Note that right-clicking on the top of Ping Pong Delay opens up its contextual menu, which enables pitch-shifting analogue-like sounds via the Time knob. Then we get Ping Pong Delay that has a left/right bounce as well as a filter added into the chain. First we have the Simple Delay which, well, simply repeats a source sound with nothing else added into the signal path. ![]() Let me elucidate on the subject a bit by bringing into the conversation all of Live’s delays. At first I was a bit confused with the arrival of a fourth delay in the native effects of Live, but I must admit that Echo grew on me and found its way in most if not all my projects. Keeping up on the obvious newcomers of version 10, the best addition award has to go Echo. When using all it’s functions, this synth alone can eat up to 40% of my 6 cores and 32gb of rams. Inside my workflow, I approached it the Granular Synth/Drone way I use it at the start of a project and “print” audio to a new track, then deactivate the device and keep it stored in a subgroup underneath the freshly bounced track. On the flip side, the Wavetable synth is extremely power hungry once you start using its advanced features, thus making it a rather tricky tool to work with. Add in a bit of LFO modulation on pitch and you got yourself a massive Cumulus. I am pretty fond of the shimmer function, which pairs pretty well with reverbs for lush pads. A key feature of the synth has to be it’s Unison switch, found on the right-hand side. I found it particularly impressive for powerful stabs as well as glue-inducing, cloudy pads. You start off a Sine Wave and let the mayhem happen. Wavetable feels to me like a mix between Granular synthesis and Operator’s Frequency Modulation synthesis. And in that fashion the Wavetable is a welcome addition to the pool of soft synths. Also note that this article is based off Suite, which I highly recommend.Īs Legowelt would agree to, one can never run out of synthesizer in their arsenal. Note that I am writing this to convince my buddy, not because I receive any sort of compensation. I must admit, one can live with version 9 and still achieve great results… But I’m all in for puns and for improving my workflow, so I see the benefits of upgrading. I keep telling him this is now a given in Live 10… Oh this is so much better in Live 10… And this would be doable in Live 10. The idea of writing a second article on the subject came to me amidst various sessions at fellow Adam Husa’s studio, which is running on Live 9. ![]() ![]() I was running the beta mode and had a few hours burnt into the software. 10 months ago, I wrote an article on the new features of Ableton Live 10.
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