Developer(s) | Ableton |
---|---|
Initial release | October 30, 2001 |
Stable release | |
Written in | C++ |
Operating system | Windows, macOS |
Type | Digital audio workstation |
License | Proprietary [2] |
Website | www.ableton.com |
Ableton Live is a digital audio workstation for macOS and Windows developed by the German company Ableton.
In contrast to many other software sequencers, Live is designed to be an instrument for live performances as well as a tool for composing, recording, arranging, mixing, and mastering. It is also used by DJs, as it offers a suite of controls for beatmatching, crossfading, and other different effects used by turntablists, and was one of the first music applications to automatically beatmatch songs. [3]
Live is available directly from Ableton in three editions: Intro (with fewer features), Standard, and Suite (with the most features). The Suite edition includes "Max for Live" functionality, developed in partnership with Cycling '74. [4]
Ableton has also made a fourth version of Live, Lite, with similar limitations to Intro, which is only available bundled with a range of music production hardware, including MIDI controllers and audio interfaces. [5]
Live was created by Gerhard Behles, Robert Henke and Bernd Roggendorf in the mid-1990s. [6] Behles and Henke met while studying programming at Technische Universität Berlin, and wrote software in the music programming language Max to perform techno as their band Monolake. Henke and Behles identified a need in Berlin's electronic music scene for user-friendly software for live performances, and worked with local acts to develop it. [6] Though Live was not developed in Max, Max was used to prototype most of its features. [7]
Henke said later of Live's creation, "I think the feeling we had was [that] there was enough like-minded people in our closer community who could appreciate a product like this, and that it could work commercially. That gave us confidence to believe that a small company could actually survive on the market." [6] He said one of the first industry figures to recognize Live's potential was the Hollywood composer Hans Zimmer, who was impressed by Live's ability to change the tempo of a loop without altering its pitch. [6] Roggendorf, another programmer, joined Behles and Henke in the late 90s and helped them turn their Max patches into a general set of software for retail. [6] They released the first commercial version of Live on October 30, 2001. [8]
Unlike Pro Tools, which focuses on multitrack recording, the first version of Live was designed for performing live with loops. [7] It offered sophisticated tools for triggering loops, playing samples and time stretching audio, and was immediately popular with electronic music producers. [7] Live's time stretching algorithm, known as "Warping", was particularly notable and gave DJs greater control over mixing and beatmatching, smoothly blending tracks of different tempos. [7]
In 2004, Live expanded to become a DAW with a MIDI sequencer and support for virtual studio technology (VST). [7]
In 2010, Ableton introduced Max for Live, enabling connectivity between Max and Live. [7] Live made it easier for musicians to use computers as instruments in live performance without programming their own software, influencing the rise of global festival culture in the 2000s. [6]
In 2016, Henke left Ableton to concentrate on his artistic project Monolake. [6]
Version | Released |
---|---|
Live 1.0 | 30 October 2001 |
Live 2.0 | 22 December 2002 [9] |
Live 3 | 10 October 2003 [10] |
Live 4 | 28 July 2004 [11] |
Live 5 | 24 July 2005 [12] |
Live 6 | 29 September 2006 [13] |
Live 7 | 29 November 2007 [14] |
Live 8 | 2 April 2009 [15] [16] |
Live 9 | 5 March 2013 [17] |
Live 10 | 6 February 2018 |
Live 11 | 23 February 2021 [18] |
Live 12 | 5 March 2024 [19] |
Live's user interface is composed of two 'Views' – Session View and Arrangement View. Live utilizes audio samples or MIDI sequences, referred to as Clips, which are arranged to be played live (i.e. "launched") or played back in a pre-arranged order. MIDI information received by Live can trigger notes on Live's built in instruments, as well as third party VST instruments or external hardware. [20]
Session View offers a grid-based representation of all of the Clips in a Live Set. These clips can be arranged into scenes which can then be triggered as a unit. For instance a drum, bass and guitar track might comprise a single scene. When moving on to the next scene, which may feature a synth bassline, the artist will trigger the scene, activating the clips for that scene.
Arrangement View offers a horizontal music production timeline of Clips that is more similar to a traditional software sequencer interface. The Arrangement View is used for recording tracks from the session view and further manipulating their arrangement and effects. It is also used for manual MIDI sequencing. [21]
Live Intro includes four instruments (Impulse, Simpler, Instrument Rack, and Drum Rack). Live Standard additionally includes External Instrument, with users having the option to purchase additional instruments. By contrast, Live Suite includes all available instruments.
