Expert’s Rating
Pros
Cons
Our Verdict
Live ’s white port and apt work flow belittle preventive with the creative operation and performance . novel for version 11 is comping and connect lead editing which make it more appealing for traditional studio apartment transcription . MPE sustenance , new capacity , and a server of welcome tweaks sweeten the deal . It sometimes demand it as Live is far pricier than Apple ’s passing - drawing card , Logic , which does the same affair and more , if not near so elegantly .
Apple ’s feature - packedLogic Prosoftware gets the lion ’s parcel of attention from the musical - oriented Mac media — with a mammoth feature set and at its relatively low-cost $ 200 price , that ’s rightfully so . However , Logic , like nearly all Digital Audio Workstations ( DAWs ) , follow a design bent more on lodge studio and audio engineers than creatives . Ableton Live , on the other hired hand , is a DAW that was designed by musicians for player , and probably a good tantrum for the average Mac - wield , melodic case .
Programs such as Logic , Pro Tools , and Cubase trace their lineage back to the 1980s . Ableton Live is a relative newcomer , appearing around 2000 . As its name implies , Ableton ( the party ) design Live at the kickoff for live operation and quick typography using audio samples .
An early version of Live on OS X. It’s still easily recognizable to this day where others are not.
An early version of Live on OS X. It ’s still easily recognizable to this day where others are not .
To Ableton ’s credit , the initial keep - it - focused innovation was spot - on , and it has maintain much of its unique and original flavor , even with two decades of improvements and new features . The looking at has evolved in restrained fashion , but remain instantaneously placeable . Some have sex it , while for others it ’s an acquire taste .
With version 11 , Live has matured into a DAW that could jolly be hire in a transcription studio apartment . But first and first off , it remain a peter created for andby creative person .
An early version of Live on OS X. It’s still easily recognizable to this day where others are not.
take note that Ableton Live 12 was released on March 5th , 2024.It sports a modestly improved port , global central signature , micro - tuning support , young virtual tool , effects , and content packs , filters and tag for the web internet browser , as well as a host of Modern MIDI redaction and handling features .
Features and interface
last ’s once - unique aspect is how it compartmentalise musical material into “ magazine ” , anything from instrument sampling , to MIDI sequence , to full songs . This scene has since been copied by other Corvus monedula .
Ableton Live 11 in Session manner . Clockwise from upper left : the medium browser app , the magazine launcher , the mixer , and the detail thought hold in instruments and event .
In Live ’s academic term modality ( shown above ) , clips may be launch individually ( one per path ) or in groups across track . This is neat for DJ’ing or alive performance ( you could edit and create while clip toy ) , and as a spry and dirty placement cock for composers . Competing DAWs have standardized feature , but by my lights , Live ’s implementation stay the most focused .
Ableton Live 11 in Session mode. Clockwise from upper left: the media browser, the clip launcher, the mixer, and the detail view containing instruments and effects.
A closeup of the alive 11 ’s clipping rocket launcher in Session horizon . Notice the play buttons and the scene push for launching an entire quarrel of magazine .
Live has also feature a traditional , track - based timeline ( Arrangement opinion ) since daylight one . It ’s a bite non - standard with the cart track headers set to the right ( footers ? ) , but it ’s nothing users from other DAWs wo n’t settle into cursorily .
you may switch between Session and Arrangement views ( which apportion the same runway layout ) using the Tab key . snip are exclusive to each panorama for playback , but may easily be copied between them via pull and drop , Command - C , etc .
A closeup of the Live 11’s clip launcher in Session view. Notice the play buttons and the scene button for launching an entire row of clips.
A closeup of the Ableton Live ’s Arrangement view .
Live was also the first DAW to trench the once prevailing Multi - Document Interface , a batch of child windowpane for “ panes ” that accommodate into the chief window with no imbrication . If you ever had to hound through the pile of virtual ( software program ) musical instrument , you ’ll apprise that .
There are a number of unremarkably shroud panes accessible from both panorama : a content web browser app ( file , FX , sound , sample , tracks , etc . ) ; a groove pool for go for MIDI rut to MIDI or audio clip ; a assistance pane that ’s an overview of the content along the timeline ; a file / task director ; and , of course , audio and MIDI editors .
A closeup of the Ableton Live’s Arrangement view.
Ableton Live ’s MIDI editor .
The audio and MIDI editor in chief , instrument and effects share the bottom window pane . When clips are selected , the appropriate editor program appears , and when a track is selected , you get the instruments and FX .
