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A new Browser: The browser is now better organized, easier to customize, faster, now makes it possible to audition more presets instantly, and searches all devices and content from one place. More sounds: 3500 sounds in Suite, and a surprising number in Standard, all with easy-to-control Macro controls.
Improved EQ 8: The flagship included Ableton equalizer now includes more graphical feedback, and newly-modeled filters for better sound and more-precise isolation of frequencies. New Max for Live-based devices: A number of oft-requested Devices are now available implemented in Max for Live. When you can get it: Beta testing will begin by next week, but the shipping version will arrive first quarter of 2013, says Ableton. Live attracts a unique level of attention and anticipation because its way of working is different than other tools on the market. A number of partners, press, and artists were invited last week to Ableton’s headquarters for a day-long tour of the new products.
Ableton’s Dennis DeSantis did a nice demonstration last week in Berlin to first present Live 9, and I think it was dead-on in refocusing this from features to music making. The way the feature works: you select a clip, right click (or control-click), and then choose harmonic, melodic, or drum content. Browsing via search-as-you-type, browsing by type in the new Browser, showing off the newly-flexible, multi-pane interface. It may be some of the bread-and-butter sounds that make the biggest difference for a wide audience, however. With any of these sounds, of course, you can go inside and learn what the sound designer has done with Ableton’s tools, or use the samples as the basis of new sounds.
That does raise the question of why people aren’t happy with this or any other tool, though. Compressor features a new alogrithmic slope, making it more precise – for digital-style compression.
For analog-style compression, Ableton has turned to Cytomic to bundle an Ableton-native version of Glue, an already well-loved 80s compressor emulation in software. You can also create curved automation in those clips and in the Arrange View, in a long, long-overdue feature.
Some of the nicest add-ons in Live 9 come in the form of Max for Live plug-ins, including a convolution reverb, mappable LFO, and drum synth collection, seen here. Max for Live, while a powerful way of extending what Live can do, could sometimes feel disconnected from Ableton. Then there are the devices: you get 35 new device, ranging from a beautiful-sounding convolution reverb with a lucid, easy-to-understand interface to a whole bunch of drum synths.
DJs have long asked for the ability to use cue points inside clips, and to see waveform displays of more than one playing clip; neither those features is available. Because users have had some time to think about it, I expect that means there’s no way this release can please everyone. So, where this is nice is, you now have this LFO you can go in and change and modify so it works the way you want.
Or better than listening: recording and checking how far off the audio is with respect to the time markers. Actor Sudheer Babu is all set to appear in a film which is based on a biopic of a top Badminton player Pullela Gopichand which will go on floors from July.
It’s no doubt that, Power star Pawan Kalyan’s upcoming Sardaar Gabbar Singh film is one of the highly anticipated films in the year 2016.
According to the latest reports, currently, the makers of this film are in Switzerland to shoot some songs for the film. Sardaar Gabbar Singh is directed by KS Ravindra and this film mainly stars Pawan Kalyan and Kajal Agarwal in lead roles.
Amazingly, it seems Planned Parenthood’s defenders have so overplayed the “deceptive editing!” refrain on the Center for Medical Progress undercover videos that it’s no longer just pro-lifers who are beginning to notice. During a Tuesday CNN segment (full video here), correspondent Drew Griffin interviewed both CMP’s David Daleiden and Planned Parenthood Executive Vice President Dawn Laguens about the videos’ accuracy.
More than two weeks after the fact, the New York Times has corrected a significant inaccuracy in its reporting on the Planned Parenthood fetal organ harvesting scandal, Twitchy reports.


