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Special attention was given to making this Pack sound as true-to-life and organic as possible. The result is characterful electric keys for any genre.

Grand Piano provides the expression and power of a world-renowned concert grand recorded in a classical orchestra hall. From precise rhythmic ripples to expansive vapour trails, explore the space and time of your sound with a diverse array of delays and reverbs gathered in one inspiring, versatile collection.

From synths and sequencers to effects for space and color. One part field recordings and one part additive synthesis, Spectral Textures is a unique instrument that blends together two distinct worlds of sound to create vibrant atmospheres, textures and progressions. Give parts an expressive push and pull, fluidly transition from one time signature to another, or play with unconventional swing patterns. Enrich your synthesizer collection with three of our most popular devices — all by Max for Cats.

Explore the complex tones of FM synthesis, the grit and character of analog synths, and the boundless creative possibilities of modular synthesis. Dystopian Signals holds the sounds of a dark future. Balancing brutality and beauty, this synth-focused Pack is for creators of cinematic soundtracks, ambient moodscapes and darker shades of dance music.

Grain Scanner lets you design experimental noises, glitchy effects, alien textures and massive clouds of ambience. Its advanced sound engine turns any sample into a blank slate for otherworldly synth parts. This extensive collection of lo-fi sounds, samples and loops is all about texture and feel. Build beats peppered with tape hiss, clicks and pops with a laid-back, less quantized groove. CV Tools is ten creative Max for Live devices that let you control and interact with your modular gear with Ableton Live.

Go beyond the usual breakbeats with loops, one-shots, full multi-sampled kits, and effected drums from the electronic drumming master, KJ Sawka. Free for Live 10 users, Singularities makes use of single samples and finely tuned, expressive parameters to capture the sound and feel of classic synths and samplers. Inspired by both the current scene of synth-drenched pop and the 80s sounds that first brought the style to prominence, Synthwave is a neon-bright collection of classic to modern synth pop essentials.

A feast of full-fat analog sounds for contemporary beats and more. You can now pick up all three Packs in the Cookbook series as a discounted bundle: three Packs for the cost of two. The in-demand sample producer returns with the third part in the Urban Cookbook series — another hard-hitting toolkit of beats, bass and much more for modern styles.

Multi-sampled big band ensembles, a groovy rhythm section and solo lead instruments — professional tools for scores, soundtracks and productions that call for detailed jazz instrumentation. A comprehensive toolkit of otherworldly strikes, atmospheres and textures for game, film and television scoring, and experimental music production.

Creative Extensions is a free addition to Live 10 Suite created with an experimental approach to sound processing and generative composition. Punch and Tilt is a dancefloor-ready collection of sounds focused on machine rhythms, weighty bass and dark, hypnotizing melodies, textures and noises — a rough sonic aesthetic that started with a small group of underground producers and has grown into a worldwide scene. Glitch and Wash explores the contrast of organic texture and precise rhythms. This Pack combines precision slices and microscopic snippets of sound with warm ambient pads, textures and soundscapes — ready-to-mix sounds designed for heavy tweaking.

Build and Drop is loaded with ecstatic leads, enveloping bass, slamming drums and a range of rises, sirens and sounds effects. The curated sounds and presets inside are a creative toolbox for creating the irresistible anticipation and release this music uses to keep the party going.

Drum Essentials is a collection of handpicked sounds selected to cover a wide range of styles. A flexible, highly-refined Pack to form the rhythmic foundation of any production. Painstakingly created by top artists and sound designers, Synth Essentials makes it easy to find the sounds you need with no interruption to your creative flow.

Stretch, shape and morph sounds into a broad sound palette using wavetables derived from synths, acoustic instruments, noise and much more. Surround Panner is a free Max for Live device that makes mixing for performances, installations and theaters using multi-channel speaker setups possible in Live.

Simply load the device into a track in your Live set and use the XY control to place it anywhere in the surround field. Eight presets allow you to choose between four-, six- and eight-channel setups.

Convolution Reverb is a creative device for bringing new space to your sounds — a sample-based reverb suite with hundreds of impulse responses from real-world spaces and world-class hardware. The acclaimed soundware producer returns with his second massive collection of contemporary samples, Racks, Simpler instruments and complete Live Sets.

