ABLETON LIVE 5 (DAW software)

[Anderton]

Live Clips are a simple idea, but they save time and effort. Basically, a Live Clip loads not only digital audio or a MIDI pattern, but also any devices that are part of the Clip’s “chain.” For example, if you have some groovy MIDI drum pattern that drives the Simpler but also goes through Beat Repeat and Reverb, you can save the whole thing as a Live Clip for later recall. This is really handy for those times when the signal processing is a necessary, important element of the sound; you don’t have to save each processor’s preset then recall them all to get the same sound – just load the Live Clip.

 

One other small, but important, point is what happens if you drag a Live Clip into a track that already contains devices and/or clips. The existing devices are not replaced, but the clip settings are updated. For example, suppose you have a Live Clip with a good synth patch setup and a riff in a major key. You also have a matching riff in a minor key, but you came up with it early in the song, and have it saved as a Live Clip driving a different instrument. You can load this Clip into the track with the Clip that has the synth patch, and drive its sound instead.

 

Click on Attachment to see what happens when you load the “Warm Strings” Live Clip. It loads the Simpler instrument, Reverb processor, all Clip settings, and a MIDI pattern into the track.

[Anderton]

I really like hands-on control, and Live has always made it easy to tie parameters to external control devices through a simple “learn” process. But it also takes this one step further by making it easy to assign QWERTY keyboard keys to particular functions, so you can use your keyboard as a control surface to trigger clips and such.

Live 5 has excellent support for the Mackie Control and Mackie Control XT – but only the Mackie Control. This makes sense, because it’s an extremely popular control surface, and also, many other control surfaces have a Mackie emulation mode. I was somewhat surprised that there wasn’t support for the Evolution series of control surfaces, given that M-Audio distributes Live and acquired the Evolution line. However, it seems that perhaps Live is using a plug-in architecture for control surface support, because you specify it under Preferences, and there’s a drop-down menu that looks like it’s just waiting to be populated.

Anyway, although I don’t have a Mackie Control so I couldn’t test the implementation, on paper it looks great: It takes advantage of the motorized faders, you can expand with the XT, there are bank select options when you’re using a single Mackie control and need to control more than 8 tracks, transport options, mute, solo, send, pan, etc.

I’ve always felt that operating Live without some kind of control surface was like going to a movie with a blindfold on – you’d get only half the experience. I like the Mackie Control, and can see its support as a real useful add-on to Live. Now, if they’d just support my Radikal Technologies SAC-2k…well, I can still use the “ learn” mode, which works just fine.

Oh, and one other thing: I find myself using the "Computer MIDI Keyboard" a lot to trigger notes into the MIDI sequencer when I don't want to deal with going over to the main keyboard. It's also great when you have a laptop on a plane!

[Anderton]

If you were expecting Live 5 to become a MIDI powerhouse, you’ll be disappointed. If you were expecting MIDI to be expanded to the point of getting complex and fussy, you’ll be happy.

 

There are only a few new MIDI features.

 

MIDI Note Deactivation: You can selectively “turn off’ a note (or group of notes) without deleting it/htem. It’s not a huge deal - until you create a short loop with a cymbal crash at the beginning, and wish you could bring the crash in every now and then instead of all the time. Perfect: De-activate and activate at will. It also lends a lot more flexibility when using the MIDI Note Editor live: Select, for example, all the closed hi-hats, then deactivate during a more cooled out part, and bring them back in when you want more rhythm.

 

MIDI Editor Preview: This really should have been there when Live first added MIDI, but better late than never. With preview on, when you click to add a note, or click on the virtual keyboard, you hear the note. Clicking further to the right of a keyboard key gives higher velocities.

 

The preview function is particularly useful with drum sets, as you don’t have a “drum map” MIDI view, and sometimes you can’t always be sure which key that weird percussion sound corresponds to… Better yet, this can be enabled individually for each track.

 

Better MIDI Quantizing: Now you can do quantize strength, which is the most important MIDI quantizing feature to me – it’s a great way to tighten up timing, without getting robotic. You can also quantize the note start and end.

 

And for MIDI effects, there’s – tra-la – an arpeggiator. Yeah, it’s cool.

