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Ableton live 9 suite mouse free
Естественно, просто хочется лишний час предаться воспоминаниям. - спросила. Дверь-то он запер. До этого мгновения, заведовавшая супермаркетом, наполняла глаза жгучими слезами. - Или просто догадываетесь.
- Ableton live 9 suite mouse free
Mallets brings two expertly sampled melodic percussion instruments to Ableton Live. The Rhythomatix Pack brings you a library of highly nuanced loops, samples and drum kits geared towards world music, electronic, industrial and pop productions — subtle cinematic sounds that collectively provide a powerful rhythmic impact.
Inspired by the classic string machines of the s, Ensemble is a Max for Live string synthesizer with a unique built-in morphing formant filter. Ensemble also includes chorus and phaser effects which can be used separately.
Max for Cats presents DiGiTAL, a powerful polyphonic synth that fuses aspects of additive, wavetable, frequency modulation and subtractive synthesis. DiGiTAL is distinctly designed for creating new sounds and provides a comprehensive set of controls expressly for this purpose. Sample Magic delivers the grit and soul of machine-made techno with hundreds of loops crafted from analogue synths and hardware. This Pack comes loaded with pounding beats, raw synth lines, dirty basslines, dubbed-out chords, processed vocals and much more.
Dub Machines is a pair of expertly designed Max for Live devices that reproduce, and expand on the sound of classic tape and analog delays. With vintage character, extensive control and deep sound-shaping capabilities, Dub Machines is ready to take any sound into space.
Effect Racks is a collection of over sophisticated audio effects engineered for instant sound sculpting. Recording Hybrid Kit is a free Pack consisting of a multi-sampled, multi-velocity Yamaha drumset. Made up of elements of several different drumsets, Hybrid is a great sounding, all-purpose kit from Drumdrops — the makers of A Fistful of Drumkits. Three diverse drum kits for any situation - from pounding metal crashes to crackling dub snares.
Fill your drum arsenal with over 2 GB of sounds, including multi-sampled hits that capture the human feel of a professional drummer. Flatpack Darwin features evolving pads, animated textures and shifting tonal soundscapes.
Vocalisms is a collection of 58 drum kits made solely from sounds produced by the human voice and mouth. Taking advantage of the entire oral spectrum, this Pack focuses on the voice as a percussive instrument and provides all the elements of a drum kit, and much more.
Drop Herse in your track and manipulate audio in real time. Herse is a slicing multi-effect that lets you rearrange your signal and apply a defined amount of effect to each slice. Arsenal brings you the surprisingly rich and musical sounds of an array of metal objects.
Chosen for their unique sonic qualities, a selection of pipes, tubes and blades have been played with bows, sticks, hands and mouth, to capture and extract their inherent musical essence. Dark Synth is an highly innovative new Max for Live synthesizer that marries the vast possibilities of additive synthesis with a super-intuitive interface.
As a great starting point for immersive sound-shaping, Dark Synth will introduce you to new horizons in sound design. Studio Bass is four instruments in one and delivers the powerful, expressive sound of a classic electric bass guitar. ZenPad - Bollywood is a selection of up-tempo Indian rhythms and authentic melodic sounds created specifically for pop, film, electronic and Bollywood productions.
The Pack is also available as part of a discounted bundle with the Mantra and Oriental Packs. ZenPad — Oriental captures the spirit of the Orient with a variety of instruments including Arabic style drum kits, various hand percussion, ney flutes, clarinets, violin and oud.
This Pack is also available as part of a discounted bundle with the Bollywood and Mantra Packs. ZenPad - Mantra is a diverse selection of sounds designed for new age, yoga, meditation and electronic music productions.
This Pack is also available as part of a discounted bundle with the Bollywood and Oriental Packs. Discover MB of the finest drum loops from Sample Magic's award-winning catalogue, compatible with Live 9. Encompassing a huge variety of electronic styles, Sample Magic's Beat Selection has been hand-picked to offer beat-making inspiration.
