Thanks for clarifying that for me. It's the sort of thing I spend a lot of (unproductive) time wondering about.stringtapper wrote:
It's Db7: Db-F-Ab-Cb
Since this kind of usage (in modern times at least) is usually in a jazz context the tritone sub will probably resolve down to either a major or minor seventh tonic. In your example of C major the seventh of the Db7 chord (Cb) would simply be a common tone with the CMaj7 chord's own seventh and become a B at that point.
And yes, that would probably be a nightmare to get a computer to understand that kind of context to make such a change.
Also I think that even if Ableton could succeed in naming everything perfectly then for most people, who don't study theory, it would actually be much more confusing than it is now. I regularly play with a guitarist who will say things like "OK this one's in A#" because he's using A shapes with a capo on the first fret. It's a complete mystery to him why this offends me so much (in fact I think he does it on purpose now). If I start to try to explain why it's better to think in two flats rather than four sharps plus three double sharps I can actually see the moment his brain turns off.