Technology in music production keeps on developing and the concept of spatial music production may well be the next step in the evolution of music production. This free spatial tool for Ableton Live has been developed by the Non-profit, Envelop. It provides an intuitive approach to creating 3D sound in Ableton Live without the need for lots of equipment.
Envelop’s new spatial tool enables Ableton users to improvise with space, hear the results through headphones, and scale up the number of speakers. It includes a mixer for panning audio sources, multi format reverbs, delays and sound shapers as well as many more specialised effects for developers.
There is one question that has been floating around the internet for an age, and people debate it over and over again -- that is: what's the best Ableton Live warp mode for DJs using Ableton Live?
Interestingly, Ableton Live has had many releases, even a warp engine revamp, but those efforts just can't seem to clear up the burning question!
So, what is the best warp mode in Ableton Live for every DJ? Is it even possible to answer this question? I'm going to try!
We work with a lot of newly released edits of original older music from the 70s and 80s. Usually a client asks us for help to beat grid, time edit or warp them to get them to behave in their DAW or DJ software. After further investigation, we almost always find that the producer of the new edit hasn't edited the timing of the original track that they have sampled or the resulting samples that are in their shiny new release. This always results in a track with a drifting tempo that won't automate alongside other tracks easily and needs BPM editing work.
We work with a lot of newly released edits of original older music from the 70s and 80s. Usually a client asks us for help to beat grid, time edit or warp them to get them to behave in their DAW or DJ software. After further investigation, we almost always find that the producer of the new edit hasn't edited the timing of the original track that they have sampled or the resulting samples that are in their shiny new release. This always results in a track with a drifting tempo that won't automate alongside other tracks easily and needs BPM editing work.