Ableton also offers a selection of Add-on Sample Packs with which a user can expand the sound libraries for their instruments. These include:
Akai Professional makes the APC40 mk II, a MIDI controller designed to work solely with Live and closely maps the layout of Live's Session View onto a physical control surface. A smaller version, the APC20, was released in 2010. [23] Novation offers the Launchpad, a pad device that has been designed for use with Live.
Ableton has also released their own MIDI controller, the Push, which is the first pad-based controller that embraces scales and melody. [24] In November 2015, Ableton released an updated MIDI controller, the Push 2, along with Live 9.5. [25] Push 2 features a new color display, improved buttons and pads, and a lighter frame. [26] In May 2023, Ableton released the Push 3 as Controller and as Standalone-Version. [27] [28]
Most of Live's effects are already common effects in the digital signal processing world which have been adapted to fit Live's interface. They are tailored to suit Live's target audience – electronic musicians and DJs - but may also be used for other recording tasks such as processing a guitar rig. The effects featured in Live are grouped into two categories - MIDI effects and audio effects.
Audio effects | MIDI effects | ||
---|---|---|---|
|
|
Live is also able to host VST plugins and, on the macOS version, Audio Unit plug-ins as well as Max for Live devices since Live 9.
In addition to the instruments mentioned above, Live can work with samples. Live attempts to do beat analysis of the samples to find their meter, number of bars and the number of beats per minute. This makes it possible for Live to shift these samples to fit into loops that are tied into the piece's global tempo.
Additionally, Live's Time Warp feature can be used to either correct or adjust beat positions in the sample. By setting warp markers to a specific point in the sample, arbitrary points in the sample can be pegged to positions in the measure. For instance a drum beat that fell 250 ms after the midpoint in measure may be adjusted so that it will be played back precisely at the midpoint.
Live also supports Audio To MIDI, which converts audio samples into a sequence of MIDI notes using three different conversion methods including conversion to Melody, Harmony, or Rhythm. Once finished, Live will create a new MIDI track containing the fresh MIDI notes along with an instrument to play back the notes. Audio to midi conversion is not always 100% accurate and may require the artist or producer to manually adjust some notes. [29]
Almost all of the parameters in Live can be automated by envelopes which may be drawn either on clips, in which case they will be used in every performance of that clip, or on the entire arrangement. The most obvious examples are volume and track panning, but envelopes are also used in Live to control parameters of audio devices such as the root note of a resonator or a filter's cutoff frequency. Clip envelopes may also be mapped to MIDI controls, which can also control parameters in real-time using sliders, faders and such. Using the global transport record function will also record changes made to these parameters, creating an envelope for them.
Much of Live's interface comes from being designed for use in live performance, as well as for production. [30] There are few pop up messages or dialogs. Portions of the interface are hidden and shown based on arrows which may be clicked to show or hide a certain segment (e.g. to hide the instrument/effect list or to show or hide the help box).
Live now supports latency compensation for plug-in and mixer automation.
MIDI is a technical standard that describes a communication protocol, digital interface, and electrical connectors that connect a wide variety of electronic musical instruments, computers, and related audio devices for playing, editing, and recording music.
Roland Corporation is a Japanese multinational manufacturer of electronic musical instruments, electronic equipment, and software. It was founded by Ikutaro Kakehashi in Osaka on 18 April 1972. In 2005, its headquarters relocated to Hamamatsu in Shizuoka Prefecture. It has factories in Malaysia, Taiwan, Japan, and the United States. As of December 2022, it employed 2,783 people. In 2014, it was subject to a management buyout by its CEO, Junichi Miki, supported by Taiyo Pacific Partners.
Digital music technology encompasses the use of digital instruments to produce, perform or record music. These instruments vary, including computers, electronic effects units, software, and digital audio equipment. Digital music technology is used in performance, playback, recording, composition, mixing, analysis and editing of music, by professions in all parts of the music industry.
A music sequencer is a device or application software that can record, edit, or play back music, by handling note and performance information in several forms, typically CV/Gate, MIDI, or Open Sound Control, and possibly audio and automation data for digital audio workstations (DAWs) and plug-ins.
An electronic keyboard, portable keyboard, or digital keyboard is an electronic musical instrument based on keyboard instruments. Electronic keyboards include synthesizers, digital pianos, stage pianos, electronic organs and digital audio workstations. In technical terms, an electronic keyboard is a rompler-based synthesizer with a low-wattage power amplifier and small loudspeakers.
FL Studio is a digital audio workstation (DAW) developed by the Belgian company Image-Line. It features a graphical user interface with a pattern-based music sequencer. It is available in four different editions for Microsoft Windows and macOS.
