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All Ableton Release Notes
- Nov 12, 2025
- Parsed from source:Nov 12, 2025
- Detected by Releasebot:Nov 12, 2025
12.2.7 Release Notes
Max 9.0.8 release brings stability and performance fixes across Windows and macOS. Users will see fewer crashes with NVDA/Narrator, smoother audio settings, and more reliable patching and file path handling. V8 improvements boost performance and client notifications.
New Features and Improvements
On Windows, Live will no longer crash with NVDA or Narrator screen readers when the browser or File Manager is shown or has its elements expanded.
Fixed an issue where macOS machines would not connect to Push 2 or 3 in some cases.
Updated Max 9.0.8 to build 82d284e:
- amxd~: unnecessary directories are not created on export
- array.change / dict comparison objects: unordered mode matching non-matching atom arrays
- array.fill: fix hang when incoming array is empty
- Audio Driver: fixed audio prefs for Thread Priority and Latency (Windows)
- Audio Drivers: Fix potential crash on launch due to ad_mme bug (Windows)
- chooser: fixed crash when cmd-dragging
- curve~ / line: fixed issues when used in pfft
- Define: improved functionality with v8 / arguments
- jit.gl.texture: fixed shared context errors
- jweb: appropriately intercepts keys when it has focus
- live.banks: notify when parameter mappings change
- MIDI: improved behavior of port filtering / disambiguation
- midiin: unsupported MIDI RT messages are output
- numbox: fixed parameter usage
- Patching: fixed potential crash with deletion of outlets
- Projects: fixed issues with resolving file paths with localized files
- textedit: fixed crash with single quote character
- Timing: fixed ITM parsing not to be fooled by symbols containing the letter 'n'
- UI Objects Value Popup: fixed potential crashes
- v8: fixed crash with max.frontpatcher when Max is in the background
- v8: load/free performance optimizations
- v8: notifyclients() notifies on the object (not the box)
- November 2025
- No date parsed from source.
- Detected by Releasebot:Nov 3, 2025
See What You Can Do With Live 12.1 – Plus What’s New for Push
Ableton Live 12.1 is now a free update for Live 12 users, adding real-time pitch correction with Auto Shift, Drum Sampler, new MIDI Transformations and streamlined workflows. Push gains finer Macro control, instant variation switching and encoder-driven groove on MIDI clips. Release notes cover all changes.
Live 12.1 release notes
Ableton Live 12.1 is available now as a free update for all Live 12 users.
It brings real-time pitch correction with Auto Shift, plus Drum Sampler, new MIDI Transformations and workflows, and many more tools to try. Check out the video below to see them all in action.See what Live 12.1 brings to Push
You can now shape dynamic sounds with finer control using Macros, switch between variations instantly, and add groove to all your MIDI clips with a single twist of an encoder. See these plus essential new workflow improvements in the video below.
Take a look at the Live release notes to learn more about Live 12.1, and check out the Push release notes for more detail on the latest update.
Original source Report a problem - November 2025
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- Detected by Releasebot:Nov 3, 2025
Say Hello to Ableton Move
Ableton Move
Ableton Move is a compact, standalone tool for instinctive music making.
With a rechargeable battery and a built-in processor, microphone, and speaker, it’s the ideal companion for creating on the go. Pick it up, get an idea down, capture and shape sounds in seconds. Move is ready when you are.
Take a first look.
Head to the Ableton shop to get yours now.
Original source Report a problem - November 2025
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- Detected by Releasebot:Nov 3, 2025
Roar: Meet Live 12’s New Processing Powerhouse
Roar brings experimental saturation and distortion to Live 12 with flexible routing, 12-shaper curves, multi‑band options, and a modulation matrix. From feedback to filters, it unlocks evolving textures for guitar, pads and beats.
Moving Sounds
When a sound lacks character, saturation and distortion are two of the most powerful tools in a music-maker’s kit. They can be used to give an acoustic guitar subtle warmth, help vocals cut through a busy mix or totally degrade a synth line into a chaotic wall of noise. Roar was created for Live 12 to offer a more experimental approach to these typically static effects.
A signal fed into Roar can go through three different stages of processing, coming across a variety of stackable saturation curves and filters before hitting feedback and compression. The architecture of the device is geared towards flexible routing and modulation, bringing new levels of movement and expression to your sound for musical results as well as technical ones.
