![]() At any point, dropping a plug-in onto a section of recorded music could not only transform that piece, it might inspire an entirely new piece of work. There's always a sense when playing around with audio in Live that your horizons are limitless. Over the last 20 years (!), Live has found its niche as the preferred software tool of the more experimental artist, those genre-bending musicians, DJs, sound designers and turntablists who want to make music in an almost collaborative fashion with their computer - throwing multiple ideas in, from myriad sources treating, manipulating and shaping the raw material then looping the results and reacting to new ideas that this blend inspires to take the music even further. Rather than perfunctorily toss out annual incremental point updates, Ableton prefers to take its time in developing a signficant new version, gathering critical input and feedback from its active and passionate user base and beta testers. The gap between new versions has lengthened as Live's core offering stabilised (it's been three years since Live 10). This writer first entered the Abletonverse around version 2 and consequently followed Live's evolution through several rapid iterations, as the company broadened the application's remit to cover all music recording bases. It was, in its own way, quietly revolutionary. Live also introduced the concept of 'elastic audio', whereby disparate recordings and samples could be stretched or compressed as necessary to all sync to the same tempo. Ableton's Live music production software caused a seismic change in the thinking of musicians and music producers when it first appeared in 2001.īreaking away from the prevailing idea that recording music on a computer should essentially still look, and feel, like recording music on a physical mixing desk, Live focused on the more freeform concept of jamming on musical ideas, based around capturing and looping 'clips' of recorded audio.
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