Music educator Will Kuhn has been working with Ableton Live 9 and has decided that ‘Ableton still owns the future”. He writes:
Live 9 strikes me as an iteration of an already great product, but I think the message from Ableton AG is clear: Live is here to stay, and is the ultimate standard in electronic music making. “Everything you need to make great music can come from us.” In a way, Live 9 completes the story, and sets the standard for the next generation of music software.
See Kuhn’s site for his full take on Live 9.
In addition to Live 9, though, Ableton also has opened up orders for its new Push controller.
The thing I think might put people over the top on Push is playing the pads. Whether on drum parts or instruments, the pads feel fantastic, the whole device is expressive to play, and you’ll find yourself discovering new rhythms, melodies, and harmonies – even if you keep a more traditional keyboard or drum triggers around.
Getting something this lovely, this well-made, with a fantastic set of pads you can use to play instruments, or beats, or control clips, or devices, or put together songs or performances, all with color backlit-feedback and a display and encoders – that’s tough to pass up.
The relationship between gesture and sound, hardware and software is still imperfect, and sometimes complex. But Push is a sign the people making these tools are beginning to have a deeper appreciation for computers as instruments. And that can only be a good thing.
Kirn’s in-depth review of the new Ableton Push is an epic 6,135 mini-tome. If he got paid by the word, he could probably retire on this review alone.
If you’ve been on the fence about Ableton Push in an ‘it looks pretty cool but I’ve already got an APC40’ kind of way, though, Kirn’s deep dive will probably answer all your questions. And everybody else’s questions, too.
If you’ve got your own thoughts on Live 9 and Push, share them in the comments!