“I was listening a lot to trance music like Infected Mushroom,” says Marco Fink, Roar’s lead developer, “and they have these crazy modulations in volume and panning all the time, to make everything moving and interesting.”
Around 2021 an idea started to form in Fink’s mind about the limitations of static saturation and distortion, and how ingenious producers in the field of psy-trance were making their music so full of kinetic energy. Even in music so hyper-modern and defined by digital technology, there were certain qualities in the sound which link back to our enduring love of analogue signals.
“When people always talk about how analogue things are more warm and dynamic, this is mainly because the saturation curve in the analogue domain is never static,” Fink explains. “There's always an interaction with other components, and the actual curve of a tube amp or guitar amp changes as soon as you play something.”
Fink’s past credits include the much-loved Echo. In the same way that device distilled the essence of classic tape delay and gave it deeper sound design possibilities, Fink sought to capture the rich character of vintage signal chains, match them with new experimental approaches and give them huge potential for control and manipulation.
See how Roar’s Drive, Modulation and Feedback can bring a guitar tone to life
Flexible routing
If psy-trance was one prominent influence on Fink’s thought-process, the other was Mick Gordon’s seminal soundtrack to the 2016 video game Doom.
“I looked up how some of the crazy sounds for the Doom soundtrack were created,” explains Fink, “and one technique was to use four parallel effect chains of distortions, compressors, a reverb and a physical feedback loop, mixed together to get this really full, nasty sound. That got me thinking about having flexible routing, and being able to use different distortions in parallel with different filters.”
Like other devices in Live 12, the initial interface of Roar is designed to encourage interesting results with just a few dial twists, but as you unfold the different sections it reveals the deeper network of parameters and routing options. Fink’s initial sketch of what he imagined Roar to be involved multiple distortion curve types with attached filters, LFOs and envelopes as modulation sources and a modulation matrix to allow for different interaction between parts of the device.
“What we didn't imagine in the beginning is that it's a lot of fun to have feedback which can be timed and synced and create all kinds of nasty effects,” admits Fink.
Curves
It’s the distortion curves, called Shapers in the device, where Roar starts working on any sound fed into it. You can choose to work with one Shaper, two chained in Serial or Parallel, three set to MultiBand covering low, mid and high frequencies, a pair set up for Mid/Side processing or a dedicated Feedback routing.
The Shapers can be set to 12 different shapes, from Soft Sine and Diode Clipper to Tube Preamp and Shards.
“It was important for us to have really different flavors in there,” explains Fink. “We have virtual analogue models like Diode Clipper and Tube Preamp, and then the last ones like Polynomial, Fractal, Noise Injection and Shards are just weird and particular – I haven't seen curves like this before.”
Each curve creates its own unique artifacts on top of the signal, but for Marco Tonni, it was the addition of a filter after each separate Shaper which excited him the most as a music maker. Tonni led the team who developed and designed Roar.
“Pairing a Shaper with a filter afterwards, to me is genius,” explains Tonni, “because, of course, when you distort the signal you create harmonics but you don't like all of them. Mostly you like the first harmonics and then it starts to sound thin and tinny. Of course you could put an EQ afterwards but when I’m making music, I’m a bit lazy to do that. Having a nice curve with a filter there in the same block, it's a bit of a game changer.”
See how Roar’s Comb and Resampling filters can add phasing or redux to a drum break
Fink is a lifelong guitar player, while Tonni is more experienced in beat-making and synthesis, but the two agree Roar shows the best of what it can do with a clean signal that doesn’t already have too many harmonics. Where previously he might have done more sound design inside a synth device, now Tonni happily does the same work in Roar, using it to create different kinds of tones.
“That's very often how I will start a new idea now,” he explains. "I do a new sketch with a simple sine wave and something like a big arpeggio, and then I use Roar as a wave shaper.”
Modulation
One benefit of having multimode filters embedded within the device is the ability to modulate their parameters in tandem with other parts of Roar. Unfolding the Modulation section reveals the ways you can control the movement of sound using two different LFOs, an Envelope Follower and a Noise source.
