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Electronic musician and Ableton Live co-creator Robert Henke has shared a free Max for Live device that puts a stereo spin on Live’s existing Filter Delay device and adds some nifty feedback routing.

Filter Delay features three stereo delay lines, each of which can be set to 16th-notes, dotted 16ths, 16th triplets, or 32nd-notes – this value can then be multiplied by up to 32 using the adjacent Time control, producing delay times of up to 2 bars in length. A Global Delay Time control on the left-hand side adjusts all three delay lines simultaneously.

Each delay runs through a band-pass filter, with controls for centre Frequency and Width joined by a Global Frequency control that can be used to modulate the filters across all three delays at once. Alongside the typical feedback routing you’d find in a standard delay, you’re also given the option to combine all the outputs and feed them back into all the inputs, if you’re feeling particularly chaotic.

Alongside the feedback routing, Filter Delays introduces some interesting stereo capabilities absent from the OG Filter Delay. The Pan control dials in panning before the signal hits each delay’s input – and between the values of 50 and -50, that’s all it does.

Once you push it beyond those values towards 99 and -99, though, the Pan control folds back a polarity-flipped version of the signal into the other channel, and dialled up to the maximum, this means the signal is centrally panned but out of phase across both channels. This can be used to produce some creative stereo effects, especially when combined with the Channel Swap control, which switches the left and right output of each delay line.

“I wrote the original Filter Delay for Live 1, released in 2001,” Henke writes on his website. “Recently, I rediscovered it and wanted to add a few more options that were missing in the Ableton device. This led me to create a new version in Max4Live.

“The Ableton Filter Delay was one of the first devices I developed, partly inspired by the filtered delays in my Lexicon PCM 80. Back then, CPU limitations were a major concern, so the original effect only includes three mono delays and less flexible feedback routing.”

Whether you’re someone that uses Filter Delay on a regular basis, or relies on the recently updated Delay device instead, we see no good reason not to download this updated version of a classic Live effect. You’ll need either Ableton Live Suite or the Max for Live add-on with Standard to run Filter Delays. Henke says it’s only been tested with Live Suite 12, but it may work with earlier versions.

Find out more on Robert Henke website.

Ableton Live 12.4 introduces Link Audio and updates Erosion, Delay and Chorus-Ensemble devices.

Ableton let us know that Live 12.4 enters public beta today, bringing wireless audio streaming, updated audio effects, improved stem separation and a new educational Learn View to the Berlin-based company’s popular DAW. Live 12.4 is a free update for all owners of Live 12.

Introduced in 2016, Ableton Link is a feature that allows music-makers using Live and Link-compatible hardware and software to link up their devices over a local network for hassle-free, tempo-synchronised jamming and collaboration. Live 12.4 sees the launch of Link Audio, enabling users to stream multi-channel audio between Link Audio-equipped devices over a local network in real time.

Enable Link Audio on multiple machines running Live, a mobile device running Note, or on a Move or standalone Push, and audio from those connected devices will appear as an input in Live, making it quick and easy to monitor, sample and record with automatic latency compensation and no cables in sight. (On both Live and Push, it’s possible to send and receive audio, but with Move and Note you can send but not receive audio via Link Audio.)

This is an immensely useful upgrade to Link that should make life a whole lot easier for producers that incorporate multiple Ableton devices into their workflow, or collaborators working across several Live-equipped machines.

Live 12.4 updates three audio effects: Erosion, Chorus-Ensemble and Delay. An oldie but a goodie, Erosion introduces a lo-fi character to a signal by modulating a brief delay with filtered noise or a sine wave, producing a bitcrusher-like effect. 12.4 ushers in a new version of Erosion that expands its sound design capabilities by allowing for a continuous blend between sine and noise modulation and offering fine-grained control over stereo width; it’s also now equipped with a spectrum visualiser.

Delay’s modulation capabilities have been given a boost with a new LFO section, updated with additional time modes, LFO shapes and waveform shaping via the Morph control. Chorus-Ensemble has been updated with two new parameters that open up access to a wider palette of chorus effects: Time lets you set a fixed delay time and Taps gives you the option to switch to a one-tap delay (Chorus-Ensemble previously used a two-tap by default) reminiscent of vintage pedals.

Live 12.4 also brings a handful of improvements to the stem separation feature introduced with Live 12.3 last year. It’s now possible to highlight a portion of an audio clip in Live’s Arrangement View and separate only that selection, which will be useful for quickly isolating specific moments within a track without having to create a new clip. Additionally, separated stems can now be merged into a single audio file, making it easier to strip vocals out of a mix and leave the instrumental intact.

Also new in Live 12.4 is Learn View, a “redesigned learning experience” that replaces the existing Help View, designed to make it easier for beginners to educate themselves on Live’s interface and key features.

Combining short instructional videos with written explanations, Learn View allows you to view tutorials in a floating picture-in-picture window within Live, filtering lessons by topic and ticking them off as they’re completed to track your progress. Only a few video lessons are currently available, but Ableton says new modules will continue to be added throughout the beta period and beyond.

Highlights of Ableton Live 12.4 include:

• Link Audio allows audio to be streamed over a local network directly into Live for easier monitoring and recording of external sources.
• The update also brings refinements to Stem Separation, including more flexible clip-based processing, as well as updates to devices like Erosion, Chorus-Ensemble, and Delay.
• A new Learn View replaces Help View, offering guided tutorials for core workflows.
• Push, Note, and Move also receive updates in 12.4. Push benefits from deeper integration with Live and improved device control, while Note and Move gain access to refreshed devices like Erosion and support for Link Audio workflows alongside Live.

Beta testing is usually the final round of testing done before software products get an official release. Beta testers get an early look at the latest version of applications, but may encounter bugs that can only be identified when testing is expanded to a broad group of users.

Ableton Live 12.4 is out in public beta today. Check out the release notes on Ableton website for more info.

Developer Akihiko Matsumoto shared this video demo of Telequencer, a new Max For Live step sequencer for Ableton Live.

Each step in Telequencer holds more than a pitch. It carries a duration, a place in time, and a potential to shift the groove. You can shape how long notes last, how many steps the sequence spans, how often it resets. The clock offers five tempo subdivisions, each capable of pulling the same pattern into a new mood.

Matsumoto say that “Telequencer takes inspiration from the Make Noise Rene, bringing the experimental spirit of modular synthesis into the digital realm.”

With Telequencer, you have control over three independent sequence layers:

• MIDI Notes: Define pitches and build melodic structures.
• Note Durations: Sculpt rhythmic complexity with custom timing.
• Ctrl Sequences: Map to any plugin or parameter, adding an expressive modulation layer.

Telequencer is available now for $14.99.