Aimed at electronic musicians, sound designers and installation artists, Iota is a Max For Live granular looping instrument that wrings endless creative potential out of even the simplest samples, via an inspiring graphically-driven interface. Built around a flexible virtual patchbay, Pallas gives users immense control over a wide range of bold and unique sounds. This four-Pack bundle brings together more than instruments and clips of cinematic sounds — from acoustic to electronic, and percussive to atmospheric.

It's a complete set of creative tools for film score, soundtracks, or adding cinematic flavor to any type of music. This versatile bundle of synth and drum sounds brings the rich sound of analog gear under your control in Live.

Flatpack Analogik Waves II offers a new collection of unique, highly customizable analog sounds to add to your arsenal. Sampled from boutique analog oscillators and chromatically tracked across the keyboard, Waves II offers a wide spectrum of sonic possibilities. Microtron captures the saturated orchestral sounds of the Mellotron — the tape-replay instrument made famous by the Beatles, Genesis and other bands.

These surreal reproductions of brass, string and wind instruments will add a distinctive color to your sound palette. With more than Drum and Instrument Racks, over loops for slicing, tweakable effects chains and more, Beat Tools has all the sounds you need for hands-on beatmaking — especially with Push.

Mix or mutate between four independent sound sources using a flexible morph matrix and a Push-ready modulation sequencer — Hypermorph offers a playful way to create rapidly changing or evolving sounds. Transient Machines is a Max for Live Pack that allows for deep sound-shaping possibilities. Modelled after the transient designers found in professional recording studios, Transient Machines is a versatile tool for reshaping the dynamics of drums, loops, and much more.

Three expertly designed Packs offer a diverse set of synth patches that show Analog and Tension at their evocative best. Now available as a discounted bundle: three Packs for the cost of two. Outer Spaces is a versatile new audio processor that puts your sounds in beautiful spaces — but it goes way beyond your standard reverb. Multi-sampled orchestral and world percussion, plus other hits and tension builders — this Pack offers professional-grade tools and sounds to use in scores, soundtracks, or to add cinematic power to any production style.

Primed for use with Push and packed with recordings of vintage hardware within eleven tweakable Instrument Racks, House Racks is a new toolkit for producers seeking the classic sounds of 80s and 90s underground house.

Get deep with the multi-functional LFO, create a sequence of randomized preset states, or modulate parameters using an audio signal — this set of envelope followers and other device controllers can reinvent how you use your instruments and effects, and take your modulations to the molecular level.

Surreal, slow-mo soundscapes, psychedelic instruments and otherworldly timbres from underwater recordings — you can now pick up these diverse sound sets as a discounted bundle: three Packs for the cost of two. Expand your sound palette with authentic instruments and sounds from across the globe. Inspired by the experimental sounds of the 60s and 70s, this eclectic set of dream-like instruments and textures is ideal for soundtracks, film scores, or anyone looking to spark offbeat production ideas.

IRCAM has used the expertise from decades of dedicated research and development to produce this collection of Max for Live devices. New from K-Devices, Terra is a polyphonic Max For Live synth incorporating frequency modulation, phase distortion, ring modulation and wave shaping. Polyphylla is a new Max For Live instrument that makes additive synthesis accessible and fun. Its ability to generate unique rhythms and melodies, and deft control over randomization elements make it an exciting tool for those looking for inspiration and experimentation.

Heavyocity brings its flagship collection of analog and organic drum sounds to Live: a carefully processed, production-ready batch of live percussion, drum machines and modular synth drums.

Heavyocity offer up this free Pack of drum sounds from their flagship DMA collection: a production-ready batch of live percussion, drum machines and modular synth drums.

It lets bands maintain their natural groove when performing with Live. Polytek is a versatile and creative Max for Live instrument combining step sequencing, vocoding and multiband gating, using Analog and Sampler as sound sources. The latest Pack from EarthMoments comprises over one-shot samples and loops inspired by the ethereal atmospheres of rivers, oceans, waterfalls and lakes.