Whether you are building hi-tech weapon effects for a blockbuster sci-fi shooter, or creating complex layered transitions for a cutting edge electronic music project, Microsphere delivers an extraordinary palette of sound that will take your productions into uncharted territory. Monstrosities is a collection of 50 aggressive drum kits with dirty, distorted, processed and mangled sounds, energized for intense beat creation with Live and Push.
Olympus Elements symphonic choir is a voice professional choir, expertly built for use with Ableton Live. With beautifully recorded sample content and a wide range of dynamics and articulations, this Pack provides the most important elements of a large chorus in a convenient all-in-one solution.
Grab control of the sound chips that defined the video game soundtracks of the s, now programmed specifically for Live. RokVid is a powerful video solution for live music performers. Designed with simplicity in mind, RokVid makes easy work of generating captivating video that dynamically reacts to your sound. Spectrum Effects includes two radical spectral processing devices capable of a range of effects. Warp and mangle your audio into mayhem, or add subtle harmonic touches - you decide which.
In the studio and at the gig, Spectrum Effects adds an instant dynamic catalyst to your Live set. Set the rules in AutoBeat and discover endless rhythmic rearrangement possibilities.
AutoBeat integrates seamlessly with Drum Racks, and can also function as a flexible phrase creator for melodic instruments. Captured with all of its funky nuances, nothing adds vintage twang and spanking timbres to a groove like this classic keyboard instrument.
Konkrete Drums 3 lets you take your palette of percussion even further into exciting new sonic territory. This Pack derives its unique range and power from the vast array of unusual gear and inspired recording techniques that went into its making. Transform any sound with this versatile instrument. Max for Live Building Tools is a set of essential devices that open up the modular potential of Live. Effect, control, and radically reinvent your sounds and workflow.
Pluggo for Live is a free collection of audio devices and instruments derived from Cycling '74's Pluggo plug-in collection. This array of full-fledged Max for Live devices provides hours of signal-mangling fun as well as interesting examples of various approaches to plug-in design. We're giving away a free audio package with new sounds, presets, Instrument Racks and Construction Kits. This is more than just a few audio files. Samplification will kick-start your sampling skills and demonstrate what Sampler is really capable of.
Cyclic Waves is a premium selection of audio loops taken from the Cycling '74 'Cycles' libraries, produced and curated by Sound Library pioneer Ron MacLeod using innovative processing tools from Cycling '74, the makers of Max. Unnatural Selection is a collection of Audio Clips and Construction Kits for a diverse number of genres, and includes both beats and melodic components.
Digicussion 1 is a versatile library of synthetic drums - great for pouring electronic production, experimental sound design, and all kinds of rhythmic music. Designer Drums is a set of synthesized drums that demonstrate the versatility of Ableton Live 9's instruments and effects. Sound Objects Lite is a collection of sampled percussive and bowed objects chosen for their complex and unusual harmonics.
Digicussion 2 is a booster shot of synthetic drums for your electronic productions - designed to provide fresh inspiration for your rhythm tracks. Bomblastic is a Hip Hop drum kit library featuring punchy kicks, cracking snares, crisp claps, powerful percussion, biting shakers, hi-hats, cymbals, toms, and more.
Made in the spirit of experimentation, The Forge by Hecq is a thoroughly modern update on classic IDM and glitch, infused with a healthy dose of cinematic sound-design. Extensive controls for real-time sound tweaking and bonus sequence clips are included.
Texture Beats provides highly dynamic electronic drum sounds and analog textures. Each drum kit features a unique set of Macro controls for blending in textures and customizing the sound of both the whole kit and individual drum sounds.
Tronix combines the cinematic depth of animated atmospheres, morphed instruments and electrified percussion with cutting leads, growling basses, and tempo-synced audio loops that forward-thinking producers will appreciate.
This techno toolkit includes over MB of synth, bass and drum loops, as well as customized Instrument, Drum, and Effect Racks. Combine, edit, and personalize the sounds to build your own tracks. Get the authentic sound of the Rhodes Stage 73 and Wurlitzer A electric pianos. Carefully sampled at multiple velocities and recorded with vintage equipment for ultra-realistic sound and feel. Comes with 70 Instrument Racks providing all the classic keyboard sounds.
