WORLD OF MUSIC ; PORTABLE KEYBOARD - Latest Portable Music Keyboards, Synthesizers and Music News

 

 

Ableton has announced Ableton Live 11.2 is now available in public beta. Live 11.2 is an update that introduces an improved Reverb, adds support for AUv3 and many more.

 

 

Reverb has been updated with a refined interface, new Density controls, a new switchable filter, CPU optimizations and more.

 

Live now features native support for AUv3 plugins on macOS 10.15 or higher, meaning more options for Live users running their systems on Apple Silicon Macs.

 

New in Ableton Live 11.2 includes:

 

Capture MIDI

 

• Capture results are no longer influenced by the song tempo set by the target track’s previous Capture attempts.

 

• When Live’s transport is running, Capture MIDI will keep longer phrases in captured clips.

 

Control Surfaces

 

• In the Launchkey MK3 Control Surface script, the Quantise button can now quantize clips in Session or Arrangement View.

 

• On the PreSonus ATOM SQ, it is now possible to scroll between device parameter banks by holding the bank navigation buttons down.

 

• Fixed an issue in the SL_MKIII Control Surface script that resulted in incorrect LED button states when exiting Drum Mode.

 

• In the ATOM SQ Control Surface script, it is now possible to control the Master Track volume and pan in Song mode when the Master Track is selected.

 

• The encoder sensitivity for the ATOM SQ Control Surface script has been refined to better match the parameters they control. Additionally, the encoders can be used to fine tune parameter values when the Shift button is pressed.

 

Core Library

 

• Added audio and MIDI clips to Session View in Live’s Demo Song.

 

Interface

 

• The icons in Live’s Preferences and dialogs have been improved.

 

• Live now shows different icons for Live Clip (.alc) files that distinguish between Audio and MIDI content in the browser.

 

• When renaming tracks, [Tab] will navigate to the next track or chain header, while [Shift][Tab] navigates to the previous track or chain header.

 

• Value ranges on vertical rulers in the MIDI Note Editor are now always displayed as two values stacked vertically.

 

• Improved drag and drop behavior within list views (such as the Groove Pool and device chains). Instead of always being inserted before the target item, dropped items will now be placed dynamically, depending on which half of the target item the cursor hovers over. In addition, the copy modifier [ALT] now works more consistently.

 

• When Num Lock is switched off on Windows, the number pad arrows, PgUp, PgDn, Home, and End keys now function as expected.

 

• Disabled devices now display an alert icon above error messages in Device View.

 

• Updated various info texts.

 

• Updated the What’s New in Live lesson.

 

Max for Live

 

• Updated the bundled Max build to version 8.3.1. For the changelog, visit: https://cycling74.com/forums/max-8-3-1-released

 

• banks: added warnings to explain non-reactivity in Max-only

 

• Dynamic Colors: changed label of ‘live_control_fg’ to ‘Text /Icon’

 

• jweb / CEF: fixed usage in Max for Live (Windows)

 

• * ui objects: updated color code

 

• banks: banks configuration is retained if device is opened and saved in Max

 

• comment: linecount is preserved

 

• gain~: @orientation 1 typed-in a box works as expected

 

• gain~: auto-adapts when transforming to MC version

 

• observer: fixed value output after opening/closing Max editor

 

• crosspatch: works in the context of a Max for Live device hosted in Live

 

• Max for Live / Gen: improved fixes for intermittent crashes

 

• Audio driver input and output latencies are now taken into account for Max for Live devices that contain audio routings to external targets. If needed, users can revert to the previous behavior by using the -DisableM4LRoutingCompensation debug option in an Options.txt file.

 

• The time_signature_numerator, time_signature_denominator, time_signature_enabled and tempo_enabled properties are now available in the Max for Live API. Corrected descriptions for the properties have also been added.

 

• Improved and updated the scale_name and scale_intervals descriptions in the Max for Live API.

 

New Devices and Device Improvements

 

• Reverb:

 

• The Reverb device’s interface has been updated with a fresh design.

 

• The Reverb device’s Density and Quality parameters have been renamed to Diffusion and Density. The parameter values for Density (previously Quality) have also been changed from Eco, Mid, and High to Sparse, Low, Mid, and High. Sparse mode allows for lower CPU usage.

 

• Added a Smooth drop-down menu to the Reverb device. You can now specify how the Size parameter responds when changed using the Smooth options None, Slow, or Fast.

 

• Setting Smooth to None means that some artifacts may occur when changing the Size parameter values. The Slow and Fast options ensure that new delay times are updated over a specific period of time, resulting in a more musical sound.

 

• Added a switchable filter type to the High filter in Reverb’s Diffusion Network. You can choose between a one-pole lowpass filter or a low-shelf filter.

 

• Optimized for better CPU performance.

 

• Tuner:

 

• The Tuner device now includes three new options for note spellings. You can access a menu with these options when you right-click anywhere within Tuner’s UI:

 

• Sharps (C#)

 

• Flats (D?)

 

• Sharps and Flats (C#/D?)

 

• It is now possible to zoom out to a full octave in Tuner’s Histogram View by clicking the interface and dragging the cursor horizontally.

 

• In the Phaser-Flanger device, the Phase parameter of the LFO now has a default value of 180 degrees.

 

• The Excitator section of the Tension device is now called “Exciter” in Live and on Push.

 

• A context menu option for a Hi-Quality mode has been added to the Delay device. Switching off Hi-Quality uses less CPU resources.

 

• The Channel EQ device now uses less CPU resources.

 

• Presets containing the Saturator device now run with improved CPU usage.

 

• Inactive visualization data will no longer be sent in the Wavetable and Phaser devices, resulting in slightly improved performance.

 

• When mapping and unmapping device parameters to Macros, the Map/Unmap labels now appear as expected.