An extensive toolkit of over drum samples, chords, MIDI clips, loops and Simpler instruments tailor-made for modern music styles. Packed with edgy sounds, spectacular effects and powerful mix processors, Magic Racks is a one-stop composition, mixing and mastering toolkit for dance music producers and live performers. From premium Max For Live developer Amazing Noises comes a pair of anarchic effects for sound designers, glitch producers and explorers of uncharted sonic territory: Dedalus Delay and Stutter Switch.

With over freely patchable modules and dozens of pre-patched synths and effects, OSCiLLOT brings the near-infinite creative possibilities of modular synthesis to Ableton Live. Holder is a spectral freezing device. It grabs short slices of sound and transforms them to ambient textures. It is perfect for creating wide, lush soundscapes and atmospheric drones. AlterEcho is a supercharged delay effect which can add complex rhythm and tone to your sounds. It is transport-synced with step-based parameters, enabling powerful control of your sound over time.

Break Selection is a free pack that includes drum loops recorded by some of the best drummers in the business. Flatpack Analogik Drums is a collection of unique drum kits, constructed from recordings of highly sought-after analog modular gear.

This Pack combines the old-school flavour of analog drums with fresh and colorful snares, kicks, cymbals, toms, claps and percussive elements, making it perfect for a variety of productions.

Flatpack Analogik Waves provides a range of mono and poly synth analog sounds, from raw and dirty synth leads to beautifully ethereal pads. This Pack was painstakingly sampled and chromatically tracked across the keyboard, to bring rich and harmonically arresting analog synth sounds to your fingertips. Entangled Species is a collection of over cinematic sounds designed for Ableton's Tension. It is perfect for creating electro-acoustic and ambient arrangements.

Progressive electronic pioneers such as Vangelis and Jean-Michel Jarre provided the inspiration for this collection of retro-futuristic sounds. Geisterwelt is a spectral sampler and visualizer. With control over multiple audio and video parameters, Geisterwelt lets you simultaneously create music and responsive HD video with nothing more than a MIDI controller, a keyboard, or mouse.

Apocalypse Percussion Elements is a massive library of over 4, high-quality samples ranging from entire drum ensembles to individual drums, cymbals and percussion instruments such as bongos, cajons, gongs and more.

A collection of over 5, analog drum sounds sampled from a broad range of hardware. Encompassing vintage Roland machines, contemporary drum synths, DIY circuit board kits and more, this Pack brings the warm tones of analog drums straight to your studio. Developed at the legendary IRCAM institute in Paris, this Pack contains six Max for Live effects and one instrument for advanced real-time sound processing and manipulation.

Conundrums is a collection of 50 drum kits, each uniquely crafted for versatility and fine-tuned so that all components play together in harmony. Designed to complement a wide range of genres and pack a mighty punch in the mix, Conundrums is an all-in-one beatmaking powerhouse. Mallets brings two expertly sampled melodic percussion instruments to Ableton Live. The Rhythomatix Pack brings you a library of highly nuanced loops, samples and drum kits geared towards world music, electronic, industrial and pop productions — subtle cinematic sounds that collectively provide a powerful rhythmic impact.

Inspired by the classic string machines of the s, Ensemble is a Max for Live string synthesizer with a unique built-in morphing formant filter. Firstly, you sometimes want to take material in a partially mixed-down form from the Arrangement and put it back into the Session, perhaps for live performance, or for freeing up the song structure to try out new ideas.

While Live 8 allowed you to copy and paste clips freely between the two Views, automation data lived purely in the Arrangement, and any automation associated with clips in the Arrangement would be discarded if they were copied back into the Session.

Secondly, in the intricate world of electronic sound design, the way in which instruments and effects are controlled can be as important as the MIDI notes or audio that goes into them, and that control information can be part and parcel of every section of a song, right down to individual clips, so it makes sense to allow automation at this level. Thirdly, it's now possible to create and apply small chunks of automation in the Session for performance.

If you want to fade up a track under direct automation control in the Session, you can now do so. Lastly, automation data in the Session can be recorded and edited using Push.