“Originally the LFOs weren't really LFOs,” reveals Tonni. “They were basically things where you could add breakpoints and create shapes, and even randomize the position of these breakpoints. It felt like we couldn't live without it, but actually Roar became better once we stuck to simpler shapes, because we found other ways to animate these LFOs like the morphing that Marco created.”
See the creative possibilities exploring the Modulation Matrix in Roar’s Multiband mode
For anyone familiar with modulation, the controls are relatively straight-forward, but the Morphing control on the LFOs are a particularly interesting addition which allow you to adjust the shape of classic waveforms like square, sine and ramp.
The Modulation Matrix is central to the creative potential in Roar, offering a clearly laid-out table where you can apply any amount of modulation from the four sources to all the device’s controls, including the other modulation sources. This cross-referencing signal manipulation is the heart of Roar’s intrigue, where your sound might well become something entirely unrecognizable and exciting.
“The concept is very deep from the beginning,” says Fink. “It was expected that you can get lost in Roar. As soon as you have a modulation matrix, you can tweak it for hours, even if you only have a basic idea in mind.”
“On something like a sustained pad sound, an LFO that keeps changing shape becomes way more interesting,” adds Tonni. “You can modulate one LFO with the other, and maybe add some randomization to it, so you have an organic evolving sound as opposed to something that sounds predictable.”
Compression
Given the wild signals flying around inside Roar, compression becomes an essential step in the chain to avoid massive amounts of unwanted clipping and blown speakers. Tonni and Fink decided it would be better to keep the control of the built-in Compressor simple and make sure its hardwired finer details were optimized for the signals Roar would produce.
“We had a pretty good idea of how this Compressor should sound,” explains Tonni, “and taking some of the controls away from users means they can benefit in that they don't need to spend too much time setting things like attack and release times.”
For Tonni, Roar’s unique way of affecting a signal’s dynamics has become a key feature. Previously, he might have achieved the classic ‘pumping’ compression sound by applying reverb before a compressor to his signal so the decay shows where the compressor releases. Now he can even control the Dry/Wet setting with Roar’s Envelope Follower to create an even more dramatic result.
“I love distorted beats,” he says, “but I also love when the kick drum is round and comes through. With Roar, I can destroy a signal but make sure when the kick hits, it still has the punch and is rather clean.”
Feedback
The Feedback in Roar allows signals to evolve in all sorts of unpredictable ways, from leaving a subtle, rhythmic tail to full-blown, over-driving drones. The deceptively simple settings offer a variety of Feedback modes from Time and Synced through to Note, which can offer surprisingly musical results.
See how jamming with Roar’s Feedback settings can create new textures and rhythms
“I remember the day Marco sent me the first prototype with Feedback built in,” recalls Tonni. “That’s when I knew we had something really special. The fact you also have the Compressor in the feedback loop, it means once you start feeding back the signal, many of Roar’s components start to interact with each other. Once the Feedback signal reaches a certain loudness, the Compressor will tame it, so the Feedback lessens and then in the release phase of the Compressor, the signal gets louder, and that Feedback comes back. This leads to a very organic feeling, like the feedback is breathing, because it seems to respond very dynamically to signals.”
Universal Distortion
The depth and flexibility of Roar means it’s primed to be useful for all kinds of music makers, whether you use the Multiband mode to dial in distortion to the low-end of a trap beat or you’re looking for a warm and gritty tone for a pad. Experimental artists will find themselves occupied for a long time exploring the possibilities of modulation and feedback to generate new sounds from existing signals. It’s in that deep-diving potential of the expanded view of the device where Roar truly shows what it’s capable of.
“My favorite pathway in making music in general is controlled chaos,” says Tonni. “Roar really helps you go as crazy as you want, but keeping it under control. This is why it’s so powerful and inspiring, because you have the feeling the thing is going to explode, but instead it just keeps on morphing.”
Discover what else is new in Live 12
Text and interviews: Oli Warwick
Original source Report a problem - November 2025
- No date parsed from source.
- Detected by Releasebot:Nov 5, 2025
Note 1.6
New
- New samples and presetes by Tamuz
Fixes
- Fixed a rare issue where the content of one sets would end up in another set
- November 2025
- No date parsed from source.
