Ableton Live 10 Not Working With Mac Os 10.14.5

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• Ableton Live 10 Not Working With Mac Os 10.14.5 Download
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• Pros

  • Inspirational clip-based live and composition workflow.
  • Fast navigation.
  • Powerful automation.
  • Suite version contains tons of instruments and sample material to work with.
  • Excellent-sounding Glue compressor.

• Cons

  • No track comping.
  • No notation view.
  • No pitch correction tool.
  • Mixer view could be more robust.
  • Some issues with MIDI editing.

• Bottom Line

  In its latest iteration, Ableton Live 9 Suite is a powerful all-in-the-box solution for composing music, particularly electronic-influenced, but it's not for everyone.

Since its launch in 2001, Ableton Live has become, for many musicians, the go-to environment for music creation with an eye toward real-time performance on stage. Live's approach to composition and arrangement is certainly unusual if you're coming from a traditionally designed digital audio workstation. If you're like me and prefer the latter, you'll find there's still plenty to be excited about here. And if you take to Ableton Live's intuitive clip-based approach to building music tracks, you may find yourself completely immersed, creating new songs all the time and never needing another audio editing program.

Versions and Setup

There are three main versions of Ableton Live. Intro, at $99, gives you 16 audio and MIDI tracks, eight scenes, four simultaneous inputs for recording, and two sends and returns. It comes with a stripped-down 5GB instrument set that comprises four virtual instruments, plus 21 effects plug-ins to mix your creations. For $449, Standard makes the track counts unlimited and gives you 256 inputs and 12 sends and returns; it also adds audio warp and slicing and audio-to-MIDI capabilities, and bundles five instruments, 10GB of sounds, and 34 audio effects. Suite adds the super-powerful Max sonic creation environment (more on this later) and many more realistic sample packs for analog synthesizer and orchestral emulation for a total of 70GB worth of sounds, 15 instruments, and 55 audio effects—all for $749.

For this review, I tested Ableton Live Suite 10.1 on a MacBook Pro 15-inch with 16GB RAM and a 256GB SSD running macOS 10.14.5 Mojave, along with a Focusrite Scarlett 6i6 (Second Gen) audio interface and a M-Audio Axiom 61 mk2 MIDI controller. Ableton Live doesn't require any hardware copy protection, which makes it perfect for laptop use. Most DAWs are the same way these days, but Editors' Choice Avid Pro Tools still requires the use of a USB dongle.

To get started with Live, I downloaded all 70GB worth of packages from Ableton's site. You'll need to set aside some time to install all of the packs, as you can only tell it to install one at a time. It's super-easy once you get into a rhythm, though, and with the incredible amount of content you get (more on this below), it's worth the trouble.

Interface and Session View

The interface receives a new coat of paint in version 10, with finer, easier-to-read fonts, a bit less graphical clutter, and a fully scalable design. The heart of Live is its two main views: Session and Arrangement. You can flip between them easily with the Tab key, or with the two circular icons near the top right of the display. The top strip contains the transport, the tempo and meter, and other navigational aids for looping and key signature. The bottom set of windows change based on whatever you've highlighted; click on a synth clip and you'll see all the knobs and sliders you need, while a sample clip will show you the sound wave and give you editing and chopping tools. One nice plus with Live: You can fit everything you need on screen at once. You don't end up with little windows everywhere, or wishing you had a 1440p or 4K monitor.

A traditional DAW like Pro Tools lets you flip between arrangement and mixing views. The Arrangement view here is basically the same as with other DAWs—it moves from left to right during playback, with tracks one after the other on the vertical axis. The Session view is where everything will seem different, if you've never used Live before: It's basically a giant sketchpad that lets you create and manipulate audio and MIDI clips in real time, without having to start and stop the audio engine, or having to move the cursor in the Arrangement view back to the beginning each time. You can skip around in an organic, fluid manner while performing or composing, using groups of clips or flying in new tracks as you go, and triggering whichever clips you want at any time. It's almost the opposite of linear recording.

Ableton Live 10 Not Working With Mac Os 10.14.5 Download

Recording and Editing

In Live, you can write automation directly to clips, instead of on a track-by-track basis. More importantly, there isn't just audio-to-MIDI conversion, which other DAWs do to varying extents. In Live, everything can be turned into MIDI—melodies, harmonies, sampled beats, and more. You can grab pieces from existing sample libraries and recordings, and then change them into something completely different. In fact, you can warp samples in this program more easily than any other. For certain genres of music, this can dramatically transform how you put together a track. A new Capture tool lets you bring back something you played before you hit the Record button, which is something I wish every DAW had. Download asio driver for ableton.

Some other new refinements include the ability to hide or reveal automation data with a single click, and you can finally enter precise values with the keypad. While editing audio tracks, the program lets you move clips around or scroll in different views with new keyboard shortcuts. It's also possible to nest multiple levels of track groups, see several MIDI clips in a single view, and apply color labels to devices, folders, and more.

