Does superior drummer 2.0 work with ableton live lite
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“It’s just having everything in one place.” “I was like, ‘Wow, you could do all these other things with it’ - making beats, using different processors and presets,” he says. He soon discovered that it was good for more than live sets. Longtime DJ Gary Richards, who is known as Destructo and would go on to create popular dance events like HARD, was accustomed to DJ’ing with vinyl when Überzone told him about Ableton Live.
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Überzone, a California electronica DJ, was an early adopter who used Ableton Live to perform full DJ sets, then spread the word to his contemporaries.
#Does superior drummer 2.0 work with ableton live lite software#
DJs soon realized they could use the software to create live mixes onstage, eliminating the need for turntables and other cumbersome equipment. Over the next decade, musicians gravitated to Ableton Live through word-of-mouth. “You could bring together all these different materials and make them play in time together without having to do a lot of handiwork,” says Behles. Subsequent versions allowed users to hook up their instruments with MIDI to record their own sounds. Running on both Macs and PCs, the software made it easy for users without much recording know-how to manipulate snippets of music - changing pitches, transitioning between passages, cutting and pasting tracks, and even building beats, or for that matter entire songs, from scratch. The first version of Ableton Live, released in 2001, presented users with an onscreen grid of sound waves, arranged like tiny swim lanes. (Henke is still involved in Ableton, but only Behles and Roggendorf are considered founders Jan Bohl, the CFO and the company’s fourth partner, joined later.) Once they realized that it could be a viable product, they brought in Roggendorf, a more experienced programmer. In Monolake (which signed to a German independent record label but never found a mass audience), they first used a music-focused programming language called Max, then began to write the software that became Ableton Live. Behles and Henke wanted to write music in real time on laptops as they grew more portable.
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They did it to solve a musician’s problem: Existing production programs like Pro Tools and Logic were designed to record and edit sounds after musicians had already played them. Photographed by Urban Zintelīehles created Ableton Live with Robert Henke, his partner since the 1990s in the ambient duo Monolake, whose music - then and now - sounds like keyboard players tinkering with didgeridoos in the jungle. “You could do a lot of positive work without putting things in the world - without worrying about the environmental impact.” His 11-year-old son? “Drummer,” he says. Ableton’s future? “We have this oath that we will never talk about what we will do next.” Software? “Beautiful properties. Yet even when discussing something he feels passionately about, Behles barely raises his voice above a cordial German monotone. They want to give away Ableton Live to schools so students can learn to make music. Behles is an electronic musician - he still uses their company’s marquee product, Ableton Live - and his co-founder Bernd Roggendorf left the executive team years ago to “devote his whole life to altruism,” according to Behles. Investors see possible synergies, but Ableton’s founders are happy where they are. The company certainly has financial potential: “If Ableton was to put itself into the market, there would be a feeding frenzy,” says music industry analyst Mark Mulligan of MIDiA Research. We get a lot of inquiries, and we turn them all down.” “It has popped up on the radar of Wall Street - huge valuations tossed around.
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His straight hair is perfectly combed into a new wave curl, he’s wearing a suit - which he does every day to avoid thinking about how to dress - and he says his life is “probably very boring.” But he is the driving force behind Ableton’s refusal to sell at a time when the growth of the digital music business would make it a tempting, and very valuable, acquisition.
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“Everybody was like, ‘What?’ It was very anarchic and punk.”Ībleton’s Berlin headquarters is in Prenzlauer Berg, a gentrified neighborhood in what was once East Berlin, and sitting in a ground-floor conference room today - across an outdoor courtyard from an entry area and a coffee bar - Behles, 52, looks anything but anarchic and punk. “These tech investors never heard anything like that,” Diplo remembers. “We don’t have any investments in our company,” he replied. Only Two Percent of Charting Producers Are Non-Male - LP Giobbi's Femme House Tour Aims to Change…īehles didn’t budge.