Live 8 is when I threw in the towel and stopped using it in any sort of serious way. I’ve kept up with the versions, and 10 seems worth the steep cost.pdxindy wrote:It's a stable DAW now...greenfly wrote:Been using Live for years, it's a stable DAW
However, Live 7 and 8 weren't. Particularly with 8, users were up in arms and ready for a palace revolt. That is why Ableton had to announce the stopping of development and they spent over a year just fixing all the many issues. It was crash crash crash city.
Then when Live 9 was released, the core application was fairly solid by then (better now), but M4L was still crash prone and to this day is not solid like the core application is.
NAMM 2018 | Bitwig News | 2.3 Announced
- KVRian
- 599 posts since 8 Apr, 2014 from USA
-
- KVRist
- 161 posts since 22 Jun, 2014
I don't remember major frustrations with Live 8 so much so that I desperately wanted to switch to another DAW. For House/Techno Music at that time, the only other major DAW people were using was Logic 9 and Cubase to a degree but when I looked at Logic 9, I thought it was ugly and a workflow killer because it didn't have the session view. Logic pro X though is a very viable platform for mixing a track in but I tend to use Studio One for that. Never really took to Reason or FL Studio.pdxindy wrote:Live 8 - 9 was only that long because 8 was so buggy and crash prone and users were so angry that Ableton had to make a public declaration that they were ceasing development until they fixed all the serious issues. Take away that emergency bug fixing period and 8 to 9 was more like 2 1/2 years.greenfly wrote:pdxindy wrote:
I think the 5 years from 9 to 10 is something of an aberration. In that time there was Push 1 and Push 2 which brought a lot of revenue. But now many Live users already have a Push so my guess, and of course we are just speculating here, is that it will be 2 years until a paid Live 11 upgrade is announced.
Not based on recent history of the DAW. Live 8 --> Live 9 was 4 years. Live 9 --> Live 10 was over 4 years.
Live 9 - 10 is the single aberration... and that is because of Push. It doubt it will happen that way again. A data set of 1 does not a pattern make. But hey, if you want to believe you are going to get 4-5 more years of free updates, go right ahead.
Don't get me wrong about Bitwig though, I think it compliments Live very well and vice versa now that they've introduced Ableton Link. It's a great DAW to get the creative juices flowing and is a natural addition for Live users who want to play in a DAW which will feel instantly familiar to them.
- KVRAF
- 26941 posts since 3 Feb, 2005 from in the wilds
Obviously it was that way for many people... otherwise Ableton would not have had to make that rather unusual declaration. Live 8 was bad stability wise (started in 7 IIRC)... and there were a lot of crashes that were not repeatable... so hard to troubleshoot which was also why it took so long.greenfly wrote:I don't remember major frustrations with Live 8 so much so that I desperately wanted to switch to another DAW.pdxindy wrote:Live 8 - 9 was only that long because 8 was so buggy and crash prone and users were so angry that Ableton had to make a public declaration that they were ceasing development until they fixed all the serious issues. Take away that emergency bug fixing period and 8 to 9 was more like 2 1/2 years.
Live 9 - 10 is the single aberration... and that is because of Push. It doubt it will happen that way again. A data set of 1 does not a pattern make. But hey, if you want to believe you are going to get 4-5 more years of free updates, go right ahead.
Personally, as a Live user, I have not found the nearly 5 years from 9 to 10 a positive thing. Sure there were no upgrade costs, but there was also not much core application development either. There were lots of bug fixes and the software really is stable now which is a great thing... but most of the functionality changes in that time were related to Push... first 1 then 2. I would rather have had another 1 or 2 major paid updates in that time and have had things like MPE support. 5 years of slow development is partly why I switched to Bitwig.
I like Live... it served me well for years. It is excellent software. But Bitwig is doing the sort of creative development I find exciting. Good we both have software we like
-
Echoes in the Attic Echoes in the Attic https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=180417
- KVRAF
- 12012 posts since 12 May, 2008
It's crazy enough that it wasn't in 1.0 so I'm guessing yeah probably too much to ask.paalsound wrote: Is it too much to ask that a fade in/out + zero crossing on the sampler has been added?
- KVRAF
- 26941 posts since 3 Feb, 2005 from in the wilds
Seems like they would mention that on the 2.3 promo page if they had made improvements to the sampler.paalsound wrote:
Is it too much to ask that a fade in/out + zero crossing on the sampler has been added?
- KVRist
- 413 posts since 16 Mar, 2013 from BLN
There's probably a good chance they did. It's mentioned as one of the devices which got the Expanded Device View.pdxindy wrote:Seems like they would mention that on the 2.3 promo page if they had made improvements to the sampler.paalsound wrote:
Is it too much to ask that a fade in/out + zero crossing on the sampler has been added?
- KVRist
- 265 posts since 25 Jan, 2016 from in my DAW
I can't wait to test out the new stretching algos. I literally can't sleep anymore. Hurry up with the beta!

-
- KVRist
- 236 posts since 12 Mar, 2017
Beta is available for everyone:
https://www.bitwig.com/en/download.html
Same Google Groups Beta page is already active!
https://www.bitwig.com/en/download.html
Same Google Groups Beta page is already active!
- KVRist
- 265 posts since 25 Jan, 2016 from in my DAW
Stil no sleep. Testing all the new algorithms in its variations. New Elastique Algorithm sounds awesome without comparing I would say better than in Cubase, Studio One & Co (even this should be the same Elastique 3 version). Anyway, this is just awesome and a big step forward ind sound quality for all loop based musicians. 