I suspect that the requirement for Push to work with automation was part of the motivation behind Session support. In fact, Live 8 already supported automation within clips after a fashion — allowing, for example, a facsimile of the fade-up effect I mentioned above. Clip Envelopes could be created to apply modulation to device, clip and mix parameters, in a manner which offset the 'real' value. Live 9 maintains these modulation Clip Envelopes, but also brings real automation right into the Session View.

The need for modulation envelopes is perhaps a little less obvious now that automation is supported in the Session — although modulation might be applied, LFO-like, to some clip-based parameter within a broader automated Arrangement — but, for now at least, both mechanisms exist side by side.

In Live 9, working with automation is the default, and if you want to work with modulation instead, you select it from the pop-up menu. A one-shot volume fade-in created using the new clip automation co-exists with volume modulation, as found in Live 8. The presence of automation in the Session View requires some subtle changes to the Control Bar.

In Live 8, the Back to Arrangement button cancelled activity in the Session and also reimposed the Arrangement's automation. In Live 9, these functions are distinct. After all, you might want to manually override automation in a Session clip and subsequently revert to previously recorded Session automation, without reverting the entire Set back to the Arrangement. This lights up if any automation is overridden in either Session or Arrangement, and clicking it re-enables automation while leaving active parts of the Session alone.

Some new control buttons jostle amongst familiar ones. The chain symbol is Automation Arm, while the red circle kicks off Session recording across a scene. As an aside, an often-mentioned drawback of the Session — the inability to revert individual tracks back to the Arrangement — has also finally been addressed.

In the Arrangement View, a triangular button appears on each track that is playing the Session, allowing just that track to be reverted. New buttons in the Arrangement View allow individual tracks to be reverted. Overdubbing operates by default in the Session, while a new Arrangement Overdub button toggles the setting for Arrangement recording.

The Quantization Menu for setting quantisation for editing and playback has been relocated to the left, next to the metronome, and couple of new buttons have appeared. Automation Arm enables the recording of automation data into Session or Arrangement. There's one case where automation recording takes place even if the Arm setting is off, and that's if Arrangement recording is in progress, when any parts being recorded from the Session have their automation recorded as well.

This is reset by the Back to Arrangement button. The new Session Record button has two purposes: it kicks off recording in empty slots across all armed tracks in the currently selected scene there's a user preference to make this all tracks rather than just armed tracks , and it enables MIDI overdubbing, plus automation overdubbing if Automation Arm is on, in existing clips in armed tracks.

This is the only way to record automation into an existing clip, since launching the clip normally just causes it to play, regardless of its track's record status. If the control change involves a mouse-based click-and-drag for example, track volume then the punch ends when the mouse pointer is released, and otherwise, it lasts until the clip ends or loops.

This is different to recording while looping part of the Arrangement, which stays punched until playback is stopped or Automation Arm is turned off. Finally, the New button is a convenience that stops clip playback in all record-armed tracks and moves to a scene where those tracks have empty clip slots, creating a new scene if required. Live 8 offered the facility to consolidate clips in the Arrangement, in essence creating an in-place 'bounce-down' of MIDI or audio from a time region in the selected tracks.

The resulting clip could be copied back into the Session, although automation would be lost. In Live 9, copying a clip copies automation as well, but there's also a new Consolidate Time to New Scene command, which takes the selected time region from the Arrangement and creates a new scene of clips generated from all tracks across the selected region, automation and all. The editing of automation data has also been improved, in that breakpoint segments can now be curved.

Automation segments can now be curved, for extra control. Option-drag Mac or Alt-drag Windows a segment and drag vertically to change its curve without moving the end points; Option- or Alt-double-click to reset it to a straight line. Curved segments are also allowed in MIDI controller data. In addition, it's also possible to drag a section of automation vertically just by hovering the mouse pointer close to it.

If there's a time selection, all the automation in that time area will be moved, otherwise the lone highlighted segment will. All in all, the Session automation features sound complicated — and I've used quite a lot of paper to describe them here — but everything does make sense and the features actually fit together neatly to improve overall workflow in the Session and Arrangement Views compared to Live 8.