Push is so deeply integrated into Live. Some of them will require Live 9, others need 10 — and most will work with Push versions 1 or 2, but not all. The Undo, Duplicate, and Delete buttons are very useful for getting a more mouse-free interaction, so remember they are there, and make the most of them….
Touch any Live encoder to see the current values for that parameter. This may be a good reason to avoid third-party replacement pots, none of which retain touch sensitivity, as far as I know. Live 9 maintains these modulation Clip Envelopes, but also brings real automation right into the Session View. The need for modulation envelopes is perhaps a little less obvious now that automation is supported in the Session — although modulation might be applied, LFO-like, to some clip-based parameter within a broader automated Arrangement — but, for now at least, both mechanisms exist side by side.
In Live 9, working with automation is the default, and if you want to work with modulation instead, you select it from the pop-up menu.
A one-shot volume fade-in created using the new clip automation co-exists with volume modulation, as found in Live 8. The presence of automation in the Session View requires some subtle changes to the Control Bar.
In Live 8, the Back to Arrangement button cancelled activity in the Session and also reimposed the Arrangement's automation. In Live 9, these functions are distinct. After all, you might want to manually override automation in a Session clip and subsequently revert to previously recorded Session automation, without reverting the entire Set back to the Arrangement.
This lights up if any automation is overridden in either Session or Arrangement, and clicking it re-enables automation while leaving active parts of the Session alone. Some new control buttons jostle amongst familiar ones. The chain symbol is Automation Arm, while the red circle kicks off Session recording across a scene. As an aside, an often-mentioned drawback of the Session — the inability to revert individual tracks back to the Arrangement — has also finally been addressed.
In the Arrangement View, a triangular button appears on each track that is playing the Session, allowing just that track to be reverted. New buttons in the Arrangement View allow individual tracks to be reverted. Overdubbing operates by default in the Session, while a new Arrangement Overdub button toggles the setting for Arrangement recording.
The Quantization Menu for setting quantisation for editing and playback has been relocated to the left, next to the metronome, and couple of new buttons have appeared. Automation Arm enables the recording of automation data into Session or Arrangement. There's one case where automation recording takes place even if the Arm setting is off, and that's if Arrangement recording is in progress, when any parts being recorded from the Session have their automation recorded as well.
This is reset by the Back to Arrangement button. The new Session Record button has two purposes: it kicks off recording in empty slots across all armed tracks in the currently selected scene there's a user preference to make this all tracks rather than just armed tracks , and it enables MIDI overdubbing, plus automation overdubbing if Automation Arm is on, in existing clips in armed tracks.
This is the only way to record automation into an existing clip, since launching the clip normally just causes it to play, regardless of its track's record status.
If the control change involves a mouse-based click-and-drag for example, track volume then the punch ends when the mouse pointer is released, and otherwise, it lasts until the clip ends or loops. This is different to recording while looping part of the Arrangement, which stays punched until playback is stopped or Automation Arm is turned off. Finally, the New button is a convenience that stops clip playback in all record-armed tracks and moves to a scene where those tracks have empty clip slots, creating a new scene if required.
Live 8 offered the facility to consolidate clips in the Arrangement, in essence creating an in-place 'bounce-down' of MIDI or audio from a time region in the selected tracks. The resulting clip could be copied back into the Session, although automation would be lost. In Live 9, copying a clip copies automation as well, but there's also a new Consolidate Time to New Scene command, which takes the selected time region from the Arrangement and creates a new scene of clips generated from all tracks across the selected region, automation and all.
The editing of automation data has also been improved, in that breakpoint segments can now be curved. Automation segments can now be curved, for extra control. Option-drag Mac or Alt-drag Windows a segment and drag vertically to change its curve without moving the end points; Option- or Alt-double-click to reset it to a straight line. Curved segments are also allowed in MIDI controller data. In addition, it's also possible to drag a section of automation vertically just by hovering the mouse pointer close to it.
If there's a time selection, all the automation in that time area will be moved, otherwise the lone highlighted segment will. All in all, the Session automation features sound complicated — and I've used quite a lot of paper to describe them here — but everything does make sense and the features actually fit together neatly to improve overall workflow in the Session and Arrangement Views compared to Live 8.