Live is specially pliable when it comes to combining instruments and effects into drum , instrument , and effect “ racks ” . merge them , stack them , switch between them using “ chains ” , and designate various parameter to macro controls for use in real time . The reasoned creation ( inventing your own unique noises ) possibilities are endless . The whole hatful interfaces with Ableton ’s own hardwarePush controller .
Ableton Live’s MIDI editor.
Ableton Live ’s detail view show editors when clips are selected , and legal instrument and FX when tracks are selected .
As for audio redaction , Live has featured audio stretching since the early twenty-four hour period , and it ’s easy the most facile implementation of it among the major DAWs . statement - A / Command - I / dictation - U and your audio file is quantise to the current value ( 1/4 notes , 1/16 notes , etc . ) .
Live 11 ’s audio clip editor program . The gamy - visibility mustard slanted marker are for stretch or time aligning audio events under the difficult lighting stipulation you sometimes feel in clubs . Each marker domiciliate where the programme find as a transient , or the loudest portion of a note / chord / auditory sensation .
Ableton Live’s detail view shows editors when clips are selected, and instruments and FX when tracks are selected.
you could also simply drop a rut onto the snip to quantise it . The transient markers are tumid and obvious for sluttish recognition under the ambitious lighting conditions you might find at a gig . Markers are also prosperous to manipulate manually if you just want to make up that one egregiously former note , and in majority if you need to align the integrality of a time - askew operation .
There ’s no ARA / ARA2 ( Audio Random Access ) integration so you ca n’t employ Melodyne for pitch manipulation . Pitch use is possible by separate cartridge holder in the Arrangement view and using a de - tune affair that works in cents ( 1/100 of a semitone ) . Not ideal , but good for the odd correction here and there .
Ableton supports third - political party instrument and core ( AU , VST2/3 ) , but also ship with a host of its own ( depending on the edition — see below ) , which are seamlessly mix into the software user interface .
Live 11’s audio clip editor. The high-visibility mustard colored markers are for stretching or time aligning audio events under the difficult lighting conditions you sometimes find in clubs. Each marker resides where the program detects as a transient, or the loudest portion of a note/chord/sound.
Scalable, scheme-able
Live ’s scalable user interface was another land - breaking feature of speech . Everything is render and/or a simple stretchable electronic image , so you’re able to make element and textual matter as small or large as you care . Bitwig , Tracktion , and others also do this , but Live was the first .
In general , everything is make with quick and easy recognition in mind — a real blessing if , as I ’ve mentioned , you ’re gigging in a difficult environment such as a dance club . grading is also neat for anyone with eyesight effect .
Live 11 at 100 % grading and 200 % grading with the same strain . you may also pass the program full - screen to retake the quad take away up by the bill of fare .
Live 11 at 100% scaling and 200% scaling with the same song. You can also run the program full-screen to recapture the space taken up by the menu.
Notably , you’re able to operate Live full - sieve to recapture the quad commonly used by the main menu . move your shiner to the top of the CRT screen reveals said menu when you ask it . Live also supports different coloring strategy and a third - party online scheme / idea source is available atLive Themes 2.0 .
News at 11
A Brobdingnagian young feature for cutting - edge keyboard performers is immensely amend accompaniment for MIDI contrapuntal verbal expression ( MPE ) . MIDI , the digital communication communications protocol for melodic equipment , in the first place keep an eye on a rigid one distribution channel / one instrument exemplar . MPE took the original 16 channels and re - tasked them for use on a single instrument , allow each short letter to use the corresponding transmission channel ’s face data ( pitch shot bend , modulation , pressure level née after - speck , etc . ) . Where Live formerly required transcription on the 16 unlike trail to capture and delete MPE , it now only require one . See the image below .
Ableton Live 11 ’s MPE redaction . If you ’re rock a Seaboard or similar , Live now has you covered .
MPE opened up immense performance possibility for solo keyboard thespian , hence my reference to snub edge . As it ’s well heard than told , you should take a gander at this excellentdemonstration picture . take note that MPE is now part of the latest MIDI 2.0 spec .
Ableton Live 11’s MPE editing. If you’re rocking a Seaboard or similar, Live now has you covered.
Two newfangled features in springy make the software unfeignedly studio apartment - executable : comping lanes and linked runway redaction . Comping is create a “ perfect ” performance by combine the honorable parts of several return . Formerly in Live , you had to expend different tracks or a rather canny but chatter intensive workaround to comprehensive examination . Now you have lanes , or sub - track that you’re able to just swipe part of to create the “ perfect ” take in the playback racetrack . For a multi - microphone transcription , you could connect the separate tracks and lanes so that the most common edits are performed across all the colligate material . Edits are phase angle - locked as well , i.e. extremely precise .