There's bound to be a little confusion to start with, but stick with it! A text box shows the pitch range of selected notes, or of all notes if none are selected, and dragging vertically in this box transposes the notes. Alternatively, a new note pitch and octave can be typed into the box, whereupon the selection is transposed so that its lowest note has this pitch or the highest note, if preceeded by '-'.

The Reverse Notes button reverses the notes' start times in the selected time region, while Invert Notes inverts the pitches. A legato button adjusts each note so that it reaches as far as the next note in sequence. The Duplicate Loop button takes the contents of the clip loop and duplicates them, doubling the length of the loop and lengthening the clip. When note folding is active, to only show MIDI pitches for notes which are present, things get slightly more interesting.

Transpose moves notes within the folded selection only, rather than chromatically. Invert swaps note pitches within the folded pitch selection as well. This is useful: everything is kept in key or, for drum sequences, within the kit , allowing quick, 'what-if' edits to be tried out. When a time region, or note range in time, is selected, two MIDI stretch markers appear at the limits of the selected region.

These resemble warp markers in audio clips, and behave in a similar manner. Drag one marker to scale both note positions and durations of the selected area relative to the other marker. You can even drag one marker past the other to reverse the selection. Click and drag a point between the markers to stretch or squash notes on each side of the point.

Rather cleverly, if you stretch a section of time using the markers, clip automation is also stretched to stay in time with the moved notes. Push is Ableton's first foray into hardware design. Although it was engineered by Akai Professional, it has Ableton's name on the front, and was designed in-house to integrate deeply with Live 9. Many of Live 9's new features were clearly designed with Push in mind. Obviously, Push isn't the first dedicated controller for Live. Akai's own APC devices and Novation's Launchpad have been around for a while, and there's a selection of Live controller apps on the iPad, but Push offers a level of integration that's not been seen before.

Ableton's motivation for Push was to liberate the musical creative process from the computer and to place it onto a well-designed, focused control surface that could be regarded as an instrument in its own right. An obvious example is the touring musician with down time in a hotel room who doesn't want to stare at a computer screen, but still wants to try out musical ideas.

Push is aimed at a particular phase of the music-making process: exploring and capturing new ideas in Live's Session View. There's no access to the linear Arrangement View at all, and there are no dedicated faders for mixdown, although Push's encoders can edit the mix. Just as the Session View has conventionally been regarded as one stage in the creation of a finished work, so Push can be thought of as one component in the creation of ideas in the Session View.

In fact, Push's feature 'coverage' of the Session View is extensive, and it's possible to create and edit quite complex sets on Push without looking at Live on screen at all. At a recent demonstration session, the team from Ableton were quite insistent on hiding the laptop screen completely! Even though, obviously, Live's on-screen interface is a much richer and more powerful environment, creativity comes from constraints, and working with a focused, tactile device can really help the creative flow.

Playing and editing support for MIDI clips, specifically those playing drum racks, is extensive and versatile, and device editing and automation are well supported, but there's very little support for audio clips. You can edit loop, pitch and gain settings, and change the warp algorithm, but that's about it.

However, if you are using audio clips to capture or play material, you can still set up, configure and automate effects processing. Whether Push can be regarded as an instrument in the sense of something that can be used to perform music live is somewhat open to debate. Personally, I'd regard the creation and execution of a performance to be a different, follow-on process, and would treat Push as a tool for creating the musical ideas in the first place — and, let's face it, that's the hard part.

My first impression of Push was that it's big: at mm wide, it's the width of my inch MacBook Pro, and it's also a couple of inches deeper. It will squeeze into a standard rucksack, but only just. At 3kg, Push is also heavy, so if you fly to gigs on budget airlines, watch your carry-on weight allowance! Part of the reason for the weight is the build quality. Push is a solid and hefty piece of kit, putting other controllers to shame.

The unit is striking in appearance, wrapping Bang-and-Olufsen-style Scandinavian designer chic in a stealth-bomber matte black finish, and boasts some nice design touches.

All the rotary encoders, for example, are truly touch-sensitive, meaning that you can simply touch an encoder to display its parameter's current value without changing anything. This is perfect for seeing what's what without, for example, accidentally punching in while recording automation. The top part of the front panel sports a large, column by four-row LCD custom-designed for Push.