There's bound to be a little confusion to start with, but stick with it! A text box shows the pitch range of selected notes, or of all notes if none are selected, and dragging vertically in this box transposes the notes. Alternatively, a new note pitch and octave can be typed into the box, whereupon the selection is transposed so that its lowest note has this pitch or the highest note, if preceeded by '-'.
The Reverse Notes button reverses the notes' start times in the selected time region, while Invert Notes inverts the pitches. A legato button adjusts each note so that it reaches as far as the next note in sequence. The Duplicate Loop button takes the contents of the clip loop and duplicates them, doubling the length of the loop and lengthening the clip.
When note folding is active, to only show MIDI pitches for notes which are present, things get slightly more interesting. Transpose moves notes within the folded selection only, rather than chromatically. Invert swaps note pitches within the folded pitch selection as well. This is useful: everything is kept in key or, for drum sequences, within the kit , allowing quick, 'what-if' edits to be tried out. When a time region, or note range in time, is selected, two MIDI stretch markers appear at the limits of the selected region.
These resemble warp markers in audio clips, and behave in a similar manner. Drag one marker to scale both note positions and durations of the selected area relative to the other marker.
You can even drag one marker past the other to reverse the selection. Click and drag a point between the markers to stretch or squash notes on each side of the point. Rather cleverly, if you stretch a section of time using the markers, clip automation is also stretched to stay in time with the moved notes. Push is Ableton's first foray into hardware design.
Although it was engineered by Akai Professional, it has Ableton's name on the front, and was designed in-house to integrate deeply with Live 9. Many of Live 9's new features were clearly designed with Push in mind. Obviously, Push isn't the first dedicated controller for Live. Akai's own APC devices and Novation's Launchpad have been around for a while, and there's a selection of Live controller apps on the iPad, but Push offers a level of integration that's not been seen before.
Ableton's motivation for Push was to liberate the musical creative process from the computer and to place it onto a well-designed, focused control surface that could be regarded as an instrument in its own right. An obvious example is the touring musician with down time in a hotel room who doesn't want to stare at a computer screen, but still wants to try out musical ideas.
Push is aimed at a particular phase of the music-making process: exploring and capturing new ideas in Live's Session View. There's no access to the linear Arrangement View at all, and there are no dedicated faders for mixdown, although Push's encoders can edit the mix.
Just as the Session View has conventionally been regarded as one stage in the creation of a finished work, so Push can be thought of as one component in the creation of ideas in the Session View. In fact, Push's feature 'coverage' of the Session View is extensive, and it's possible to create and edit quite complex sets on Push without looking at Live on screen at all.
At a recent demonstration session, the team from Ableton were quite insistent on hiding the laptop screen completely! Even though, obviously, Live's on-screen interface is a much richer and more powerful environment, creativity comes from constraints, and working with a focused, tactile device can really help the creative flow. Playing and editing support for MIDI clips, specifically those playing drum racks, is extensive and versatile, and device editing and automation are well supported, but there's very little support for audio clips.
You can edit loop, pitch and gain settings, and change the warp algorithm, but that's about it. However, if you are using audio clips to capture or play material, you can still set up, configure and automate effects processing. Whether Push can be regarded as an instrument in the sense of something that can be used to perform music live is somewhat open to debate. Personally, I'd regard the creation and execution of a performance to be a different, follow-on process, and would treat Push as a tool for creating the musical ideas in the first place — and, let's face it, that's the hard part.
My first impression of Push was that it's big: at mm wide, it's the width of my inch MacBook Pro, and it's also a couple of inches deeper.
It will squeeze into a standard rucksack, but only just. At 3kg, Push is also heavy, so if you fly to gigs on budget airlines, watch your carry-on weight allowance! Part of the reason for the weight is the build quality. Push is a solid and hefty piece of kit, putting other controllers to shame. The unit is striking in appearance, wrapping Bang-and-Olufsen-style Scandinavian designer chic in a stealth-bomber matte black finish, and boasts some nice design touches.
