#568

To me it wouldn’t make sense that it doesn’t. So it’s a very good question! But if it does, it’s a wonderful way to make “takes” of automations… Pfiou so many cool things and time saving stuff!

1 Like
#569

On adding note probability would it have been that hard to add play every x type functionality which is so much more useful I find then straight random?
I dunno, lots of useful features here for sure but I can’t help think for a once cutting edge DAW they are quite behind the times in many ways. Maybe I’m being too demanding!

#570

Has anyone found info on any changes to the Live API ?

1 Like
#571

I’ve experimented a bit with it and from what I can see, the comp feature on a midi track will record everything that is being sent via MIDI to the MIDI input of that channel (e.g. mod wheel, midi CCs, MPE data) into the clip on the comp lane.

It will however not record any of the automation of parameters of live devices or plugins, whether they are just turned using the mouse or some remote device. All that automation is not recorded into the clip on the comp lane, but rather into the automation lane of the track that you’re recording to.

Hope that makes sense.

#572

you’re not being too demanding. I think that this is an encounter between a DAW that seeks to check all the boxes but not go deeply into the complexity that these features would present if fully implemented and a user cohort that has gone super deep with complexity, subtlety and nuance via modular and other software like bitwig. And… it is a pretty old piece of software! I bought Live 1.5 in 2001, I think. It feels like it was a huge lift for them to get their midi engine to work with MPE.

#573

This makes sense. The param and plugin changes are not really qualified in either the midi or audio tracks anyway.

There could be solid changes to this by latching them to recorded items such as a CC or or automation midi chains. But the fact that I can return this type of data in a comp is so exciting. Like, even just to bring a ES-8 input as a CC and record movement to use later is huge.

1 Like
#574

Not built in microtuning yet (scale support is there). But for MPE enabled instruments you can detune every single note, which is already quite a nice touch.

Screenshot 2020-11-10 at 19.46.14
Screenshot 2020-11-10 at 19.46.141306×606 38.1 KB

2 Likes
#575

By the way, this also makes editing slides way nicer than the old way - instead of calculating the right amount of semitones and switching to the automation lane for pitch bend, you can just slide the note up to where you want it to be. Needs MPE enabled plugins/devices of course.

slide

7 Likes
#576

Comping vocals in Live for the first time this very minute and it’s so easy and smooth… I luv it! (Beta 11)

4 Likes
#577

If I purchase the 10 license they’re offering at a 20% discount, does that give me the ability to access the 11 beta?

#578

At least a purchase of Live 10 entitles you to sign up as a beta-tester. They usually open up gradually for a new batch of users. This was the case when introducing the Live 10 beta. I signed up (a little late) and had to wait a while.

Today I signed up for the beta as soon as I heard of it coming. And some hour later I was “let in”.

#579

Guess I’ll buy while on this conference call and try my luck

1 Like
#580

I’m hopeful that I can finally make some use of MPE and eurorack with this. Thus far all my attempts have been too squirrelly or semi-responsive to be enjoyable. I expect with some smart device chaining the ideal training wheels could be applied to keep it under control

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#581

The pricing of Live 11 is likely to alienate some loyal, long term users who bought Live 10 a few years ago and paid full price. Now we have a situation in which a new buyer gets a discount on Live 10 and a free upgrade to Live 11. Chumps like me who bought Live 10 when it came out are now being asked to fork over $449 for the standard version. Contrast this with Logic Pro 10.5 which was offered free to current users. I realize for some Ableton is more woke than Apple, but you’ve got to ask yourself which DAW is the better value and more affordable for struggling musicians.

1 Like
#582

Asleep is the new woke.

2 Likes
#583

Live has upgrade pricing, so I don’t think you should be seeing $449 to go from Live 10 to 11. It is $189 USD to go from 10 Suite to 11 Suite. If you don’t like Live you can also sell your license to someone else. Apple on the other hand does not allow you to transfer / sell a Logic license.

#584

I would agree, even at $189 these implementations seem to be a bit lackluster. I hadn’t considered bitwig but it does look a bit more attractive here, although leaving some M4L devices would be painful.

#585

On their Instagram page they were giving out a customer service contact for recent purchases wanting a free upgrade.

#586

I can’t really imagine leaving Ableton, though I can see maybe incorporating another DAW into my setup in order to do things that Live can’t. I’ve been locked in since v1. Some upgrades do a lot of things that I have been waiting for, some don’t. In the end, I don’t recall ever having regretted an upgrade, and eventually I wind up using most of the new functionality.

In this case, I don’t care a whole lot about MPE (though it’ll be cool to use S+A’s Auras and the Felt Instruments stuff that way if I do pick up a Roli or something). Comping will be awesome because I’m a terrible performer. Those Dillon Bastan devices seem great, and I’d have probably bought them on their own if he’d released them as m4l devices, but they seem like a slightly strange inclusion for the core library.

Maybe I’m crazy but $183 (current pre-order price for Live 10 Suite owners) doesn’t seem all that crazy for an upgrade, even if I’m not all that excited about it.

7 Likes
#587

Ah, and also, the extra macros/random macros are going to make me love my Push even more.

1 Like