This is topped by nine infinite rotary encoders, the rightmost dedicated to master output level and cue volume. The left-hand edge of the device sports various edit and transport buttons, dedicated encoders for tempo and swing settings, and a long vertical ribbon controller. On the right, there are more editing buttons and navigation arrows. The footswitch inputs for my early review unit were undocumented and there was no obvious configuration procedure on the device itself.

Ableton tell me that the inputs generate hard-wired MIDI controller messages. The main grid and the two rows of buttons below the display, are full RGB backlit, and are exceptionally clear and bright. For full brightness, Push needs to be powered from an adaptor, although it will function perfectly well at reduced brightness on USB bus power. Colour consistency across the grid was somewhat variable on my unit, but LED colour consistency is notoriously hard to ensure, and Push is no worse than other products in this regard.

The edit buttons are mostly mono-colour backlit, the exception being the note interval buttons to the right of the grid, which double as scene-launch buttons. When a button's feature is disabled, the backlight is off and it's not even possible to read the text legend, which makes for consistent interface behaviour but is slightly frustrating at first when learning one's way round the controls. State and toggle buttons use half-intensity for off and full-intensity for on.

The difference is a little hard to discern in bright light conditions, but clearer in subdued lighting. The ribbon controller also sports a column of LEDs, which indicate the centre position for pitch-bend and are also active when the controller is operating as a selection interface, as we'll see. The edit buttons, being silicone, are slightly squishy but have a discernable click. Personally I was not greatly fond of the feel of them, but for this type of button they're probably the best I've encountered.

The main pads themselves don't move, being purely pressure-based. Some drum machine-style pads I've used are too unresponsive to be comfortable to play, perhaps because I'm a wimpy keyboard player, but Push was pretty good in this regard, and with the sensitivity level turned up to 'Super-Sensitive' I found it easy to play. There's nothing magical about this template, which contains a kit, a bass and a grand piano on three MIDI Instrument tracks in a Session containing a single scene.

The Push's display lists eight sound parameters across the top, each of which can be altered by its corresponding encoder,while the bottom left corner of the display features a couple of labels which, curiously, will resemble 'Kit Core ', the name of the first track. At this point, if you're not the kind of person who likes reading manuals, you can go ahead and start hitting the unlit pads forming the top half of the grid.

Live will start playing, and you'll find yourself step-sequencing one of the drums from the kit. Turn an encoder and the corresponding sound parameter for that drum will change. Jjust touching an encoder will bring up a row of graphical histogram displays showing value ranges. The 16 drums of this kit are selected for sequencing, or played, using the yellow-lit pads to the bottom left of the grid.

We'll examine exactly what's happening here shortly, but now might be a good time to quickly look at the rest of the edit controls. A key point is that the display area of Push — the LCD, the encoders and two rows of illuminated control buttons — can change mode independently of the main pad area. The top-right group of six buttons switches the display mode between tracks volume, pan, effects send , current clip details, and the device chain for the selected track.

The first row of selection control buttons below the display work as soft menu buttons to select whatever's shown above them, which is usually tracks or devices.

For the pads, the two main modes are selected from the white-illuminated buttons towards the bottom right. A glance at Live's Session View on screen will reveal a marquee surrounding the Clip Slots currently addressed by Push's grid.

Session mode is fairly straightforward, and will be familiar to Launchpad or APC owners. Each pad represents a clip, and is even illuminated in the same colour as the clip in Live's Session View or the closest approximation available to the LEDs. This is a great improvement over the red-green display of other devices. Pressing a pad launches a clip: the pad flashes in green when its clip is cued for playback, and throbs gently when actually playing. For recording, the active colour is, predictably, red.

Recording is enabled by the red-circled Session Record button to the lower left — you may notice a similarity to the button in Live's Control Bar — and can be toggled on and off for overdubbing notes or automation. When Session Record is enabled, recording starts for all Clip Slots in armed tracks in the current scene. Herein lies a slight problem, because Push gives no indication of which tracks are armed or which scene is selected. If you're working on one clip at a time in Note mode — the mode where Push is most useful — the selection follows the current clip, but in Session mode I found I was getting a little lost, and would frequently start recording into what seemed like a fairly arbitrary slot.