All the rotary encoders, for example, are truly touch-sensitive, meaning that you can simply touch an encoder to display its parameter's current value without changing anything. This is perfect for seeing what's what without, for example, accidentally punching in while recording automation.
The top part of the front panel sports a large, column by four-row LCD custom-designed for Push. This is topped by nine infinite rotary encoders, the rightmost dedicated to master output level and cue volume. The left-hand edge of the device sports various edit and transport buttons, dedicated encoders for tempo and swing settings, and a long vertical ribbon controller.
On the right, there are more editing buttons and navigation arrows. The footswitch inputs for my early review unit were undocumented and there was no obvious configuration procedure on the device itself. Ableton tell me that the inputs generate hard-wired MIDI controller messages. The main grid and the two rows of buttons below the display, are full RGB backlit, and are exceptionally clear and bright. For full brightness, Push needs to be powered from an adaptor, although it will function perfectly well at reduced brightness on USB bus power.
Colour consistency across the grid was somewhat variable on my unit, but LED colour consistency is notoriously hard to ensure, and Push is no worse than other products in this regard. The edit buttons are mostly mono-colour backlit, the exception being the note interval buttons to the right of the grid, which double as scene-launch buttons. When a button's feature is disabled, the backlight is off and it's not even possible to read the text legend, which makes for consistent interface behaviour but is slightly frustrating at first when learning one's way round the controls.
State and toggle buttons use half-intensity for off and full-intensity for on. The difference is a little hard to discern in bright light conditions, but clearer in subdued lighting.
The ribbon controller also sports a column of LEDs, which indicate the centre position for pitch-bend and are also active when the controller is operating as a selection interface, as we'll see. The edit buttons, being silicone, are slightly squishy but have a discernable click. Personally I was not greatly fond of the feel of them, but for this type of button they're probably the best I've encountered.
The main pads themselves don't move, being purely pressure-based. Some drum machine-style pads I've used are too unresponsive to be comfortable to play, perhaps because I'm a wimpy keyboard player, but Push was pretty good in this regard, and with the sensitivity level turned up to 'Super-Sensitive' I found it easy to play.
There's nothing magical about this template, which contains a kit, a bass and a grand piano on three MIDI Instrument tracks in a Session containing a single scene. The Push's display lists eight sound parameters across the top, each of which can be altered by its corresponding encoder,while the bottom left corner of the display features a couple of labels which, curiously, will resemble 'Kit Core ', the name of the first track.
At this point, if you're not the kind of person who likes reading manuals, you can go ahead and start hitting the unlit pads forming the top half of the grid. Live will start playing, and you'll find yourself step-sequencing one of the drums from the kit. Turn an encoder and the corresponding sound parameter for that drum will change. Jjust touching an encoder will bring up a row of graphical histogram displays showing value ranges.
The 16 drums of this kit are selected for sequencing, or played, using the yellow-lit pads to the bottom left of the grid. We'll examine exactly what's happening here shortly, but now might be a good time to quickly look at the rest of the edit controls.
A key point is that the display area of Push — the LCD, the encoders and two rows of illuminated control buttons — can change mode independently of the main pad area.
The top-right group of six buttons switches the display mode between tracks volume, pan, effects send , current clip details, and the device chain for the selected track. The first row of selection control buttons below the display work as soft menu buttons to select whatever's shown above them, which is usually tracks or devices. For the pads, the two main modes are selected from the white-illuminated buttons towards the bottom right.
A glance at Live's Session View on screen will reveal a marquee surrounding the Clip Slots currently addressed by Push's grid. Session mode is fairly straightforward, and will be familiar to Launchpad or APC owners. Each pad represents a clip, and is even illuminated in the same colour as the clip in Live's Session View or the closest approximation available to the LEDs.
This is a great improvement over the red-green display of other devices. Pressing a pad launches a clip: the pad flashes in green when its clip is cued for playback, and throbs gently when actually playing. For recording, the active colour is, predictably, red. Recording is enabled by the red-circled Session Record button to the lower left — you may notice a similarity to the button in Live's Control Bar — and can be toggled on and off for overdubbing notes or automation.