The software update brings new ways of transforming sound into MIDI, new and improved devices for shaping sounds, tools for automation that work inside clips and with curved interpolation, a new Browser, and a number of interface and usability enhancements.
Using the built-in laptop mic, he sang in a melody, then converted it to MIDI and turned it into a clip with an instrument. When Live added MIDI, it was such a boon to the tool that it’s been hard for any upgrade to live up since.
In fact, even in early testing, I sometimes found the mistakes more interesting than the correct transcriptions. In previous versions of Live, it could require some extra steps to start a new clip, record into that clip, and then play back what you just recorded.
From the video over the weekend, you may have imagined this was mostly cosmetic, but seen in practice, it could be the Live 9 feature that would make it most painful to return to Live 8. Previously, Ableton would dutifully instantiate each Device chain in order to audition its sounds in the Browser. Ableton has worked on a new, reasonably compact grand piano that’s also included in Standard, along with new guitar and bass instruments. Note the oversized EQ Eight view, and live feedback on how dynamics effects are impacting sounds. I think very often this comes down to the included effects, presets, and effect interface for finishing tracks – in any host, with even fairly advanced users. Ableton has worked both on the sound of its effects (in some measurable, quantifiable, non-voodoo ways), and the way in which you visualize their results. EQ Eight has a new filter model that Ableton says sounds better, and allows more precise selections.
And Compressor can now act as an Expander – perhaps the least-visible, but most important (musically) of the new Device changes. Note the curve in Automation – and you can drag Session Automation from Session View to Arrangement view. The curves are fairly intuitive; you first create a straight-line automation segment, then drag on it to produce a curve. First, you basically needed to be a fan of Max before you got it, since it was a separate add-on.
In fact, it might be better than the native device, because it should work perfectly as an example of how to navigate Max for Live’s API for controlling everything else in Live. It still seems to me that this feature needs attention; Follow Actions in Scenes, for instance, seem a no brainer.
Actually, I love the light gray theme and the fact that they’ve evened out some borders and made other improvements. In fact, there really hasn’t been anything arguably geared directly at DJs in Live other than the crossfader (and, separately, crossfader curves). Yes, Ableton has changed their logo and switched to a Futura font for their branding typography. We had reported that, Pawan has been taking special care for this film in order to make sure that, this film should be released on finalized date which is on April 8th.
But mostly, look to the bottom of your screen: automation recording in clips, and curves in automation, at last. There are also some features, conceived for Push, that could benefit people using any hardware controller they choose. Finding a way to streamline that is significant, because it means you can start ideas faster in production – or more confidently start laying down new clips live onstage as you perform. In Gate and Compressor, you see live visual feedback that shows you what the effect is doing to the sound.
You can audition individual bands to hear the changes you’re making (back to that hearing, not looking thing).
At last, you can record Session Automation as easily as you do MIDI and audio information; a new toolbar and record workflow makes this quite accessible, and it goes nicely with the new Push controller (or, via mapping, any other controller, for that matter). That also meant people who didn’t care much about Max were probably not going to be using the (often amazing) Max patches being produced by the Max for Live community. That brings various improvements, including the insanely-powerful gen, which basically lets you patch together your own high-performance DSP at a low level.


That hasn’t stopped Live from becoming immensely popular among DJs, but it means Traktor and Serato and the like remain fairly safe. Okay, seriously, yes, this does make sense to support, and maybe eventually we’ll even be able to afford these machines. Improving the Browser, Compressor, and EQ are important because these are things you tend to touch all the time.
Sources further said that, editor is on the location to edit the scenes and chop it at the required level.
And alongside these enhancements, you’ll also find a host of new sounds and preset content with which to work.
You get an LFO you can assign to other devices, a whole host of drum synth instruments, MIDI echo, and improved Step Sequencer and Buffer Shuffler. There will be more to say over time, but here’s a look at the new software from how it might impact your creative musical process. It’s not so much about stealing ideas as it is generating new musical DNA with which to work. Now, Live 9 has a new record workflow that allows you to combine these steps, starting a fresh clip, selecting it, recording into it, and being able to quickly play it back once you’re done recording. Drums include new sounds from Sonic Couture, and kits played live by skilled session drummers. From an engineering standpoint, in tests done with phase cancellation, it simply doesn’t matter. And Ableton says the improvements actually uses less CPU resources; EQ Eight now includes SSE optimizations. Max for Live (and video support, by the way) should at last be 64-bit by ship date, clearing the way for 64-bit Live for everyone.
This explains, how Pawan is strictly maintaining the team, to make sure that this film releases on April 8th. There are stranger additions, like Berlin-based artist Hecq (Ben Lukas Boysen) and his wild creations with coil pickups.
Experienced engineers will tell you to make adjustments by sound, not sight, but I think these visualizations help reinforce what the ear is hearing. And perhaps the biggest deal-killer was that Max for Live made you wait for a painful load time the first time you started it.
I can imagine anyone playing live wants the ability to use mappable cues inside clips, and more waveform views would always be nice – particularly given that screens are generally higher-resolution than when Live first shipped. You can enable or disable Oversampling, and you now get a linear phase oversampling filter in EQ Eight.
Apologies for the error.) Ableton has largely adopted Glue directly from Cytomic, with the addition of their own sidechain filter and Oversampling optimization.
After years of gradually adding the basics (MIDI!), it seems like Live is growing into something more mature. Kits work better than unusual percussion (because Live generally assumes it’s mapping to a kit, for convenience). And I’m eager to sit down with the beta and make some music, which is surely what matters. Stay tuned for more details as we test, and a proper review once we have a final, shipping version. While it is free for personal use, the author does offer discounts on both volume licenses and site licenses that make this software quite inexpensive. QuestionPoint is not itself an e-mail server; it simply passes text to an e-mail server and accepts text from an e-mail server. If the foregoing text is not deleted before you save the patron’s message, you will have two versions of the transaction history saved! When you see –Original Message— as in the example below, you are getting into “history” that is already recorded in QuestionPoint.



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