 

So, what about MIDI, anyway? It’s kind of a controversial aspect of Live. Those who were raised on Logic, Digital Performer, etc. see what’s missing: No event list, no notation, limited editing options, etc. But if you’re willing to keep an open mind, Ableton has come up with a new, and valid, approach to dealing with MIDI. Whether it fulfills all your needs is something only you can decide, but you can get a hint of where they’re going with the MIDI effects – I could definitely see these growing in the future. That way, you need only drag in the plug-ins you want, rather than be faced with all editing options, all the time.

 

Given the approach, about my only wish list item is to be able to see more than one envelope at a time in the MIDI Clip Display. I’m a big fan of using controllers to add expressiveness, and often, I want to relate one controller’s settings to another. I don’t know how many other people are into controllers so much that this would be a limitation, but it makes a difference to me.

 

I had hoped to get a little further along in the review tonight, but made the “mistake” of deciding to install review copies of Steinberg’s Groove Agent 2, Virtual Bassist, and Virtual Guitarist, and try them out with Live (I was hoping that maybe Live could record Groove Agent 2’s MIDI patterns, like Cubase SX does, but it doesn’t). Well, I got pretty hung up in checking them out, and they made great “test cases” to check out Live’s MIDI functions. Guilty pleasures, anyone? If there’s interest, I’ll do a quick review of these as well when the Live review is finished.

[Marco Raaphorst]

Ableton should implement Propellerhead ReMote. Anyone who has seen Reason 3's controller integration will agree it's the best way of doing this.

ReMote is a standard protocol. Same as for ReWire.

[blue2blue]

Ableton will give you two unlocks, so you can install on laptop and desktop – Ableton relies on the “honor system” that you won’t use them at the same time.

 

 

That's refreshing. I wish other companies were as enlightened in that regard. I certainly don't mind, even, if an app won't allow two copies of itself open at the same time on the network. But when they forbid non-simultaneous use on different machines (in this era of portable computing), it's an awkward and intrusive restriction on what seems like ought to be a legitimate use. (Still, I respect the publisher's wishes. My product is 1's and 0's, too.)

[Anderton]

They say timing is everything. Live 5 has added some interesting tweaks that compensate for timing problems, and allow for custom timing changes.

Plug-in Delay Compensation. Okay, pretty much everyone has it these days, as they should: Being able to compensate for timing differences among plug-ins is a prerequisite for working with audio in today’s digital environment. Note that Live doesn’t “cheat” and apply compensation only to tracks, but to the bus returns as well.

“Feel factor” track timing advance/delay control. This is not the same as delay compensation (an automatic process) as you can manually advance or delay a track, in one millisecond increments up to +/- 1 second. This lets you tune out timing differences manually, or “slip” tracks to alter the “feel” of a part (delay to drag, advance to rush). Thankfully, you can type in the delay value if you’re not a fan of dragging on numericals. Click on the Attachment to see the Track Delay parameter (outlined in red).

Nudging and scrubbing. This is a lot of fun, although I must confess, I haven’t always been able to obtain predictable results when nudging with an external MIDI controller. Basically, you nudge Clip playback (MIDI or audio) in increments based on global quantization. I file this under the category of “Tools to make repetitive loops more interesting” as you can add rhythmically intricate syncopations. A small orange dot indicates the playback offset point, while a Revert option places the start point at the beginning of the clip, and a Keep function makes the offset permanent (well, as permanent as anything is in Live – meaning, until you change your mind). Click on the Attachment to see the Nudge section and the little orange dot (both outlined in yellow).

[Anderton]

As you might expect there are lots of little update features, some despite being more utilitarian than anything else are very helpful to have. Such as…

MP3 compatibility. Bring MP3 files into Live – a Good Thing for DJs who have converted a lot of their collection into MP3 format. Live also handles Ogg Vorbis, Ogg FLAC, and FLAC files. However, it has to decompress these files (a mercifully short process, thankfully), write them to disk, and read them from there. The Live manual gives the impression that these files have to stay on disk, but that’s not true: You can pull them from disk into RAM. Of course, this means using up your RAM, but as mentioned earlier, this makes life a lot easier when dealing with laptops that have slow internal drives.

Multi-clip editing. Yup, you can control-click on Clips and adjust the same parameter in all selected Clips (of course, this applies only to common parameters). Most of the time, if parameter values differ, they move together (e.g., if one clip is set to transpose by +0, another one by +3, and you boost them up by +1, the clips will transpose by +1 and +4 respectively). However, once a value reaches its limit, it won’t move any further although other ones will until they hit their limit. From that point on, the values move together. This is a good way to set a bunch of parameters to the same value and edit it for all clips at once: Slam the value all the way in one direction, then set to the desired value. Another cool application is to convert a bunch of Clips into RAM clips, all at the same time.

