everything under 80-100 and see where that gets you. Some distortion/saturation on the reverb can also help and a gate or resampling and manually putting an appropriate amp envelope on there is also not a bad idea. It's also just pretty dependent on the sound of your kick, you can even experiment with using a different kick for the reverb, etc etc.
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Dec 16, 2013 09:45
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Depending on your definition of "about in tune", there is probably something going on with recording at 44100 and playing back at 48000 then, because that will raise the pitch by very roughly a whole tone (more like 3 quarter tones I guess). I'd totally disable everything except one audio interface temporarily and see if the problem goes away.
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Jan 14, 2014 06:46
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Reso bank, freqshifter, and chorus in the TankFX of a hall reverb are kinda fun too. I like it so far but quite a few nontrivial bugs.
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Mar 27, 2014 06:42
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Yeah the PDC thing is one, but the thread is very mistitled, it does seem to just be a bug and not the apparently unfixable clusterfuck that's going on in Ableton. Another one was that I have gotten the nested FX into a state where none of them can be removed a couple times, when moving things around a lot (including between tracks, etc). Haven't really noticed a way to reproduce it reliably. There is also some weird poo poo going on with automation in clips, where sometimes a clip with no automation will retain the value that another automated clip ended on, and sometimes it will revert to the knob position. This one is really a pain in the rear end for me since I use a shitload of automation. But anyway I think it's just the usual v1.0 stuff, there's bound to be bugs, I'm sure they'll sort it out. Lot of great things about Bitwig. I definitely recommend trying it. The people who expect it to be exactly like Live but with all the stuff they personally don't like changed are obviously going to be disappointed, but it is a real solid start in terms of workflow and concept. breaks fucked around with this message at 07:57 on Mar 27, 2014 |
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Mar 27, 2014 07:55
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I think Ozone especially can be pretty heavy on the CPU. Saturn also might in the HQ mode though as far as I remember the normal mode seemed pretty efficient. Anyway it's not an issue with VST plugins, it's just that the stuff that comes with Live mostly doesn't take a whole lot of computational power, so it can be kind of a shock if you start introducing things that really give your CPU a workout. Increasing buffer size can buy you a little more room but it sounds like you're just fully loading your machine. One other possibility is that you can end up overloading one core even if your other cores still have room left. In Ableton everything on the same track always runs on the same core, so if you have a ton of crap on one track and not much on the others, try disabling some stuff on the stacked track.
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Jun 10, 2014 06:05
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A sine should not be buzzy regardless of its pitch. Were you clipping somewhere perhaps? For example if the master channel is too loud it will distort. In such a case there should be some kind of warning on the channel in the mixer (it will turn red or the like). Reading your post again it sounds like you may have had some non-sine present in the synth and you might have reduced the filter cutoff to compensate.
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May 2, 2015 00:43
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