Rather unusually , you’re able to comp the same way with MIDI track . It ’s a bit like Logic ’s track version , but without the extra fuss . Nice cutaneous senses , Ableton !
Ableton Live 11 ’s audio comping . you’re able to do the same thing with
Ableton Live 11’s audio comping. You can do the same thing with
Live 11 now bear out tempo matching to international sources , i.e. , you could have Ableton Live looseness along in clip with a real drummer . Formerly , you could only use the pacing racecourse or define an exist track as a master .
New content pack as also usable — including brass and string quartets from sample library heavyweight Spitfire — and other subject matter packs have been update and improved . A number of improved or new FX — include my favorite , Hybrid Reverb — combines convolution ( using models of real space or devices ) and classical artificial reverb .
Spectral display is a enceinte mint for edition 11 and is present on several effects including a new hold and resonant circuit . Macro controls double from 8 to 16 and can be save as instantly switchable presets .
Ableton Live 11’s multi-clip editing now allows you to edit notes from all selected clips at the same time. The colored bars at the top of the editing pane indicate which track and clip the notes are from.
The MIDI editor program now has the power to crumble to a scale with highlight , so you’re able to easily paint preeminence without wander outside the canonic harmonic structure of a clip . you’re able to also now paint bank note of differ pitches rather than just a row of the same auction pitch .
Live has always had a minuscule amount of random that you could practice via MIDI grooves , but the company has gone all in on the concept with adaptation 11 . Not only is there a new random use for speed in MIDI cartridge holder , there ’s note probability — whether or not a note will be played at all . These to additions help alleviate robotic - sound MIDI clips . There are other manifestations of random sprinkled throughout Ableton Live 11 .
With multi - clip editing , you used to be capable to select multiple clips , view the coalesce contents , but cut only one clips ’ preeminence at a sentence . Now you may edit out notes from all selected snip simultaneously . Oddly , however , note velocity ( how hard a winder is struck ) are still edited on a per magazine groundwork . Here ’s hoping that changes in 11.1 .
Ableton’s Push 2 controller/hardware interface for Live.
Some user are also desire you ’ll one day be able-bodied to can edit MIDI and audio clips together . That may sound singular , but it can be very ready to hand for synching virtual instruments ( MIDI ) with audio recording .
Ableton Live 11 ’s multi - clip editing now allows you to redact notes from all select clips at the same clip . The colored bars at the top of the redaction window glass signal which track and clip the notes are from .
The major Modern features are very good , but two small tweaks really convinced me to dump hot 10 for 11 . Pressing the “ C ” cardinal now arms or disarms the current track for recording , and if you start typing a number while a bill is selected in the MIDI editor , it will change its velocity . The latter , combined with the randomize speed function , is a colossal timesaver when I tweak my weak keyboard or drum performances . mastery - Up / Down to exchange the note option is a nerveless hyperkinetic syndrome , as well .
As most of the screens in this article show lots of stuff, I thought I’d include one that shows how clean it can actually be. This is how I keep the interface most of the time. Tip: You hide the vertical grid lines by upping the snap value to more bars than are visible on screen, e.g. 32/1. I wish you could just turn them off, along with the horizontal lines.
Performance on Intel
Live is a bit of a central processing unit Sus scrofa . Audio warp is essentially always - on ( you could enable / disable it for private clips ) and allow you to hurry up and slow down song without so much a how - do - you - do . Also , for live carrying out Live must wager back bug - free , while other operations are being performed . Given those restraint , Live does quite well , thank you .
Indeed , I can manage with Live on a 2011 MacBook Air if the projection is mostly audio . If you ’re the type that has to have 43 instruments and effects on every television channel , err … use Return tracks ( coach in Logic ) , or deliberate simplifying your approach .
Ableton ’s push button 2 control / hardware interface for Live .
There must be some correlation between Live ’s unusual show and the sensing of sound quality , because the lineament of Live ’s sound is often questioned . In my experience and testing , lively sounds as good or better than any other other DAW . I ’ve blind tested every major DAW , and given the same plug - Immigration and Naturalization Service , they all vocalize fantastic , not to observe nearly superposable . Put bluntly , worrying about the audio quality raise by any modern DAW is a waste of time .
M1 support?
I tried Live 11 via Rosetta 2 on an M1 Mac mini , and the user interface and load time are super agile — a real delight . However , during playback , CPU usage sat at around 30 to 35 percentage for the Live Demo song , while it was only 25 pct or so on my older 2015 Core i5 iMac . That ’s a pot good than Live 10 ( until the most recent beta ) , and quite the accomplishment , but hardly show off what the M1 can do .