Clip deactivate. Just as you can de-activate individual notes in the MIDI Note Editor, you can de-activate clips to they don’t launch in Session view, or play back in an Arrangement. A big deal? Not really, but this comes in handy when you want to alter the arrangement without actually deleting Clips.

“Detach” Clip loop markers from the file beginning and end. This may not sound like a big deal, but it allows you to start at the beginning of a Clip, play through to the end of the loop, then jump back to the beginning of the loop (not the start of the file). Before, when you set a loop start point, this also established where playback would begin.

[Anderton]

This feature is definitely one of my favorite features in the update, so it gets its own post.

Launching with Locators lets you set locate points at any time in the Arrange view, and freely go to any locate point whenever you like – with the usual quantization option where the switch to the next locator occurs on the next measure boundary, next beat, etc. But you can also trigger these from keyboard or QWERTY keys (or by double-clicking on a locator), which is a blast: instant rearrangement. This is sort of a “playlist on acid,” and I don’t mean the program by Sony…with enough good bits in a tune and enough locators, you could probably keep people entertained for hours.

Click on the Attachment to see the Set Locator button, Prev/Next button, and the locators themselves.

Well, after we cover the new effects and a few more of the more important features, we’ll wrap this up with some conclusions.

[Anderton]

Live is good about not adding “me-too” effects, and the ones in 5 are no exception. The Flanger includes an envelope follower, and a tempo-synched multi-waveform LFO, including sample-and-hold effects. There are two modulatable delay lines, and you can adjust the phase between them, as well as “detune” the speed so that the two LFOs are not frequency-locked. The only bummer: You can’t get through-zero flanging, even if you add the Mono Utility afterward (although increasing width can sound really cool). This flanger is a useful addition that’s not all that much like other flangers.

 

The Phaser has a complement of controls that’s similar to the Flanger, although you can choose the number of poles (1 - 8). The sound is useful, although at least to my ears, it doesn’t nail the “vintage” flanger sound. But you can always use a multi-stage parametric for that sort of thing.

 

The Auto Pan surprised me: It’s very, very cool. This is because you can change the phase between the two waveforms controlling amplitude in each channel, as well as the offset (where along the waveform the pan begins). Now, if these were static settings that would still be pretty useful. But when it gets really wonderful (and actually, this applies to most of the Live effects) is when you start controlling parameters with MIDI controllers and varying them in real time.

 

Another “they’ve done it again” effect, the Saturator, is not your basic distortion yet it’s very easy to obtain great results. You have a choice of clipping options along with drive (as expected), but what makes this thing rock is the set of “color” controls, which allow radical changes to the sound – anything from thin crunches, to booming fuzzes. Good stuff.

 

But I’ve saved the best until last: Beat Repeat is totally twisted. It captures, then repeats, portions of a signal. How often it captures the signal, the duration, and where it comes from in the file are all adjustable, as are several other parameters. Repeated material can be inserted in place of the signal, gated, or mixed in with the straight sound. I don’t know if this is an effect you master, or whether you just twist the dials and see what happens…but this is like nothing you’ve heard or seen before, with the possible exception of some of Pluggo’s outer fringes.

 

Want to see what the effects look like? Click on the Attachment to see the Saturator, Flanger, Auto Pan, and Beat Repeat modules.

 

The Simpler has also sprouted a few new parameters: Separate envelopes for pitch, filter, and amplitude, an attack delay control for the LFO, and glide.

[Anderton]

There are still a few things we haven’t touched on: Preset buttons in each device to make it easy to browse and load presets, instrument presets that now recall any associated effects (although this works only with Live instruments, not others you bring in), a new sound library with lots of presets and Live Clips, and – this is neat – the ability to “unfold” Live sets to see what they comprise, and drag over or audition elements within the Live set. Bottom line: Workflow and ergonomics are better, and they weren’t shabby to begin with.

Okay, we’ve pretty much covered the details…so let’s zoom out and get some perspective.

Software revisions are, in some ways, like remodeling a house. Hopefully the process isn’t too difficult, you end up with something better than before, and don’t crack open a gas main accidentally. Also, the remodeling should keep the house’s aesthetics and flow.

