I don't want to spend an hour building custom mapping for every virtual instrument. This might sound minor, but I think one of the barriers to adoption of MPE controllers is getting them to play nice with non-MPE software. To be clear, you could always do this, but it's just a lot easier to get set up now. So, for example, you could fire up Ableton's Analog, tick a couple of boxes in MPE Control and slide your fingers around to trigger pitch bends and move the mod wheel. MPE Control also lets you take advantage of some of the tools available to you on an MPE controller, even if the instrument you're using doesn't support it. These let you decide how exactly you want various MPE functions to be used and map them quickly and easily. Ableton also included MPE Control and Expression Control devices, which you'll find under MIDI Effects. You can find presets under "MPE Sounds" in the browser if you want to quickly dabble and explore. (They also couldn't be more different from a sonic standpoint.)Ībleton was smart enough to update a few of its stock instruments to support MPE too, like Wavetable and Sampler. I mention those two in particular because they've been my go-to testbeds for exploring MPE. That means instruments that respond to MPE like Arturia's Pigments and sonicLAB's Fundamental can be that much more expressive when paired with the right controller, like the Sensel Morph. Bitwig has it, Logic has it, even Garage band has it. Ableton Live is one of the last major DAWs to add support for MIDI polyphonic expression. Lets start with arguably the marquee feature - MPE support. Here's a quick overview of what's new and the standout features (to me). So if your machine was already struggling after the last big update, you might want to wait until you can upgrade your hardware too. And Live 10 was a lot more resource intensive than Live 9. Just know that Live 11 is a bit more resource intensive that Live 10. I've been using the beta since it was announced back in November and while I haven't put every new feature through its paces, I can say unequivocally that Live 11 is a solid upgrade from 10 and well worth your time. That's in addition to lots of little interface tweaks and updates to Push support. The list of new features in Live 11 is long and impressive: Comping linked track editing MPE support expression editing live tempo following macro improvements updated devices and soundpacks five new devices, including a hybrid reverb and new pitch shifting plugin chance tools plus a host of improvements to Max for Live. The latest version of its incredibly popular DAW is out of beta and available to all. Metalix works exclusively with Suite 8, Live 8 or Live Intro and is available only as a direct download.Ableton announced Live 11 in mid November and now it's finally here. Metalix is more than just a playable set of sampled instruments and loops, it’s a library of sounds that will stand the test of time. Whether using Live as your main DAW or ReWired as a slave application, this product is a must have addition to your musical tool palette and works perfectly along side with Acoustix. Following in the footsteps of Sample Logic’s long tradition of award-winning products that “blur the line between music and sound design”, Metalix is a must have for musicians, performers, and producers of all types. Metalix is a toolkit of morphed metallic instruments, percussives, atmospheric soundscapes, pads, and tempo-synced audio loops for cinematic music production. Based on recorded metallic instruments and sounds, Sample Logic has once again revolutionized sample programming by creating never before heard evocative organic instruments and bombastic loops.
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