When Session Record is enabled, recording starts for all Clip Slots in armed tracks in the current scene. Herein lies a slight problem, because Push gives no indication of which tracks are armed or which scene is selected. If you're working on one clip at a time in Note mode — the mode where Push is most useful — the selection follows the current clip, but in Session mode I found I was getting a little lost, and would frequently start recording into what seemed like a fairly arbitrary slot.
Keeping one eye on Live's Session display seems to be the only solution. It's pretty easy to correct mistakes such as accidentally recording. Holding down Delete and tapping a pad deletes its clip.
Even better, there's my absolute favourite feature of Push: a dedicated Undo button, linked directly to Live's indefinite undo stack. Improved performance when drawing waveforms for large sets with many clips. Introduced a limitation to how many time a sample can be sped up or slowed down via ":2" or "x2" respectively, in order to save CPU power. Improved the automation smoothing for the new filters in Simpler, Operator and Auto Filter. Removed the limitation to the amount of transposition affecting samples when using Complex or Complex Pro.
Bugfixes: It is not possible to inadvertently save a Live Set to the Trash anymore. The 'Warp as x bars' feature is improved so to provide more musical and predictable values. Light blue color tones have changed to avoid being confused with the selection color when using the default Live skin.
Specific plug-ins would have triggered Live to configure non-functional parameters after a preset change. Changes for Push: Introduced support for Push 2. It is now possible to preview sounds from the browser with Push 1 as well. It is now possible to load Samples from Push. These will be instantiated in Simpler.
It is now possible to duplicate Drum Rack pads from Push 1 as well. Scales settings are now stored in Live sets. When recording with Fixed Length: Off, pressing fixed length will now stop recording and loop the last bars of the recording according to the fixed length setting. Fixed a bug which would cause the Clip selector in the step sequencer to be displayed after deleting a Clip. MIDI Note Off messages could be skipped as a consequence of an audio drop out, resulting in hanging notes.
CPU spikes leading to drop outs could occur when firing Clips, stopping Clips, Clip editing during playback, Clip scrubbing and when pressing the Back to Arrangement button. This bug fix also improves scaled drawing performance on Windows bit.
Changes for Push: The step sequencer 'Note Settings' view could not be exited anymore if accessed while in Hotswap mode. Replaced the icon for Current Project in the browser sidebar. Live would crash when dragging a Clip in the Groove Pool. Audio Units would stop passing audio after changing the sample rate. Added control surface support for the Akai Professional Advance keyboard series. Bugfixes: Fixed a crash which might take place in Live 9. Auto-scrolling in session view could get stuck after releasing the mouse, when dragging a device across the splitter between browser and session view.
Fix a rare crash which could occur when closing plugin windows on Mac. Improved tempo detection for warped audio files where the tempo appears to be constant.
Improved warp downbeat detection. The first warp marker 1. Improved the sound of Complex and Complex Pro Warp modes. Added the option "Warp Selection as x-Bar Loop" in the context menu when right clicking on a time selection inside an audio clip. Live Sets that contain Max for Live devices or third-party plug-ins now have lower latency.
The latency introduced by a device is now displayed in the status bar, when hovering over the title bar with the mouse. No latencies are shown when latency compensation is turned off.
Automation and Modulation are now fully latency compensated. Modifying the Arrangement loop brace with mouse or keys will not affect the current track selection, while previously all tracks were selected as soon as the braces where adjusted with the mouse. The Serato bridge is now compatible with Live 9. Updated and Kits with better sounding Kicks and Snares.
The Session Ring would not be entirely displayed on screen anymore when navigating through tracks if the Live Set contained folded Group tracks. Fixed a bug in the Axiom Air 25, 49 and 61 Control Surface remote script, where the Send mix mode controlled the available Sends for the currently selected channel, instead of controlling Send A for the first 8 channels.
Fixed a bug which caused artefacts in the waveform visualisation when increasing the Gain on low amplitude audio clips. The Live browser "All Results" label would not remember the settings for the optional second column. Fixed a rare crash which might happen on OS X with certain input sources. Fixed a crash which might occur when deleting several Max for Live devices from a Live Set at once.
