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If youve used Dashboard before Live 10, perhaps for keeping track of files, Dashboard in Live 11 has been replaced by Clip View, a new visual summary tool with full Clip sequencing. Displays the length, position, effects etc of your clips as youre setting them up. A track history of clips at a specific point in time also updates here, so that you can see what edits youve performed. It pops up when you select a clip or transition to it. It doesnt appear to show the length of a single clip, but it does show the length of a transition from one clip to another. Theres no way of specifying a clip or transition length, but for much quicker work, its perfect.

Version 11 adds Windows USB audio drivers, so that Mac users can interface their Mixer and software synths with Ableton. If your setup does this and you download and install Live, youll still have to re-enumerate your USB devices to make it work, but at least you can share audio with your synths. (55:08 )

Those new to Live might be wondering why in the world they would need a multi-timbral virtual instrument. Well, Live 11 can automatically take up to five tracks, create a track for each of them, and insert chords, arpeggios, chords, or other patterns and phrases at defined points on the timeline. It then modulates and automates the dynamics of the loops to change their speed and pitch. It also lets you capture the audio for each track as a new track, and this makes for an excellent way to create drum loops that can then be merged or chopped up into new tracks.

A unique feature of Ableton is its highly usable collection of ready-to-play instruments. From virtual pianos to virtual organs to synths, theyre fun to play, easy to learn, and make a big difference in the way you get your ideas down on tape. Theyre so easy to play that even beginners have something out there to jam with. You also have access to a large library of other sounds and effects, which lets you create the sonic palette that you want in a very natural way. The company also includes a powerful program called Drum Buss (Free) that lets you create and automate the stereo effects you might need for recording.

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Multi-timbrality It is possible to create instruments with multiple instruments on a single track. Then these instruments can be expanded or reduced in number to give you greater or lesser control over the number of instruments. Max for Live provides a range of instruments for you to work with. Thesensors in Live are not made directly. Rather they are the result of combining a number of individually crafted Max for Live devices. So lets say you require a synth instrument that can play beats, or a synth that can play multiple things at once like multiple notes and voices. The Max for Live devices work together to provide a combination of what you need. Apart from Max for Live, software instruments and plugins, Ableton also supports a number of common hardware instruments from companies such as Native Instruments, Arturia and Roland. In addition you can use third party software and hardware plugins. Arturia for example offer a range of devices that are no more than MIDI-USB devices that you can plug into your computer to connect Live to. As well as a reverb plugin such as the simplest-but-much-more-than-sufficient Reaktor instrument.

Live handles compression, signal processing and drum kits in an intelligent manner that empowers the user to compose or perform in real time. Theres also a range of other effects that can be used for creative and productive work.

One of the great features of Live is the real time or RT button which enables you to literally make changes, you can make changes to properties such as volume and panning in real time. Its also possible to make a sequence of short sounds you can then record or save as a virtual instrument.

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The Wall of Sound Design is a tool for audio engineers to design their own specialized modular audio wall units for live application. This allows the engineer to adjust the look, size, materials, and layout of the single mono, stereo or multi channel circuit boards in a modular wall. What this means in simple terms is they can design their own custom system which they can then tailor to their own exacting specifications and integrate into any live environment.

WallS is a brand new concept I’ve been introduced to, and they are turning into one of the biggest obstacles for any Live’r that I know. If you think you’ve got all the features, then they are the best Live devices to date. But actually, the major thing they have that other companies do not, is customizability.

Ableton themselves have shown a great demonstration of the integration of their new custom made Wavetable synth. The main reason for this is that it is accessible for anyone, even if they have no experience whatsoever with making their own synthesizers, and can use standard DAWs to build the sounds. And, you can buy it for $99!

So, this was the biggest change that I could see in such a short period of time.

You may be disappointed to hear that theres no mention of the long-awaited analog sequencer, but its a good bet theres one on its way. Its just that manufacturers tend to be very safe when rolling out new products, and when they do come out with a new sequencer, its sure to be a well-thought-out and flawless masterpiece (as weve seen with the Roland CR-78 and Novation SuperNova). Based on the old classic VCS3 design, the Wavetable synth and Wave Sequencer will live as a second dimension to Live, opening up access to even more sounds and mixing possibilities.

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What’s new in Ableton Live

New way to create MIDI clips and automation sets. When adding automation, Ableton 10 shows a preview of the automation settings, which makes things easier when you’re trying to be precise.
Another handy revision is the now-familiar AltCMD control, which creates an automation group by itself.
Track view shows what clips are selected in your current session, so you know which ones you have to use.
Reverb settings can be made to apply to a clip or to the entire session, which is useful if you have your chorus and reverb turned to max and have a few crashes in a session – you can send the reverb to the crash instead, allowing it to fade.
Overall design has been improved, which in turn makes working with the UI much more pleasant.
Mac users now have 16-bit plug-ins, which should sound better, along with 64-bit RTAS plug-ins. There’s also access to 32-bit plug-ins for iOS users (although this version will only work with Macs.)