Ableton Forum

Stromkraft wrote:

mekanism1200 wrote:
Ah, I see. Might be fun with friends having a drunken jam session but not that useful a production tool.

Because electronic musicians can't co-operate? Just because you need to be drunk to jam doesn't mean everyone else won't see this as a very useful production tool.

mekanism1200 wrote:

Stromkraft wrote:

mekanism1200 wrote:
Ah, I see. Might be fun with friends having a drunken jam session but not that useful a production tool.

Because electronic musicians can't co-operate? Just because you need to be drunk to jam doesn't mean everyone else won't see this as a very useful production tool.

Relax, it was a joke! I suppose you could plug in using the headphone jack from a portable device into a mixer and record into Ableton that way, not the cleanest setup, but it would work. I was just hoping for it to work where you could have a master computer and everyone else is feeding it sounds over wifi, recorded in real time and all synced. Maybe the latency is too high on wifi for this to work though.

Stromkraft wrote:
Well, the first part was, but not the last I'm sure. You're welcome though and I was pretty tired when I wrote that. Didn't mean to sound harsh. My apologies for the tone.

Yes, latency will always be a problem, so maybe Link will be best for syncing sequencers rather than real-time playing. Considering Wifi sync currently works quite bad it will be interesting to see if Link and 9.5 improves this.

For now I think Audiobus or similar over cable as well as what Audinate Dante Via will offer can become quite compelling.

XSIMan wrote:Sporkles

Great tracks and great website

mercury007 wrote:I keep reading that you can now access VST parameters in Live 9.5 and Push 2 - I'm confused, how is this different than before?

I know you can load the VST now which is different but what about VST plugins? You could always load them and configure to access the parameters, what's new there?

Stromkraft wrote:

sporkles wrote: Agreed, here. Pastels, all the way, and I think it would be fair enough if the different shades kind of cycled, so that the first clip you record got the track's colour, and then the X next ones got various shades of that colour, until the palette for that colour was exhausted, and the cycle started again.

Excellent suggestion. Please post it to Feature Requests.

sporkles wrote: I was thinking something like this, where I've simply gradually reduced the brightness over eight clips and the saturation over the next eight ones:

ShelLuser wrote: In the mean time I tried to automate this using my RecClipColor M4l device and well, it's far from perfect but it's a start:

andy_cytomic wrote: The MS1, JPR and SHR are the most expensive filters in terms of CPU, and if you look at the current version of The Drop you will notice there are no fixed and low CPU / MD versions of these filters, so it wasn't a good fit for Live. It has only been over the last month that I've come up with new methods to to make fixed and low CPU / MD versions of all the filter types. This is so new that it isn't even released in The Drop yet! If there is enough support in the Ableton community then it may be possible in the future that new filter circuit models can be added, for now you'll just have to put up with 4 of the worlds best sounding analog modelled filter algorithms