Keeping one eye on Live's Session display seems to be the only solution. It's pretty easy to correct mistakes such as accidentally recording. Holding down Delete and tapping a pad deletes its clip. Even better, there's my absolute favourite feature of Push: a dedicated Undo button, linked directly to Live's indefinite undo stack.

This works everywhere — clip recording, sequencing, device editing, automation changes — and practically removes all chances of losing any of one's work. Pressing Shift-Undo performs a Redo. This is so useful that every control surface should provide it, by law! In Session mode, if the display is in one of the track modes, the second row of soft 'state control' buttons provides track functions, namely mute which Live itself refers to as Track Activator , solo, or Clip Stop, according to the selected function on the buttons to the far right.

Curiously, there's no access at all to the record-arm setting of a track. One is expected to use the Session Record button to create or overdub recorded material, and Push record-arms tracks behind the scenes as required. Press the Note button, and Push switches its pad mode to show a single clip. The clip lives in the currently selected track and scene. To change track at any time, you can put the display into one of its track view modes and then press the soft button below the track name, or use the left or right cursor button to navigate.

Cursor up and down changes the selected scene, and launches it if there are Clips present, but there's no indication on Push as to which scene is current. When a clip is displayed, the configuration of the pads depends on the type of track and what devices, if any, are loaded into it.

If it's a MIDI track with a drum rack, the the pads are set up for drum sequencing, while any other MIDI track brings up a two-dimensional tonal keyboard, and an audio track, understandably, delivers a completely blank grid. In all cases, pressing the Clip button brings up the most important clip parameters on the display for editing with the encoders.

The Push's drum sequencing mode is the most sophisticated musical creation environment offered by the device. In this mode, the pad area is divided into three sections.

The top four rows form the sequencing grid, the lower-left four-by-four square presents 16 drum pads, and the lower-right square is a zoomed-out time-based grid showing up to 16 bars of clip time. Both real-time and step-time sequencing are provided for. Step time provides instant gratification: simply select a drum from the drum pad area and press pads in the upper area, which light up blue.

Playback will begin automatically. By default, all notes are created with the same duration and velocity, but holding down the Accent key plants notes with MIDI velocity rather than Cleverly, note velocity is also indicated by colour saturation on the pads. A note can be edited after the fact by pressing and holding its pad until parameter options appear top-right in the display.

Velocity and duration can be altered, and notes can be nudged forwards or backwards, within limits which keep them in their grid slot. To record in real time instead of step time — or even simultaneously! Notes can be quantised at record time by holding down the Quantize button and selecting options from the right of the display, and any recorded MIDI can be quantised after the fact.

The Repeat button invokes a quantised note auto-repeat — a feature I remember from my trusty R8 drum machine years ago. The Swing encoder adds a variable amount of swing while notes are recorded using Repeat, and pad pressure can be applied to create velocity swells, leading to some nice roll effects. Whereas step recording will loop a clip, real-time recording will extend a clip indefinitely unless it has already been looped, and the Fixed Length button described later will loop such a clip on demand.

As always, any mistakes can be removed with the Undo button. The drum pad area represents a window onto 16 note pitches out of a possible The column of LEDs embedded into the ribbon controller show the current selection area as three bright LEDs, while dim LEDs show which other parts of the entire note range contain occupied slots — fewer LEDs mean fewer allocated pads in the grid.

Octave Down and Octave Up buttons shift the selection, or you can touch or drag in the ribbon area to instantly move the current selection, which is a nice touch. 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 ms after the midpoint in measure may be adjusted so that it will be played back precisely at the midpoint.

Some artists and online stores, such as The Covert Operators and Puremagnetik, now make available sample packs that are pre-adjusted, with tempo information and warp markers added. The audio files are accompanied with an "analysis file" in Live's native format. 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. Portions of the interface are hidden and shown based on arrows which may be clicked to show or hide a certain segment e. From Wikipedia, the free encyclopedia. Digital audio workstation. This article has multiple issues. Please help improve it or discuss these issues on the talk page. Learn how and when to remove these template messages. This article needs additional citations for verification.

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