* Fixed a rare crash that could occur with a combination of control surface selected in the Preferences, Ableton devices moved from track to track, and then tracks moved to different positions.
* Fixed a bug that could prevent Live from deleting temporary Projects. Now the plugin works in Stereo mode only when inserted in a track, while previously its 5 channels were active in such a case. * Improved compatibility for Antares Harmony VST. When restarting Live after a crash, Live produces a file named "Ableton Crash Report.alp", whereas choosing "Get Support." in Live's Help menu produces a file named "Ableton Status Report.alp".
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* Some changes were made to the Help Pages regarding how to report a crash and how to contact support. * Amp, an audio effect that models guitar amps and cabinets.
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The Bridge is free for users of Live/Suite 8. This used to be one of the downsides of Live’s aversion to having complex toolbox options and dialog boxes, so it’s great to see it remedied here.* Support for The Bridge, our collaborative project with Serato. The snap-to-grid function is much more sophisticated than before, delivering all the options we could hope for without the need to grapple with lots of different modes. Most of the other new features are workflow improvements, but there’s just as much ingenuity on show here, too. Further creative mileage comes from mixing audio and MIDI performances together, such as combining MIDI drums with a heavily processed beatbox performance. The same goes for turning beatbox performances into MIDI drum parts. Using your voice or a guitar generates material that’s unlikely to be created via a keyboard. Audio-to-MIDI conversion also frees users up from the restrictions of using a MIDI keyboard for note entry. If nothing else, it’s a handy way to get around copyright clearance (provided you don’t lift a recognisable melody), and it also makes the process much more creative. In fact, all three modes have enormous creative potential, especially for sampling other people’s music and rebuilding it using other sounds. And, while those looking for perfect conversion are likely to be disappointed, as a springboard for creating interesting sounds it’s a huge success. There were quite a few missed notes, false positives and notes in the wrong octave, but the errors tended to make sense musically. It’s complex stuff, and we were amazed at its accuracy. Harmony mode tackles polyphonic instruments such as guitar or piano. The Drum mode identifies kick, snare and hi-hat sounds and maps them to a drum machine on a new MIDI channel. However, it’s disappointing there’s no provision to convert vibrato or gliding notes into pitch bend data. Conversion is quick, entirely automatic, and accuracy was excellent in our tests. The Melody option is the simplest, with monophonic instruments or vocals going in and a MIDI part coming out. There are three conversion algorithms designed for drums, melodies and polyphonic instruments. It’s a well-established concept and available in numerous other applications, but Ableton takes it further than its peers. The big innovation in this version is audio-to-MIDI conversion. This maturity has never come at the expense of innovation, though, and in Live 9 it continues to forge its own path, invigorating working methods and pushing sonic boundaries.
After starting life purely as a performance and remixing tool, Live has slowly evolved into a fully rounded music-production environment. When you’ve a reputation for being a maverick, it must be a bit of strain maintaining it, year after year, but if Ableton is feeling the pressure nine versions in, it’s showing no sign.
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