 

• A Hi-Quality option has been added to the [right-click](Win) / [CTRL-click](Mac) context menu of the Redux device. Using Redux with Hi-Quality switched off saves some extra CPU.

 

Plug-ins

 

• Added native support for AUv3 plugins on macOS 10.15 or higher.

 

• Live’s Preferences now include options to enable both AUv2 and AUv3 plug-ins.

 

• Plug-in errors are now shown in Live’s Status Bar, along with a linked detailed error report.

 

Push

 

• Push 2 mappings for the Reverb device have been redesigned to include parameters for new features.

 

• On Push 2, the parameter names of the AAS devices (Analog, Collision, Tension and Electric) have been improved and aligned with the UI for readability.

 

Session View Improvements

 

• It is now possible to simultaneously rename multiple rack chains in Session View.

 

• When navigating tracks and device chains using the left arrow key in Session View, navigation will stop at the first track header as expected.

 

Setup

 

• To avoid incompatibilities, you will be asked to save Live Sets created with an older version of Live as a new file in Live 11.2.

 

• Live’s Audio Preferences now include an option to follow system settings for Input and Output on macOS. When enabled, changes made to system audio preferences are also reflected in Live.

 

• Renamed the Customization section of Live’s Preferences to Display Customization, which now also includes the Zoom Display setting.

 

In addition, the update includes a variety of bug fixes and other performance improvements.

 

Find out more info from the Ableton website

 

 

 

iZotope brings a whiff of trash to Neutron 4, its even smarter auto-mixing software.

 

The AI-powered plugin package continues to evolve.

 

Ahead of 2022 NAMM Show, iZotope has released Neutron 4, the latest version of its intelligent mixing software. This combines eight plugins via an Ai-powered “assistive audio technology” that is designed to help you out when it comes to making mixing decisions.

 

Good News is Neutron 4’s Mix Assistant has been ‘modernised’ into the Assistant View, and is powered by machine learning and will ‘listen’ to your audio and make appropriate mix settings. You can then adjust these in what’s described as an ‘intelligent control centre’.

 

In addition, new Unmask module that discovers and fixes masking issues for you by making space between two competing tracks, and Target Library will dynamically match the tone of your track to a sample or step using assistive tone-matching technology.

 

Other new features include Trash plugin – add distortion either carefully or irresponsibly, a Punch mode in the compressor that can visualise how hard your sounds hit, a Tone slider and a Tame button in the Exciter module, and sidechain metering in the Compressor module.

 

Neutron 4 is included in the new Music Production Suite 5 Universal Edition, a suite of 52 plugins that, as well as featuring iZotope products, also contains two Exponential Audio reverbs and six plugins from Brainworx. Anyone who purchases this will also get two new flagship iZotope product updates that will be released later this year.

 

Neutron 4 is available now for the intro price of $299 (regular price $399) while Music Production Suite 5 Universal Edition is now available for the intro price of $599 (regular price $999).

 

Find out more on the iZotope website.

 

 

 

Auto-Tune Vocal EQ is the only dynamic EQ plugin with Antares’ pitch tracking technology includes, and is available exclusively on the Auto-Tune Unlimited subscription service

 

Ahead of 2022 NAMM Show, Antares has launched Auto-Tune Vocal EQ.

 

Antares’ Auto-Tune range now has a vocal EQ plugin – the only dynamic EQ to feature Auto-Tune pitch tracking technology.

 

For EQing vocals, it can be used on instruments and other audio tracks, and enables you to isolate and accentuate precise frequencies while controlling interference and resonance. As a result, your vocals should sound smoother and more consistent.

 

UI features ‘dynamic nodes’ and Auto-Tune pitch metering – you can watch a vocalist’s pitch move across the frequency spectrum in real-time to visualise range and thresholds.

 

Pitch Tracking feature enables you to lock an EQ band to a vocalist’s pitch so you can focus on fundamental pitch or harmonics, while the Vocal Learning tool will automatically determine the input type and highlight the average vocal range (alto, tenor, soprano) so you can make a quick start.

 

Auto-Tune Vocal EQ includes six fully parametric bands, low-pass and high-pass filters and an Air Band for adding high-end presence. In addition, there’s a Tilt EQ filter for balancing the high and low end of the spectrum, a spectrum analyzer and external sidechain support for adding dynamic filters.

 

Commenting on the launch, Steve Berkley, CEO of Antares Audio Technologies, says: “EQ is a foundational element of every serious vocal production, whether in the home studio or world class engineering facility. Auto-Tune Vocal EQ strengthens our premiere vocal production suite with a powerful EQ that any Auto-Tune Unlimited subscriber can now access.

 

“Auto-Tune Vocal EQ is another example of our long-term focus on building a robust, feature-rich vocal production experience for audio professionals around the world. With the release of Auto-Tune Vocal EQ, we continue to innovate as an audio technology leader and demonstrate our dedication to the creative culture we love and respect.”

 

Auto-Tune Vocal EQ is available exclusively as part of Auto-Tune Unlimited, a subscription service that includes every current edition of Auto-Tune, Auto-Tune Slice, Auto-Tune SoundSoap, Auto-Tune Vocodist, and 11 more vocal production plugins. Auto-Tune Unlimited also includes free automatic updates for included plugins, free access to select future plugins from Antares, and free video tutorials in the Auto-Tune Vocal Production Academy.

 

Current Auto-Tune Unlimited subscribers have immediate access to Auto-Tune Vocal EQ at no extra cost. New subscribers can sign-up for Auto-Tune Unlimited for $24.99 paid monthly, or $14.58 a month with paid annual subscription. A free 14-day trial is available to everyone, regardless of previous trials or subscriptions.

 

You can start your free Auto-Tune Unlimited trial on the Antares website.