- Detected by Releasebot:Nov 5, 2025
Note 1.5.2
New iPad drag‑and‑drop lets you load samples into Drum Kits and Melodic Samplers, with multi‑pad loading from the current selection. Drift adds Settings purchase, new modulation sources, verbose IAP errors, and quick Sample Options via ... plus Resampling/Recording toggle. Various fixes improve color, automation, MIDI looping, and Melodic Sampler layout.
New
- iPad: Samples can now be dragged and dropped onto the sample view in Drum Kits and Melodic samplers. In drum kits, dragging multiple samples will load them onto multiple pads, starting from the currently selected one
- Drift: You can now purchase Drift via the Settings page
- Sample Options: Added Resampling/Recording toggle to the Sample Options
Tweaks
- Sample Options: Now accessible via "..." on each sample
- Drift: Added Pressure to the list of possible modulation sources, which can be controlled on the Y Axis of the Keys layout, as well as on Move
- Drift: Added more verbose error messages for IAP
- Drift: Adjusted "locked" toggles in High Contrast mode
Fixes
- Fixed an issue on iOS26 where some elements would not show the correct track color
- Drift: When removing Drift's macros, automation of non-locked parameters will no longer be lost
- Drift: Changing pages on Drift and Drum Sampler would no longer work after using undo or duplicating tracks
- MIDI: Sometimes newly added notes would not wrap around the loop
- High Contrast: Automation lines had the wrong border color
- Melodic Sampler: Trigger/Gate was missing from the parameter layout
- November 2025
- No date parsed from source.
- Detected by Releasebot:Nov 5, 2025
Note 1.5.1
Fixes
- Fixed an issue where Drift would show as not purchased in Airplane Mode.
- Fixed an issue where swiping sub-pages of Drift was not possible with the main tab folded.
- Adjusted some colors for Drift when using High Contrast Mode.
- Automation was sometimes not shown for some Drift parameters.
- November 2025
- No date parsed from source.
- Detected by Releasebot:Nov 5, 2025
Note 1.5
Drift now lets you access the full device and parameters; Browser adds a preset filter by device type. Settings gain Restore Purchases and a cleaner layout, plus new Loops samples and Sliced Loops presets. Multiple MIDI Editor fixes, iPad zoom fix, and TestFlight Japanese access improvement.
New
- Drift: Access and purchase the full Drift device via the Drift icon in Device View.
- Drift: Expand the device for full parameter access.
- Browser: Added a preset filter by device type for instruments.
- Settings: Added “Restore Purchases”.
- Settings: Reorganized into sections.
- MIDI Editor: Added audio preview when touch-editing notes while transport is stopped.
- Content: New samples in Loops; new track presets in Sliced Loops.
Fixes
- Melodic Sampler: Fixed display of Transpose and Detune dials.
- MIDI Editor: Fixed missing playhead, note handles, borders, and loop brace in the high-contrast theme.
- MIDI Editor: Fixed note-editing menu not opening after using Select All.
- MIDI Editor (iPad): Fixed incorrect zoom when switching tracks via keyboard.
- TestFlight Beta: Fixed issue preventing Japanese users from joining.
- Set Library: Fixed cases where sets could overwrite each other when opened and closed in quick succession.
- November 2025
- No date parsed from source.
- Detected by Releasebot:Nov 5, 2025
Note 1.4.3
New
- Auto Filter: Real-time visualisation of the LFO
Tweaks
- Session View: Only show contents of the selected loop-range of a clip.
- MIDI Editor: Newly added notes no longer overwrite existing notes.
- Naming scheme for reversed samples has been changed from _rev.wav to ' R'.wav.
Fixes
- Device icons are now visible in high-contrast mode.
- Preview sounds while browsing are no longer shown as MIDI notes in capture.
- There were less than 5x5 pads for melodic instruments on some devices.
- iPad: In some cases the amount of pads would vary too much between horizontal and portrait mode.
- November 2025
- No date parsed from source.
- Detected by Releasebot:Nov 5, 2025
Note 1.4
New
- FX Device: Auto Filter is now available in Note!
- More pads are shown on larger screens
Tweaks
- MIDI Editor: The editor's view state is now persistent when switching between tracks
Fixes
- Pads: Fixed a bug where the pads would play wrong velocities when using note repeat
- MIDI Editor: Fixed some glitches in triplet mode
- Fixed some rare crashes related to the MIDI Editor