Novation Digital Music Systems Ltd. is a British musical equipment manufacturer, founded in 1992 by Ian Jannaway and Mark Thompson as Novation Electronic Music Systems. Today the company specializes in MIDI controllers with and without keyboards, both analog and virtual analog performance synthesizers, grid-based performance controllers, and audio interfaces. At present, Novation products are primarily manufactured in China.
Monolake is a German electronic music project, initially consisting of members Gerhard Behles and Robert Henke, Monolake is now perpetuated by Henke while Behles focuses on running music software company Ableton, which they founded in 1999 together with Bernd Roggendorf. From 2004, Torsten Pröfrock became a member of Monolake.
Kurzweil Music Systems is an American company that produces electronic musical instruments. It was founded in 1982 by Stevie Wonder (musician), Ray Kurzweil (innovator) and Bruce Cichowlas.
A MIDI controller is any hardware or software that generates and transmits Musical Instrument Digital Interface (MIDI) data to MIDI-enabled devices, typically to trigger sounds and control parameters of an electronic music performance. They most often use a musical keyboard to send data about the pitch of notes to play, although a MIDI controller may trigger lighting and other effects. A wind controller has a sensor that converts breath pressure to volume information and lip pressure to control pitch. Controllers for percussion and stringed instruments exist, as well as specialized and experimental devices. Some MIDI controllers are used in association with specific digital audio workstation software. The original MIDI specification has been extended to include a greater range of control features.
A sound module is an electronic musical instrument without a human-playable interface such as a piano-style musical keyboard. Sound modules have to be operated using an externally connected device, which is often a MIDI controller, of which the most common type is the musical keyboard. Another common way of controlling a sound module is through a sequencer, which is computer hardware or software designed to record and playback control information for sound-generating hardware. Connections between sound modules, controllers, and sequencers are generally made with MIDI, which is a standardized interface designed for this purpose.
Ableton AG is a German music software company that produces and distributes the production and performance program Ableton Live and a collection of related instruments and sample libraries, as well as their own hardware controller Ableton Push. Ableton's office is located in the Prenzlauer Berg district of Berlin, Germany, with a second office in Pasadena, California.
Elektron is a Swedish developer and manufacturer of musical instruments founded in 1998, as well as having its headquarters, R&D and production in Gothenburg, Sweden. They produce mainly electronic musical instruments, but have also made effects units and software. Since 2012, there have been branch offices in Los Angeles and in Tokyo.
Live PA is the act of performing live electronic music in settings typically associated with DJing, such as nightclubs, raves, and more recently dance music festivals.
Orchestral enhancement is the technique of using orchestration techniques, architectural modifications, or electronic technologies to modify the sound, complexity, or color of a musical theatre, ballet or opera pit orchestra. Orchestral enhancements are used both to create new sounds and to add capabilities to existing orchestral ensembles.
Controllerism is the art and practice of using musical software controllers, e.g. MIDI, Open Sound Control (OSC), joystick, etc., to build upon, mix, scratch, remix, effect, modify, or otherwise create music, usually by a Digital DJ or Live PA performer, often called a controllerist. Controllerism is also a nod to traditional musicianship and instrumentalism paired with modern computer sequencing software such as Ableton Live and Native Instruments Traktor. However, a working knowledge of scales and chords is not necessarily required as the performers typically focus their efforts more on sequencing events, software effects and instrument manipulations using buttons, knobs, faders, keys, foot switches and pedals than on instrumental notes played in real time.
The Novation Launchpad is an electronic music multi-button controller for the popular live control application Ableton Live, featuring a grid of 64 (8x8) brightly illuminated square buttons. Each button can be assigned to a clip,. Additional modes allow Automap control of features and mixer control.
Maschine is a hardware/software digital audio workstation developed by Native Instruments. Maschine consists of a controller that connects to the included sequencing software, which can be installed on any compatible computer or laptop.
The 12 Step foot controller is a bass pedal-style programmable MIDI controller pedal keyboard made by Keith McMillen Instruments which was released in 2011. It has small, soft, rubbery keys that are played with the feet. As a MIDI controller, it does not make or output any musical sounds by itself; rather, it sends MIDI messages about which notes are played to an external synth module or computer music program running on a laptop or other computer. Each key on the 12 Step senses the velocity, aftertouch pressure, and the amount of tilt the player is applying with his feet. The messages from the player's foot presses can be sent via USB to a computer-based virtual instrument or to a synthesizer or other electronic or digital musical instrument.
This user-friendly program was designed for live performances by musicians who wanted to use the recording studio like a musical instrument. As performers and recording engineers, they felt stymied by the non-real-time nature of typical audio programs, so they wrote their own.