In previous updates, Live added the equivalent of more rooms. Live 5 is more like an update that replaces the existing TV with a big-screen model, adds dimmers to the lights, replaces the old bathtub with a jacuzzi, knocks a new window in the kitchen to let in more light, and attends to numerous details that make the “house” a better place to live. None of the improvements represent dramatic, mind-bending changes – although being able to load entire device chains, do more sophisticated on-the-fly arranging with the launchable locators, and have auto-warp deal with complex files are all welcome and extremely useful. But when you add in features like the improved browser, well-implemented nudge, new effects (Beat Repeat in particular), plug-in delay compensation, and all the other changes, the whole becomes far greater than the sum of its parts.

I also feel that Live has not lost its laser-sharp focus on what makes it great in the first place: A live performance, groove-oriented tool with no real equivalent (although Cakewalk’s latest rev of Project5 comes closer than anything else so far). The clean, efficient interface has not suffered from the additional features, even though functionality has increased significantly.

The big remaining question for some users is “Okay, is Live a real DAW now?” I don’t really understand why this is so important to these people, but the answer is yes…and no. For many, if not most, applications, Live can do all the functions you expect a DAW to do. But if you want to do video or surround, forget it. And there are other, smaller limitations as well, such as fairly basic metering. MIDI is not as well developed as on the “cubeperfonargic” type of DAWs (although Live offers a valid approach), and the “Beats” stretching option – while excellent at making files useable – doesn’t offer the same editing flexibility as acidized or REX-format files. However, Live offers multiple stretch algorithms, which in most cases will more than compensate.

But how much of this really matters? After all, there’s a little thing called “ReWire” that means you can add Live’s capabilities to your DAW of choice if that’s what spins your crank. And if you’re really hung up on this DAW thing, bear in mind that Live’s current functionality handily beats that of most DAWs of only a few years back.

Now to get back to the original question: Is it worth the bucks to upgrade? I’d say a definite yes. All the improvements add up to a smoother workflow and enhanced user experience. That’s important to me – far more important than, say, adding video support (which I presume most Live users don’t find all that vital anyway). If you know your way around Live 4 and you’re totally happy with it, I suppose you can always wait until Live 6 comes along. But if you’re a Live aficionado, it’s hard to imagine not being able to appreciate the plethora of talents that Live 5 brings to the table.

This concludes the main part of the review, but any further questions, comments, or discussion are most definitely welcome. Thank you very much for your participation!

[markwayne]

>And if you’re really hung up on this DAW thing, bear in mind that Live’s current functionality handily beats that of most DAWs of only a few years back.
--------------------------------------------------

Not with regards to MIDI recording/editing! For what it's worth, I'm not hung up on Live becoming a "real DAW." I thought my posts were directed at fleshing out the MIDI support that has already been added so that it is faster to work with MIDI data in Live. Heck, even drag and drop support would help things considerably.

However, let's be honest. Live's MIDI tools are the weak link in an otherwise great package. I can not honestly think of a single sequencer package from ten years ago or more that does not make Live look downright clunky with regards to MIDI recording/editing.

I suppose I'm in the minority here in that I don't use Live for much audio work. I have a "real DAW" for that. I use Live to host my CPU-hungry VST instruments on a second computer in my studio.

[Anderton]

>

Well, at least you can import SMFs into Live, so if you really need to do intensive MIDI editing you can do so in another program and import it. Or just Rewire it...not that I disagree the MIDI implementation could use some beefing up. I just think that Live has come up with a way of handling MIDI that fits into the "Live way of life," and also, that the MIDI effects make up for some of the implementation's limitations.

>

Pro Tools and Samplitude come to mind. I'm pretty sure all they could do was import MIDI files and play them back, no significant editing. Ditto Cool Edit (now Audition, and still without a significant MIDI implementation). Same too with Acid and Vegas when it was an audio-only program, although neither was around 10 years ago.

This isn't to say that the MIDI implementation can hold a candle to Logic, Cubase, Performer, Sonar, etc. But they all started as MIDI sequencers, whereas Pro Tools, Samplitude, Live, etc. did not.

BTW Samplitude 8's MIDI implementation is pretty good these days! Much improved over V7.

[rdh3t]

HOW COOL IS ABLETON??? The new 5 beta update online has the "select on launch" via midi and keystroke that I was whining about!!! ITS BACK!!! Now I can shut up and buy 5 and get to looping. Thanks Ableton, Live 5 is on track for being the worlds best looping device with this crucial feature back.

