Ableton Live 9.7 is right now in public beta – just days after the latest 9.6 release went final. Most of the functionality announced so far is related to Push and beat making; 9.7 brings features that let you play, record, and slice more easily from Ableton’s hardware. But that shouldn’t mean you should despair if you’re not a Push user; as with each Push release so far, there are parallel improvements in the software itself.
Ableton’s Push hardware is making it onstage, but whether or not it suits that purpose for you, it’s an absolute godsend in the studio. Hands-on control of parameters, always-ready grid access to melodies and percussion, and tools for starting ideas from clips to sequences to playing live make it feel indispensable to those of us it’s won over. So, why not give it a handsome home?
Ableton Live 9.6.2 is here. Apart from a slew of bug fixes and some improvements to how the Link connection indicator works, there are a lot of improvements to Push, via software and firmware – even down to details like making the potentiometers more jitter free. That’s all well and good. But the important thing is that some of these small details could really change the way you work with Push for the better. The big one: you can now copy and paste clips to any slot on the Push, just by touching the pads. It’s a little thing, but …
For years, the criticism of laptops has been about their displays – blue light on your face and that sense that a performer is checking email. But what if the problem isn’t the display, but the location of the display? Because being able to output video to your hardware, while you turn knobs and hit pads, could prove pretty darned useful.
Isotonik’s £22 PrEditor is the powerful mapping functionality Ableton forgot. It lets you customize the mappings of a variety of controllers to your music software, opening up custom controller arrangements and tailored interactions to support the way you play. And the latest version does still more. Hackers and patchers will love this – whatever tool they use. If you use Reaktor, that environment is available – doubly useful now because of Reaktor’s beautiful Blocks modular environment. (There are quite a few things I prefer in Reaktor, so being able to map its controls to my Push means I may completely …
It’s about time to solve this power problem on music gear once and for all. Here’s the thing: USB has quietly simplified powering everything else. Look at your phone. Now, a USB cable not only means you can charge from your laptop, but also various travel adapters – and, crucially, from battery power. With mobile batteries getting steadily better, that’s huge. You can just pack a battery and not worry about finding a wall socket, for hours or (with high capacities) even days. And those batteries are getting better as products, too – you can buy some nice looking, nicely …
This one’s too good to wait. Gustavo Bravetti, the Uruguay-born producer and DJ, is already something of a maximalist. He’s the sort of person who can rock alternative controllers live on a mainstage in front of massive festival crowds – the powerful counter-example to the notion that such high-pressure gigs have to be press-play. And now, he’s been hard at work on a powerful tool for expanding the possibilities of performance on Elektron’s hardware, all using Push for control. I could ramble on, but the best way to follow this is to watch the extensive tutorial video he’s just posted:
Techno is a thread in Europe that can bring people together, and be a lingua franca. That phenomenon can earn detractors and champions alike; the common currency threatens to devolve into sameness. But one thing I’ve found looking beyond centers like Berlin: there’s extraordinary talent on the horizon, answering to the beacon capital techno cities. If techno is giving people musical commonality, it’s also encouraging people to push their music such that they can extend beyond a hometown or home residency.
By letting you get creative with audio, Ableton’s Simpler and slicing workflows have always opened up musical possibilities, and they got a lot more powerful in Live 9.5. But it could do even more. Developer Mark Egloff has released four clever Max for Live patches that let you slice without Push, chop in new ways, and more.
There may be an Ableton logo splashed on it and integration designed specifically for Live. But one of the nice things about Ableton’s Push and Push 2 hardware are that, at their core, they’re open. Everything sends and receives standard MIDI messages. As we’ve seen, even the display is hackable. And that is admirable not only from an engineering standpoint, but because it means the hardware you invest in has a life beyond just specific drivers and software updates. Now, that extends even to rival software Bitwig Studio – which means you can even use a Push 2 on Linux.