Since most people call Live "Ableton" ...
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Re: Since most people call Live "Ableton" ...
I think calling it Live was a big mistake business-wise. I have lost count of the number of people I've mentioned it to who have assumed it wasn't suited to songwriters.
Re: Since most people call Live "Ableton" ...
I think prior to version 4 it was a more accurate title. In fact it was called "Live - Sequencing Instrument"jimmynitcher wrote:I think calling it Live was a big mistake business-wise. I have lost count of the number of people I've mentioned it to who have assumed it wasn't suited to songwriters.
http://roberthenke.com/technology/ableton_live.htmlWhen Ableton Live came out it was radically different from other commercial music software, and this was largely due to the fact that Gerhard and me came from a very different musical background than the people who wrote e.g. Protools or Cubase. For us, the computer was not a replacement for a tape machine in a studio but a tool to improvise with on stage and as part of the creative process. We wrote our own software for our live performances and for playing with it in recording sessions and turning some of the concepts into a commercial product was a logical step. The first version of Live had the subtitle 'Sequencing Instrument'.
Re: Since most people call Live "Ableton" ...
I see what you did there...hacktheplanet wrote:I run Ableton on my Apple so I can music. When I feel the urge to do some photo or video, I use Adobe. Adobe works pretty well, but it's still a jumbled pile of shit and Adobe's support is hilariously bad, and their forums are full of self-righteous assholes. I'd like to try Apple, but I'm so used to Adobe these days.
For a while I was messing around with Cycling '74. It's pretty fun, and I was working on some interesting stuff with a Vestax I had for a while. I've since bought Jazzmutant and installed it on my Apple. These days I'm trying to move away from my Apple for performance, since I use Apple all day at work (maybe I should switch to Microsoft for a change of pace...). Instead of using my Apple to perform, I've decided to use my Apple to perform. I have one Apple running Jazzmutant, and it controls Hexler that is running on another Apple. Apple are jerks and hasn't release a native way to make an Apple talk MIDI over bluetooth to another Apple, so I picked up an iConnectivity, which also doubles as a nice thing to get audio out to my Rane, and can connect to my Access and Akai using normal DIN connectors.
This set up works great. The only issue I had originally was figuring out a way to mimic the functionality of Ableton on an Apple. I found AppBC, which is a decent MIDI sequencer/sampler app that is very similar to Ableton. AppBC is fantastic, but the UI takes some getting used to. I still wish Ableton would release a watered-down performance-oriented version of Ableton to run on an Apple. That would be really awesome.
OK cya later I've had enough Dark Matter and Giant this morning. Time to jump on Soma and get to work!! Always wear Giro for safety!!
Thing is, Ableton don't really make anything else. Everyone calls the hardware controllers by their names. Even if one wants to argue "exactly! and the software is called Live", it doesn't change the fact that there's only one piece of software in different iterations.
I like the name Ableton better than Live. When I talk to people who produce I call it Live or 'Ableton Live', since I know better. When I talk to people who just ask about software to ask for sake of asking I leave it at Ableton.
Re: Since most people call Live "Ableton" ...
Maybe they should just rename it Live Studio then.Angstrom wrote:I think prior to version 4 it was a more accurate title. In fact it was called "Live - Sequencing Instrument"jimmynitcher wrote:I think calling it Live was a big mistake business-wise. I have lost count of the number of people I've mentioned it to who have assumed it wasn't suited to songwriters.
http://roberthenke.com/technology/ableton_live.htmlWhen Ableton Live came out it was radically different from other commercial music software, and this was largely due to the fact that Gerhard and me came from a very different musical background than the people who wrote e.g. Protools or Cubase. For us, the computer was not a replacement for a tape machine in a studio but a tool to improvise with on stage and as part of the creative process. We wrote our own software for our live performances and for playing with it in recording sessions and turning some of the concepts into a commercial product was a logical step. The first version of Live had the subtitle 'Sequencing Instrument'.