Ryan

[Anderton]

HOW COOL IS ABLETON???

 

 

What would be even cooler if they did that just because they read your comments and wanted to make you happy! Now that's what I would call customer service...

 

Hey I have an idea...let's ask them to put an anti-gravity module in the next rev. Maybe they can figure out how to do it.

[Reitzas]

Craig,

Excellent review of "Live"!

Quick question. I'm working on a song right now in ProTools, using Live through Rewire. I need to make a few edits for radio and I was wondering if there is a simple way to duplicate the edits that I do in the ProTools session, to the Live session?

Thanks! In the meantime, I'll check over at Ableton but I thought I'd ask here first to see if there is an easy way for me to do this.

BTW, I've just registered and I look forward to being a contributer to your forum.

Dave Reitzas
www.reitzas.com

[Anderton]

Hi Dave, it's always an honor to have you stop by (low bow)!

Quick question. I'm working on a song right now in ProTools, using Live through Rewire. I need to make a few edits for radio and I was wondering if there is a simple way to duplicate the edits that I do in the ProTools session, to the Live session?

You can't have one program "mirror" the other (i.e., if you make a change in Pro Tools the file acquires the same change in Live), but I don't think you really need to.

I have not tested Live's rewire capaabilities with Pro Tools, but with Sonar, you can just make whatever edits you want in a Sonar track, then drag the edited version over to Live's arrangement view OR into a clip in the session view. From there you can of course loop, stretch, bend, fold, staple, or mutilate.

Does this do what you want?

BTW isn't rewire great? More props to the prop-heads.

[Reitzas]

Originally posted by Anderton Hi Dave, it's always an honor to have you stop by (low bow)! You can't have one program "mirror" the other (i.e., if you make a change in Pro Tools the file acquires the same change in Live), but I don't think you really need to. I have not tested Live's rewire capaabilities with Pro Tools, but with Sonar, you can just make whatever edits you want in a Sonar track, then drag the edited version over to Live's arrangement view OR into a clip in the session view. From there you can of course loop, stretch, bend, fold, staple, or mutilate. Does this do what you want? BTW isn't rewire great? More props to the prop-heads.

Live, especially with Rewire, is one of my favorite creative tools!
More specific to my question is, suppose I have a song in ProTools that Live is 'chasing' via Rewire. In the arrangment window of Live, I have all of my sounds triggered according to the bar numbers that coincide with my ProTools session.
Now let's say I want to remove a 2 bar re-intro before the second verse. The verse started at bar 30 before the edit, . When I remove the 2 bars, the verse now starts at bar 28. However, in Live, the sounds that happened at the top of the verse, still get triggered at bar 30.
Is there an equivalent of a shuffle delete in Live that, after removing bars from the arrangment, would shift everything accordingly?

This may be a simple thing to do and I feel guilty taking up space for my technical questions on your review thread. I guess I could pursue this question in a more appropriate place, like the Ableton's website, but since I started here I might as well finish it here.

Thanks in advance!
Dave Reitzas
www.reitzas.com

[Anderton]

 

 

Yes. Set up the "loop braces" around the section you want to delete (e.g., measures 17-21), then go Edit > Cut Time (or type Ctrl-Shift-X). The start of measure 21 will now occur where measure 17 started, and measures 17-21 will be gone.

 

>

 

Au contraire! This is what the review thread is about, talking about the product but also, asking questions about it. For someone reading this, being able to do what you want to do might be very important, and finding out it's possible may make them more interested in seeing what Live is about.

[Reitzas]

Originally posted by Anderton > Yes. Set up the "loop braces" around the section you want to delete (e.g., measures 17-21), then go Edit > Cut Time (or type Ctrl-Shift-X ). The start of measure 21 will now occur where measure 17 started, and measures 17-21 will be gone. > Au contraire! This is what the review thread is about, talking about the product but also, asking questions about it. For someone reading this, being able to do what you want to do might be very important, and finding out it's possible may make them more interested in seeing what Live is about.

Duh!
I knew it was a simple thing, but I was just spacing out and a little distracted by more pressing studio issues at hand. Thanks for answering my question so quickly. I will pay it forward for sure.

Dave Reitzas
www.reitzas.com

[Phil O'Keefe]

Good to see you over here Dave.

[Marco Raaphorst]

yes, this mirror idea is great. I can imagine that if both audio-files are the same it should be possible, in theory. both programs, Live and ProTools are doing their edits non-distructive. so this is a future idea!