While often different than what you find in a traditional DAW, the editing tools you get here for working with your material are innovative and compelling. It's almost unbelievable how easy it is to get a cool sounding, original, organically evolving groove going with Live—particularly when paired with the excellent Ableton Push hardware controller, as I found in my original review. Ableton also continues to improve integration with Push 2, its excellent hardware control surface with a full display for slicing up waveforms right from the console.

For other kinds of audio editing work, Ableton Live 10 is less well specified. You can't do something as simple as recording multiple takes of a vocal and comping together a part; you need to do this manually on separate tracks, whereas every other major DAW lets you record in lanes one after the other and comp between them easily. There's no pitch correction included; Cubase, Digital Performer, Logic Pro X, and Studio One all have this covered now to varying degrees. Editing linear audio tracks and adding fades and crossfades isn't as intuitive as it is in Pro Tools, although it's gotten a bit easier with the new automation tools. MIDI editing remains rudimentary, and at least to me, somewhat obtuse. There's no notation view, although there are rudimentary video scoring facilities. And if you've got external hardware synths, Live doesn't read SysEx messages and doesn't play particularly well with them otherwise.

While you can easily argue these things aren't what Live is meant to do, it's also true Live bills itself as a do-it-all-DAW these days. Continued omissions like this reveal Live's roots as a performance and live composition tool for electronic music, in that it lacks basic features you'd expect to find on another DAW for recording and mixing music projects. Live fans may well not care, and the program is a killer sonic tool for composing inspiration, but the omissions are notable if you're coming from another DAW or looking to buy your first.

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Instruments and Mixing

The big news with version 10 is Wavetable, a dual-oscillator, dual-filter synthesizer with a modulation matrix and an array of new, warm, evolving sounds to serve as inspiration for your next composition. I'm partial to Prehistoric VHS, a sizzling, spitty pad wash with random staticky variations throughout and booming low notes, but there's lots on offer here. In 10.1, Wavetable gained the ability to import your own wavetables or samples. In the effects toy bin, there's a new, visually oriented Echo tape-delay box; a pedal effect for classic guitar distortion, fuzz, and overdrive; and a thick-sounding Drum Buss that fattens up rhythm sounds.

Buy the full Ableton Live 10 Suite package and you get over 3,000 instrument sounds, five virtual synths, three samplers, 390 drum kits, and over 4,000 royalty-free loops you can use, manipulate, and warp to your heart's content. Sound quality varies across the bundled plug-ins, but I can still easily see doing projects in the box with just a Live 10 Suite install—especially now that the Core Library got a refresh, with better-sounding presets across the board. There's plenty of acoustic instrument material here too, including good-sounding studio drum kits and usable orchestral libraries. A new available pack is called Skitter and Step, a toolbox of audio material for synthesized sounds. More of these will soon follow, with names such as Build and Drop, and Drive and Glow.

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The Browser makes it easy to find whatever you're looking for, and indexes new material on the fly. And directly integrated into Live Suite for the first time is Cycling '74's excellent, modular Max, which comes with several dozen instruments and effects of its own, including some new ones for version 10. Max is incredibly programmable and an entire world unto itself for sound designers. You can also route audio between tracks and ports for the first time.

The mixer in Ableton Live 10 gets the job done, but it's certainly not fancy. With the Suite version you get all the effects you'll need for a good mix, including an excellent-sounding Glue compressor modeled after SSL bus compression. The new Channel EQ, compressor, and gate displays include visual graphs that make it easier to see what exactly is happening. Live comes with basic scoring-for-picture facilities, though I'd probably recommend sticking with Logic Pro X or Pro Tools for this, or, say, audio post. But you can certainly create track after well-polished music with this program.

It's a Live One

Ableton Live requires a different way of thinking in order to create music. Many people I've spoken to over the years praise this software as being key to their composition process and especially when performing their music live. I still can't say the same on a personal level; I still prefer thinking and working in a straight DAW like Apple Logic Pro X, which is an Editors' Choice for Mac users. But I can see why Live has so many fans. And if you're already a Live user, version 10 is a more-than-worthy update over version 9; as is often the case with major revisions, you'll get the most punch out of the countless workflow improvements and new sounds. We're bumping its rating up to a 4 a result.

Before you commit the dollars to Live, I'd give FL Studio a look if you're on a PC; it's less expensive and offers a different, but still intuitive, pattern-and-loop-based composition method you may find equally inspiring at a significantly lower price. And if you're in need of something that's better suited to recording multiple musicians at once, or that has stronger video or surround facilities, check out one of the more traditional digital audio workstations, like Reaper, PreSonus Studio One, or Pro Tools, which is our Editors' Choice for cross-platform production of audio for music, films, games, and broadcast.

Ableton Live

Ableton Live 10 Not Working With Mac Os 10.14.5 Update Won T Download

Bottom Line: In its latest iteration, Ableton Live is a powerful all-in-the-box solution for composing and performing live music, particularly electronic-influenced tunes.