There’s no ARA/ARA2 (Audio Random Access) integration so you can’t employ Melodyne for pitch manipulation. Markers are also easy to manipulate manually if you just want to correct that one egregiously late note, and in bulk if you need to adjust the entirety of a time-askew performance. The transient markers are large and obvious for easy recognition under the challenging lighting conditions you might find at a gig. You can also simply drop a Groove onto the clip to quantize it. Each marker resides where the program detects as a transient, or the loudest portion of a note/chord/sound.

The high-visibility mustard colored markers are for stretching or time aligning audio events under the difficult lighting conditions you sometimes find in clubs. As its name implies, Ableton (the company) designed Live at the outset for live performances and quick composition using audio samples. Ableton Live is a relative newcomer, appearing around 2000.

Programs such as Logic, Pro Tools, and Cubase trace their lineage back to the 1980s. Ableton Live, on the other hand, is a DAW that was designed by musicians for musicians, and likely a better fit for the average Mac-wielding, musical type. However, Logic, like nearly all Digital Audio Workstations (DAWs), follows a design bent more on accomodating studios and audio engineers than creatives. It sometimes needs it as Live is far pricier than Apple’s loss-leader, Logic, which does the same thing and more, if not nearly so elegantly.Īpple’s feature-packed Logic Pro software gets the lion’s share of attention from the musical-oriented Mac media-with a gigantic feature set and at its comparitively affordable $200 price, that’s rightfully so. MPE support, new content, and a host of welcome tweaks sweeten the deal. New for version 11 is comping and linked track editing which make it more appealing for traditional studio recording. Live’s clean interface and clever workflow minimize interference with the creative process and performance.

Detune for mac review