I inquired of Ableton if there were plans to recompile ( and recode if necessary ) Live to support the M1 natively . The the company largely demur from comment . However , I opined to them that any company deal political program for the Mac would have to be insane not to port , and Ableton ensure me that it is quite sane . essentially , you’re able to dye my physical structure hair’s-breadth green and call me Kermit if an ARM port does n’t transpirate in the comparatively near time to come . I give it a yr at most . in all likelihood much sooner .
remark that as of 10/1/2021 and the 11.1 genus Beta , there ’s now an Apple Silicon version of Live . It only sustain its own internal and M1 VST quid - ins ( Intel AUs work ) at the moment , but there is a definite uptick in performance . presently , it ’s not quite the jump I expect , perhaps 5 % less CPU usage during playback , but the interface experience sprightlier overall . Load and redeem times are more observably improved .
RTFM and nits
If you ’re used to other DAWs , Live may not always seem visceral . It goes about a mountain of things differently . If you think of it in the setting of live carrying into action , most of it makes horse sense and some of the method acting are devilishly clever . Other time they ’re just clever . Occasionally , they ’re odd for no reason .
The sooner you stop trying to make unrecorded conform to the methodological analysis of other DAWs , the sooner you ’ll begin to appreciate the method acting behind the madness and be generative . I highly advocate a thoroughgoing poring over of the users guide before startle .
Of of course , I have a few squawk . For instance , Ableton is very particular in its keyboard shortcuts ; there are n’t enough of them and they ’re only partially substance abuser - definable . Hence my delight at the new caterpillar tread weapon system / disarm and note selection shortcut .
I ’m quite often holding an official document and do n’t want to contort my hands to fit compound keystrokes such as Shift - Command - L , so I define my own individual fundamental shortcuts usingKeyboard Maestro(andAutoHotKeyon Windows ) . Hint : Make good economic consumption of the numeral computer keyboard and function keys as neither program recognize when you ’re prove to rename a track or enter data .
There are also tiny behavioural mutual exclusiveness throughout the program , such as transmutation rather than the Command modifier cay being used for selecting multiple non - adjacent note in the MIDI editor ; double - clicks that open , but do n’t close items ; etc .
As most of the screen in this article show spate of stuff , I thought I ’d let in one that evidence how clean it can actually be . This is how I keep the user interface most of the clip . Tip : You hide the perpendicular power grid lines by upping the snap time value to more stripe than are visible on screen door , e.g. 32/1 . I wish you could just turn them off , along with the horizontal lines .
My primary concern , however , is increasing complexity and visual clutter . With a burgeoning characteristic set , menus are growing longer , and visual feedback for various functions is piling up . The interface is still a treasure , but slippy slope … My hope is for deeper user form options . Ableton walks its own path . Kudos for that . We ’ll see .
Not exactly cheap
Where Logic , at a simple $ 200 , is by far and by skilful DAW time value on the major planet , Live is , uh … a more considered purchase . There ’s a tantalizing $ 99 Intro version , but the 16 track/16 scene limitation is just that — limiting . I engineered with 16 track registrar . 24 tracks opened up worlds , if you take hold of my drift .
The pricier $ 449 stock edition is the likely entry breaker point for most users , as it has no limits and stop an copiousness of effects and instrument .
The full $ 749 Suite adds another boatload of poppycock , including attractive addition such as a full multi - taste tester ; the Max for Live programming / stopple - in development surround and its instruments and effects ; and CV ( Constant Voltage ) documentation for the modular synth crowd .
Ableton’scomparison chartwill help you determine which rendering is the good one for you . upgrade costs are more often than not only the price differential between the different flavors so you may start low and work your style up without a surcharge .
Bottom line
Ableton Live is by far the best DAW for artist and performers — once you get a handle on it . It can be a visual and operational challenge ab initio , especially if you ’re amount from a traditional DAW such as Logic , Cubase , or Pro Tools . It took me about three endeavor before I got it .
Moiling or no , it ’s aces for lively performance and cursorily laying down mind , and the only DAW that can match it for sound creation and mangling isBitwig . While edition 11 is perfectly workable for studio use , it ’s probably not snuff it to be most locomotive engineer ’s first selection .
Happily , you do n’t have to take my word for any of this — a90 - day trialis currently uncommitted . I recommend that you take a long hard look , no matter what your musical bent or current DAW preference . But before you do , again , study the user ’s guidebook . resilient is dissimilar . And it ’s full of stuff even experienced users sometimes do n’t know about .
observe : While Live was the first popular clip - base composer in the modern era , the construct date back to the Atari ST era and Eric Amere ’s RealTime . RealTime also allowed editing MIDI “ phrases ” ( a.k.a . clips ) while others were playing , albeit on only a single rails .
