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 Now online (1)mappatazee ...and 296 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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Members 8025Messages 2613456 Today 2 Topics 127500 |
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This will ruin my economy |
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bought day one. god this is sexy. |
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is the arrangement view still shit? |
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They have stolen so much from FLstudio, that it's almost sickening. But still, I look forward to it. |
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it's like apple vs. samsung: don't give a fuck who stole what from whom, i just want the most, best features in a single zone. to quantify my earlier remark: when i said "arrangement view is shit" i didn't mean "arrangement view is buggy," i meant "arrangement view is missing a large number of features that i feel it needs." if you want to do something as stupidly simple as normalize an audio clip you have to consolidate or some crap like that. in cubase it's just an option when i right click on it. i find the slice 'n' dice mechanics to be incredibly cumbersome compared to most solutions. this is why it's called ABLETON LIVE and not ABLETON EDIT. if you want proper multitrack editing, you have to go elsewhere. the pros use live to timestretch loops and fire off MIDI, then record into something more proper like cubase or pro tools.... but that vastly complicates shit; i'd rather have it all in one place (vs. buying both an iphone and a galaxy III) |
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seriously looking forward to this, they made some much needed updates that bring things up to speed with more industry-standard daws. different views and parallel compression, built in spectrum analyzer for eq8 AND 48 pole filters!, freehand draw envelopes, record envelopes to clips, audio-to-midi... these are all things i currently do in some way or anything in a backasswards setup. stoked to have all these at my fingertips without any tweaking. hopefully they will bring back the "copy envelope" command as well... i dunno when that one left, but i miss it. my biggest want would be to be able to edit clips in arrangement view and have the edits sync across all copies of that clip instead of just the one you're editing. basically, this release seems to be to be all about time-saving and improving workflow (which the push really seems to go all out on) instead of crazy new features, which i'm all for! who needs another generic sounding grain delay or chorusflanger anyway? |
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"my biggest want would be to be able to edit clips in arrangement view and have the edits sync across all copies of that clip instead of just the one you're editing." +1 for this. it maybe takes more and more from flstudio, but at least ableton is steady progressing forward and the former is just getting worse and worse with every edition. also, no one needs a vocoder. |
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how's the max for live thing? that's really the direction it should be going. you should open the box to a clean, streamlined interface with all the gizmos in the right places... but then be able to ctrl+alt+double click things and see it broken down into raw components, which you are then free to rearrange. sort of line linux. |
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*like |
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well that's exactly like max for live works. you can download plugins and use them like any other vst without ever touching the guts, or you can just click on the editor, open shit up and go crazy. i'm somehow a little sad i have invested so much time into reaktor. |
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reaktor is a bit more brainless than max; i've always preferred reaktor myself. max is kind of ugly and academic. however, reaktor is shit at MIDI munging, while max does much better (and you can have it fax your lady a granular synth patch when your doorbell rings and shit like that). however, i didn't mean just the plugins -- i meant the whole of the DAW itself. the DAW tends to get treated as this monolithic thing; it does what it does and there's no arguing with it. it's more like windows than linux. |
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i think live is definitely going into the "open" direction. for example now when they opened the midi remote scripts and people started programming their own for the launchpad or apc. i use these myself with a novation nocturn and this controller jsut makes so much more sense now. this option to export midi data from audio clips is just godlike. i'm not very good with playing notes on a keyboard but i'm pretty much able to sing or whistle most of the melodies i want. melodyne did this before but you had to do is in melodyne, then export the midi data further which was time consuming. i was actually working on a patch in reaktor which would allow me to sing into a microphone and it would spit out midi notes according to it. but this is much more sleek. |
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Sing and record a couple of melodies for us. |
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no |
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Haha! |
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Fuck me, that's expensive. If this had been £500, it'd wipe the floor with Maschine and would probably be my next gear purchase. At almost a grand for the full version, that equates to a lot of other things I could buy (new subwoofer, KRK Ergo and larger video monitor) to improve my music setup. Still, first thing they've done that I've really wanted since their Resonator FX unit. |
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Oh that metal top cover is German industrial design porn at its best too, so I'll need on of those too. I bet that'll be another £150 on top. |
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I had a go on a Maschine yesterday. Everything about it looks a bit weak now that I've seen this. |
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if i find the price of software unreasonable, i pirate it. anything "professional" immediately gets inflated a couple hundred bucks because businesses can afford it.... makes it a bit of a fuckoff if you're just some guy who'd rather be making than working, and it's all just a giant money pit of a hobby for ya. if i paid the asking price for half the shit i use, i'd have to work so much to pay for it, i'd have no time to use it. even then, if you buy it legally, they still take a dump on you with dongles and activation; all sorts of lame shit. charge $99 for a DAW; don't piss me off with copy protection. don't get me started on $500 plugins. |
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at that price, why not just buy a real virus indigo?! |
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actually, users pirating professional software is what those companies rely on. they get the kiddies hooked on the software because it's too expensive to buy, then the ones who are good enough eventually become professionals and end up buying it because they're sick of buggy cracked software. i have a theory that ableton distributes the pirated versions themselves, considering they have a propensity to "time bomb" and become completely unusable after a half year or so to the point where a fresh reinstall of your whole os is the only hope of getting functionality back. |
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Microsoft use this sort of model in a legitimate form by practically giving away MS products in educational environments. They know that if kids grow up using it, the cost per head of retraining the workforce (and the inherent inefficiency as staff come to grips with it) will dwarf the licencing fee Microsoft slap on it for business use. |
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I hear you on the plugin costs though. I just bought Rob Papen's Predator for Reason. I was reluctant to pay that much for a sound module, but did because of how versatile it sounds. There are some effects processors that cost more for "studio", as opposed to "creative" effects. It's very difficult to justify £100 on a software EQ unless you have aspirations of getting released professionally, or are very wealthy. A thing I always liked about Reason was the feeling that it was pitched at "competent amateurs", rather than Pros. Historically, most of the Pros who used it tended to bounce/rewire what they made in it into Logic/similar for mastering. When they introduced Record and that SSL mixer, I was over the moon as suddenly I had that sort of quality and the only limiting factor was my skill. I just hope it doesn't continue further down the "pro" route with stupid things like £900 reverbs... |
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