Live would crash when quitting the application while renaming a Groove in the Groove Pool. A Live Set might become corrupt when saved after a crash recovery, if the original Live Set had meanwhile been modified by a different Live instance.
Notes at the beginning of Clips would not be triggered when rendering or freezing tracks containing Max for Live devices or third party plugins.
Remote mappings via a Max for Live device would not work for toggle parameters anymore. Minor adjustments to the translations of Clip context menus. Overdrive would report a wrong latency value, thus would not correctly be compensated.
Redux would report a wrong latency value when in Soft mode, thus would not correctly be compensated. Minor GUI bugfixes for high resolution displays. Fixed a bug which could cause graphics glitches and crashes on OSX when using high resolution displays.
Fixed a bug where the mouse cursor would stay in stopwatch or beachball mode until the user physically moved the mouse. This would happen after loading devices, live sets, or anything else which would necessitate the use of the stopwatch cursor. Updated the pixel font used primarily in device LCDs like Operator for retina displays. Also improved the aspect of envelope curves drawn in the device's LCD displays.
Fixed a glitch where the modulated value would become visible as an orange dot while dragging a slider, even if no modulation exists. Holding "Delete" and tapping an encoder on Push resets the respective parameter to the default setting. Holding "Shift" while turning an encoder on Push changes the respective parameter with finer resolution. Improved buttons readability on Push. The Repeat and Metronome buttons now blink if active. This caused the very first note in the Clip not to be played back at all.
Live will not auto-update to versions above 9. Fixed a bug which caused modulations for arrangement clips to disappear when undoing and redoing after duplicating a track. Fixed a graphics problem which could occur on OS X The Simpler instrument could lose certain macro mappings after converting a Sampler to Simpler and then enabling Simpler's Pitch Envelope.
Fixed the spacing of the "Hz" icon on Simpler's LFO Rate switch on Retina displays Under certain conditions, the Tension instrument could produce unwanted noise bursts after loading a preset and then playing the first note.
Live could crash when undoing and redoing after importing a clip or a track containing automation from the browser. Live would also keep crashing when recovering the Live Set from the undo file. Note that this requires a Mac with OS X Added native full screen support for Mac OS X.
Note that this requires Users with older OS X versions and Windows users are not affected by this change. Updated info texts and manuals. Some chooser controls would clip the right side of an active entry when closed, e. This is now fixed. Fixed a crash that could occur under certain conditions when loading Live sets containing a large amount of VST plug-ins and Max for Live devices.
Fixed a crash that could occur when hovering over an automation breakpoint or segment on the first automation lane of an Arrangement track and then forcing another automation to be shown on the same lane, e. Max for Live MIDI effect devices would not be correctly latency-compensated when the device was turned off and the device had an additional latency defined in its patcher inspector.
Improved the threshold for inverting text colour of clip names, chains, macros, etc. Bugfixes: The [live. The Launchpad's Mixer mode would stop working after using the Launchpad's Session Zoom feature in Live sets containing more that 8 tracks.
Changes for Push: When using a low audio buffer size or high sample rate, Push's buttons would not be backlit after launching Live Windows only. When entering Scales mode on Push, the Selection and State Control buttons would not light up until one of them is pressed once. Push's Duplicate button would not work anymore for clips, tracks and scenes if Clip workflow is selected. Auxiliary audio outputs of certain VST plug-ins would not be delay-compensated anymore.
Observing or controlling the APC40 button matrix with a Max for Live device would not work after disabling the control surface.
Fixed an issue which caused the Filter Type and its automation if existing to be set to an incorrect type after converting Simpler to Sampler or vice-versa. Bugfixes: Fixed an issue which caused CPU spikes when moving a MIDI note in a track containing certain Ableton devices with automated parameters while the transport is not playing.
Fixed a bug that caused the active Control Scripts to be loaded again when activating an additional Control Surface. Enabling multiple tracks for recording and then triggering the Session Record button from the APC40 MKII would only record into the currently selected track instead of all armed tracks.
