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Push Push (Live), colour is used to good effect: unused parts of the audio those before the start location, or after any loop point are greyed out, while the looped area itself is highlighted against a coloured background. Again, colours reflect those assigned in Live. A moving cursor shows the current playback position, just as in Live itself. And as The Push can be both in Clip mode for its display interface and Session mode for the pads, you can quickly switch between clips and see their waveforms immediately. Ableton say that they want to add more parameters in software updates. As on the Push 1, locators can be moved by entire bars, or by 16th notes by holding down Shift. If, at this stage, you feel that some massive opportunity has been missed in terms of sample triggering and manipulation, fear not: the really cool enhancements are elsewhere. Live has long had two sample players: the fully fledged Sampler, an optional extra providing zoned multisampling and complex modulation, and the entry—level Simpler. The main functions of the latter always seemed to be to provide individual drum hits, or package up multisamples for users with no access to Sampler. With Live 9. Secondly, Simpler now has three modes. Select Slice, and the sample is chopped up at transients. The Simpler instrument then turns into something resembling a drum rack, where each pad triggers sample playback from a different slice point. Waveform segments flash as they are triggered, both in Live and on the Push 2. In Slicing mode, the number of transients used for slicing can be varied dynamically: turn down the sensitivity control from the default value of percent and detected transients start to disappear from the waveform display, with the set of valid notes shrinking in sympathy. Turn sensitivity back up and the transients and notes reappear. Predictably, this all gets to be a lot more interesting once the Push 2 is involved. To really generate new musical ideas, though, start step sequencing the sliced audio. I found this to be an engaging way of coming up with some really novel rhythms, starting with a rather mundane drum clip and then completely reordering its slices, throwing in some looped automation on the fly to transpose the audio. The encoders can, as a set, be switched between volumes, pans and send levels, or can be mapped to all of these parameters for any specific track. The Push 2 has a Mix button which accesses similar views. There are no separate buttons for volumes, pans and sends: the upper display buttons switch between these views instead. Press Mix again to view settings for a specific track. Mute and Push Push (Live) status is toggled for the currently selected track by pressing the Mute or Solo button. Multiple tracks can be muted — or soloed, if you have Solo Exclusive disabled in Live — by holding down Mute or Solo and clicking the relevant track display buttons. Muting and soloing can be applied to chains as well. After a while I got used to it, again helped by colour cues from the display and buttons, but it took a little practice. The biggest enhancement to the mixing interface is, again, in the display: the volume controls contain integral audio VU meters, with level and peak indication. In effect, the level controls precisely mimic their counterparts within Live, giving you level indication where you need it, at your fingertips. The master output meters in Live turn completely red on overload, whereas those on the Push 2 just show red above the 0dB mark. When it comes to existing functionality, everything that was already possible with Push 1 can be done on Push 2 without incident. Automation punch—in works in much the same way on both devices: on the Push 2, parameters which are automated Push Push (Live) but not always! The mysterious Convert button, it turns out, is something new to speed up composing: at a push, it lets you turn audio clips into Simpler devices and Simplers into drum racks. The significant enhancement to Live 9. As a test, I ran two identical instances of Operator side by side within a rack, using chain select to fade between them, and then did the upgrade on one of them. Initially, the upgraded Operator used a filter type called Clean. This is presumably intended as a close match to the legacy version, and I noticed no difference in sound. Then I started trying out the alternative types. Adding some rather severe wave-shaping ahead of this filter got me some rather delicious animated harmonics. Again, the Push 2 really delivered here, providing quick and easy access to all the synthesis parameters, accompanied by some rather quirky icons for the different filter circuits. By contrast, the Push 1 was not giving me access to much more than frequency and resonance. I was impressed with the Push 1 when it came out: it provides powerful step sequencing, creative punch—in automation and fingertip access to instruments and effects. The super—sensitive pads transform the Push from grid controller into what I would consider a true keyboard instrument, the graphic display presents a lot more information at a glance, the display buttons contribute to a streamlined and flexible user experience, and the waveform visualisations open up a new world of audio improvisation and experimentation. And the addition of VU meters, and support for rack unfolding, turns the controller into a bona fide mixing surface. Everything about the Push 2 is bright, clean and responsive. The real win for me, though, is the expanded access to devices. The Push 1 made a decent stab at providing an editing interface, but the Push 2 takes the process to the next level, giving you access to practically every device parameter, shown visually or at least iconically and immediately to hand, with snappy animated feedback. I really am finding it difficult to find any significant drawback with this product: it absolutely deserves to be a winner. We put some questions to him about the new controller The Push 1 was a game—changer for working with Live, and proved hugely popular. When did you decide that there needed to be a Push 2? Push 1 is still a totally relevant and powerful tool for music creation, but the hardware and display limits us to what we can address in regards to working with samples, and how well we can keep you immersed in making music away from your computer screen. I suppose if Push 1 had failed, we may have had to rethink if a Push Push (Live) was necessary, but it seems that our vision resonated with quite a few people. The Push 1 was a joint venture with Akai, and you looked to them for engineering experience and support. Why did you decide to go it alone with the Push 2, and how did that work out? JT: I can only say positive things about the people I worked with at Akai Professional, and in particular, the engineering expertise of Alex Souppa and Chris Nicolls helped to make Push 1 a reality. One thing we learned from them in particular was the time and energy it takes to make a product like Push — and for sure, those guys put in immense amounts of work to refine Push 1 and make it as good as it could be. We had and have a great relationship with Akai Professional, yet I think there is a limit to what we could fairly ask out of them to put into Push. They have their own range of really great products that they need to look after as well. On the flipside, Push is our only hardware product. We had an idea of what we wanted out of Push 2, and we had an idea of what kinds of reasonably expensive components we wanted, and what levels of detail and focus we were going to need. We knew this would be a significant cost and resource investment, and in order for this to make sense, we had to do it on our own. We brought on a highly experienced Head of Hardware named Oliver Harms, who brought the expertise needed to help make this kind of a product. The low—profile pads are a step—change in sensitivity and accuracy compared to the Push 1. Why did you decide this improvement was necessary, and what was involved in bringing it to fruition? We felt after some years with Push 1 that we wanted them softer and a bit smoother as well. Luckily, Oliver has a lot of experience making great pads, and he had some hardware ideas about how to make them more sensitive with less crosstalk and false triggers which is usually a limiting factor on how sensitive you can make a pad. There is also quite a bit of work needed on the firmware side to have the pads feel right, and this is done by our longtime Ableton developer Ralf Suckow, who probably dreams of velocity graphs at this point. Trying out the first versions of Push 2 was a rewarding moment, like having my guitar set up by an expert luthier. The most obvious interface improvement over the Push 1 is the high—resolution colour display. Were these incidental benefits from the decision to support waveformsor did you want Push Push (Live) revamp the entire interface right from the start? JT: Showing audio waveforms was surely a driving aspect for getting this kind of display, but a major lesson from studying Push 1 users was that they often turned to their computer to browse for sounds, so we knew we wanted to improve there. We know that the computer is a cluttered and disconnected place that contains a smorgasbord of fonts, icons and graphics, and our goal was to provide a place with one consistent design language that could keep you focused on music making while showing only what you need to see to get music made. There is of course a lot more we hope to do to take advantage of the screen with future updates. A lot of effort seems to have gone into the dynamic beat—slicing machinery, both in the Push 2 and within Live 9. Was this feature a design goal from the beginning? How did it come about? JT: We wanted to focus on sampling for 9. Many of us used workarounds before Live 9. We fixed that. What were the biggest challenges in getting to a working product? JT: There were many, many challenges but I would say perhaps one of the biggest for us was zooming in on a sample. Samplers and drum machines have lived and died by this simple aspect of sampling, and we felt like we wanted something better and faster than what is out there. The hardware is going to be discontinued, but will there be ongoing support for it within Live? JT: There will certainly be ongoing work on Push 1 and we want it to work well at what it does for a long time. For example, you can now load VSTs and AUs and your scale and key settings are remembered when you save a set, among other improvements. As a nice philanthropic gesture, and an unusual incentive to upgrade, Ableton have announced a unique trade—in programme for Push 1 users wanting to make the move to Push 2. Registered Push 1 owners can buy the new controller with a percent discount and Ableton will collect your Push 1, recondition it, and donate it along with a Live licence to a deserving educational institution. Everyone wins! New, super—sensitive touch pads turn the Push 2 into a much more playable instrument than its predecessor, while a new high—resolution graphic display adds waveform slicing, improved mixing and much better device editing. The Live 9. Pros High—resolution, full—colour TFT display. New high—sensitivity pads. Dynamic beat—slicing with audio waveform display. Comprehensive device parameter editing. Good colour consistency in the pads. Low latency and fast display refresh. Cons Device chain navigation, muting and soloing is a little fiddly. No graphical envelope displays. Some parameter names are truncated. Push 2 requires an external PSU. Summary New, super—sensitive touch pads turn the Push 2 into a much more playable instrument than its predecessor, while a new high—resolution graphic display adds waveform slicing, improved mixing and much better device editing. In case the above steps don't work, please see the dedicated articles for the following specific issues:. Ableton Push Installation and Setup. Setting up Push 2 Windows Live Versions: 9. Push 2 requires Live 9. Windows 7 in particular needs to have Service Pack 1 installed. Push 2 uses your computer's graphics card to render its display. More info here. Further info: Push 2 minimum system requirements 2, Push Push (Live). Use the included USB cable which came with your Push 2. Press the power switch in firmly until it clicks to turn the unit on. The power switch is located on the back panel of your Push, behind the master volume knob.{/PARAGRAPH}


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  8. In basic terms, the Push 1 and the Push 2 provide similar access to Live’s mixer. The Push 1 has buttons labelled Track, Volume and Pan & Send, which switch it into various mixer overviews. The encoders can, as a set, be switched between volumes, pans and send levels, or can be mapped to all of these parameters for any specific track.

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