David, you probably slave Live to ProTools, but if you could slave ProTools to Live you could simply record the audio stream of ProTools in a clip or track. This is what I do most of the time using VSTi's: I simply record them as audio-clips in Live while the track is playing. Works super fast! No offline exporting,rendering, with Live you can do it on the fly.

[gigabetz]

I have gone thru the example for justifying beats with elastic audio and I am stumped. Any recommendations would be appreciated. Here's what I do.
I created a chapman stick line in 6/8 time for two bars. I selected the 6/8 time signature in the clip display section and my quantization to 1/32 and push the warp button. What I get is that the bars line up with my notes but only one bar's worth of timing shows up in the clip display window. I try to pull two bars worth of lines so that the beats line up perfectly but then the BPMs are doubled. I am baffled. I tried 'warp from here (set to 100BPM) but that doesn't work either. I tried editing the waveform in Soundforge and it plays perfectly as a loop. It doesn't matter what loop I call up same problem. I just say @#$% it and go with what the program sets it to but it makes me feel dirty : ) If I have two bars I figure I should have two bars worth of elastic bars but I don't. Please help!

[dave hill jr.]

Originally posted by gigabetz I have gone thru the example for justifying beats with elastic audio and I am stumped. Any recommendations would be appreciated. Here's what I do. I created a chapman stick line in 6/8 time for two bars. I selected the 6/8 time signature in the clip display section and my quantization to 1/32 and push the warp button. What I get is that the bars line up with my notes but only one bar's worth of timing shows up in the clip display window. I try to pull two bars worth of lines so that the beats line up perfectly but then the BPMs are doubled. I am baffled. I tried 'warp from here (set to 100BPM) but that doesn't work either. I tried editing the waveform in Soundforge and it plays perfectly as a loop. It doesn't matter what loop I call up same problem. I just say @#$% it and go with what the program sets it to but it makes me feel dirty : ) If I have two bars I figure I should have two bars worth of elastic bars but I don't. Please help!

Hi Giga,

It is definitely advisable to have a two bar loop marked as such in Live. You are certainly right here! Here are a couple of my best hints:

• Next time . . . '' Record the loop along with the click track so that you are already in 6 / 8 time. Live will cut the loop for you and save you all this work.

• If the loop or audio recording has already been recorded and you are importing it into Live, play the clip once or twice without being warped (deselect warp) and then tap the tempo into Live (via the tap tempo button). This will get you close to your loops original tempo and make the figuring easier. Once you’ve got a tempo that makes sense, turn warping on again and make sure the Orig. Tempo is near your tapped tempo. You may have to enter this value in manually. For your two bar loop example, you should have 1.1.1 to 3.1.1 marked as the loop region.

• Live 5 features Auto-Warp and as Craig mentioned works quite well however I find that it helps if you know a little about your audio. ½ time and double time buttons can be found in the clip settings and are great for adjustments similar to what you mention. Note the 6/8 tempo in the clip view functions only as a visual reference so you might need to adjust it to 12/8 or 3/8 for your own visual aid.

I’ve attached a clip of a loop and made it constrain to 2 bars of 6/8 to show you an example. Also, one last thought: I think 1/32 transient detection is too much for most things unless you are playing really fast on that Chapman Stick!

Let me know how this goes . . . and if this was helpful.

All my best,
Dave

[gigabetz]

Dave, you answered my questions perfectly and you hit the nail on the head.
I was importing files into Ableton and it figures the first song I was attempting had to have multiple time signatures running at the same time. I never thought of using the tap button but I will definately use that next time. Also, I needed to know that the time signature is a suggestion and a guidline not necessarily factual or idylic. I have another question, I am a newbie but count on me for finding quirks. Ableton is cool because it is so logical and works the way a musician thinks. Am I imagining things? I noticed that the warp editor behaves differently in Arrangement View than it does in Session View. Thanks Dave javascript:smilie('')
cool

[Anderton]

I'd also like to give some public props to Dave for his participation in this thread...above and beyond the call of duty!

I hope Live 5 is a huge success for you. And as a way to say "thanks," please feel free to use this forum as a sounding board. For example, you can post polls. If you're debating about whether or not to include a particular feature or how to handle implementing that feature, you won't find a better group of people to ask.

Thanks again Dave, and please pass my regards along to the hard-working people at Ableton. I know the program is very close to their hearts.