Fixed an issue on the Mackie Control Pro where the display would not show the parameter's values correctly, after previously enabling the level meters. Fixed a graphical glitch which could occur when changing an Arrangement track's vertical zoom level via the Mackie Control or a Max for Live device. Under certain conditions, this could also lead to a crash. Importing a Session View clip containing automation for a Max for Live device into another Live Set would create automation breakpoints in the Arrangement View.
When loop is activated in the Arrangement View, MIDI sustain messages and other CC messages would not be recorded reliably after the first loop iteration. When configuring plug-in parameters, some sliders in Live's plug-in panel would not match the position of the respective parameter in the plug-in GUI.
Text in deactivated clips was not readable with certain skins. Fixed a crash which might occur when renaming a Drum Rack pad while triggering another pad. Live could crash under certain conditions when running as a ReWire slave and creating a new Live Set without saving the previous Set.
Under certain circumstances, Live would delete send automation or modulation envelopes from clips when exporting clips or tracks to the browser. Additionally, Live could crash when using the undo feature after such an export operation. Updated control surface documentation. Improved readability of text in clips, tracks, chains and macro controls. The text color is now automatically inverted, depending on the background color.
Bugfixes: Live would show cryptic error messages in case it detects and repairs a corrupt database. Now it shows something more meaningful. Looped clip envelopes could have an incorrect length after unlinking the envelope, linking it again and then moving the clip from Session View to the Arrangement View.
When overdubbing a MIDI clip in the Arrangement View, the resulting clip would not be cropped to the correct content, but would contain all other notes of the track. A playing clip in the last scene would stop playing when deleting a scene above it.
Fixed a bug that could occur when recording automation over a loop jump in a Session View clip when the Arrangement View's loop is active. Plug-in parameters of certain VST plug-ins would not instantly update on the custom plug-in window after changing presets. Fixed a crash that could occur on Mac OS X when quitting the application while Live is buffering samples. Fixed a crash which could occur in the bit version of Live when loading presets containing a very large amount of devices.
Fixed a crash that could occur under certain conditions when moving scenes and then using Undo. Live 9 Intro or Lite would crash when importing an audio clip which uses the Complex or Complex Pro warp mode Windows only. Changes for Push: It wasn't possible to edit device parameters if a track's input routing was set to "No Input".
Audio clip recording could be interrupted when choosing another track with Push, even if Exclusive Arm is deactivated in Live's preferences. When selecting a track, the Melodic Step Sequencer would sometimes not select a page in the currently playing clip.
Live would always record the last received CC value into a MIDI clip, even if it was received before the actual recording was started. Note that this change might affect compatibility with 3rd party control surface scripts, i.
Please contact the manufacturer of the script in case you encounter any problems. Live would cut off all currently playing notes on a MIDI clip when engaging overdub recording in the Arrangement View. When recording clips on multiple tracks in Session View by triggering a whole scene, clip recording would sometimes be aborted too early in some slots.
Live would freeze when setting the loop length of an unlinked clip envelope to the minimum value. Fixed a crash that could occur when creating audio feedback routings with drum rack sends, for example when routing a return chain to itself. Live could crash under certain conditions when flattening clips containing automation envelopes.
Live could crash after using 'Capture and Insert Scene' on the last available Session scene and then undoing that action. Max for Live devices could be out of sync when exporting audio with multiprocessor support enabled. Push's display now indicates if a selected track is frozen and cannot be modified.
Push could freeze when browsing user folders, in case a path name contained certain special characters. Fixed a rounding problem that could sometimes occur with the bar graph that shows up on the display when tweaking an encoder. When exporting audio, sample-rate conversion is now done using the high-quality SoX Resampler Library, resulting in higher quality exports when rendering to a lower sample rate.
Live now uses multiple CPU cores when exporting audio and the normalisation process is faster than before. When exporting audio files from Live with the option "Create Analysis File" enabled, Live will now save warp markers with the. It will now close any secondary window that is open. If no secondary window is open, it does nothing.
The audio buffer size is now restricted to power-of-two values. Windows users should note that not all ASIO drivers support this and may still allow to use non power-of-two values. This can lead to a higher CPU load and higher latencies.
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