Ableton Products
All Ableton Release Notes
- Dec 17, 2025
- Parsed from source:Dec 17, 2025
- Detected by Releasebot:Dec 20, 2025
12.3.2 Release Notes
Bugfixes
Fixed an issue with the Max for Live API that caused Live to lag or freeze.
Original source Report a problem - Dec 9, 2025
- Parsed from source:Dec 9, 2025
- Detected by Releasebot:Dec 13, 2025
12.3.1 Release Notes
Bugfixes
Fixed a crash that could occur when loading a Soundtoys plug-in and then performing an undo step to remove the plug-in.
Updated software text in various areas of Live.
Original source Report a problem - December 2025
- No date parsed from source.
- Detected by Releasebot:Dec 16, 2025
Note 1.7.3
New
Sample Options: When the start/end of a sample changes, you can now crop and save the sample
Fixes
- Tapping a new pad while holding the start or end marker changed the new pad
- When zoomed into the waveform maximum, changing the left handle would change the right marker slightly
- Sample Gain was shown inaccurately
- Fixed flickering when reversing a sample
- Improved waveform rendering when zoomed to sample level
- Fixed potential crash with ultra-short samples
- Nov 25, 2025
- Parsed from source:Nov 25, 2025
- Detected by Releasebot:Nov 26, 2025
- Modified by Releasebot:Dec 20, 2025
12.3 Release Notes
Live 12.x release brings built in stem separation, Splice integration, Auto Pan‑Tremolo with new modes, Bounce Group Tracks and Paste Bounced Audio, plus A/B device comparison. It also ships broad browser, arrangement and bugfix improvements for a smoother workflow.
Release Notes
Stem Separation
Live Suite now features built-in stem separation that runs locally. Any recorded audio material 6 such as a song, loop, or sample 6 can be separated into four stems: Vocals, Drums, Bass, and Others. The Others stem includes all parts of the audio that are not recognized as vocals, drums, or bass.
You can separate audio files from the browser or separate clips from the Session or Arrangement View. To do so, right-click a sample in the browser or a clip in Session or Arrangement View and select Separate Stems to New Audio Tracks. Each stem is rendered onto its own track in a new Group Track. Any audio effects from the source track are also added to the Group Track. The clip used for separation is muted to avoid doubled output.
You can choose between two quality modes for the separation: High Speed and High Quality. The mode determines whether the separation process prioritizes quickness or accuracy. In High Speed mode, all stems are separated in a single pass, so the process will be faster, though it may still take several minutes on older system configurations. In High Quality mode, the separation accuracy is improved (as measured by a higher Signal-to-Distortion Ratio, i.e., SDR score), at the cost of slower processing. The Vocals, Drums, and Bass parts are processed through their own dedicated separation passes. The Others stem is then created from the remaining audio after the three passes.
Generally speaking, the overall amount of time required for the separation process highly depends on your system configuration. Stem separation may take a while on older Windows computers, Intel Macs, and Mac computers running macOS 11 Big Sur. Due to an incompatibility issue, stem separation will also run slowly on Apple Silicon computers with macOS 26.1 Tahoe. See this article for more information on macOS compatibility with Live.
Splice Integration
Splice - the industry 27s leading sample library - is now integrated into Live 27s browser. Anyone with a free or paid Splice account can access their library, browse, preview, and download samples directly within Live.
You can browse and save samples to your Splice library, as well as preview Splice samples in sync with Live's transport. When you find a sample you like, you can drag it from the Splice label into the Session or Arrangement View. Alternatively, you can double-click the sample name or press the Enter key to load the sample into a Set.
Imported samples are saved to the User Library 1 Samples 1 Splice folder by default. You can update this location to the Current Project folder or a custom folder using the Download Folder for Splice Samples option in Live 27s Library Settings.
In addition to searching for samples, you can have Splice find samples that would fit with existing material in your Set. To do so, make a clip or time selection within Session or Arrangement View, then click the Search with Sound widget in the Home tab of the Splice label. Splice will then find and display complementary samples based on the style and rhythm of the selection.
The Key filter in the sample categories within Splice includes an 3Apply Key from DAW 4 option, which automatically detects the scale root and name set in Live 27s transport bar when Scale Mode is active. You can use this option to constrain search results to the detected key and scale. Note that only major and minor scales are supported with this option. You can also use the Transpose option in the Splice Preview settings to set different transpositions for sample playback within the Splice label or sync the Splice Preview to the Set 27s key.
By default, the Splice label is visible within the browser, but you can hide it via the 3Hide from Sidebar 4 command in its context menu. The corresponding option in Live's Library Settings will also be updated accordingly.
Note that a Splice account is required to use this feature, including non-subscription accounts (which offer around 2,500 free samples). You can follow the instructions in the Splice label to create a new account as needed.
Auto Pan-Tremolo Updates
Auto Pan now features an updated interface, including dedicated modes for panning and tremolo effects. To reflect its expanded functionality, the device has been renamed Auto Pan-Tremolo.
- Two modes are now available: Panning and Tremolo. Panning modulates the placement of the source sound in the stereo panorama, while Tremolo modulates the signal level.
- A real-time visualization displays either the current panning position in Panning mode or the current tremolo level in Tremolo mode.
- New LFO Time modes include 16th, Triplet, Dotted, and Time. In Time mode, you can set the period of the LFO in seconds, which is useful for creating very long modulation cycles.
- The Modulation Attack parameter ramps the LFO modulation when an onset occurs in the input signal. This causes the modulation to increase gradually so that it mainly affects the sustained portion of the signal. In Tremolo mode, this helps preserve transients, while in Panning mode, this keeps them in the center of the stereo field.
- The Frequency Modulation parameter dynamically scales the LFO frequency based on the input signal 27s level over time. Positive values speed up the modulation, while negative values slow it down.
Tremolo mode offers several distinctive traits:
- A single LFO waveform is available, which can be morphed using the Shape parameter and inverted using the Invert toggle. Exponential and linear ramp shapes are useful for gating and ducking effects.
- Harmonic mode modulates the signal level across fixed frequency bands in an alternating pattern, creating a dense, lush tremolo effect.
- Vintage mode introduces additional warmth and grit alongside the tremolo effect by modulating the intensity of a non-linear curve instead of the signal level.
Note that the original Auto Pan device remains available in the browser and has been renamed Auto Pan Legacy. When opening existing Sets that contain Auto Pan presets, the legacy device will be automatically loaded.
Bounce Group Tracks
It is now possible to bounce Group Tracks via two new commands: Bounce Group to New Track and Bounce Group in Place.
The Bounce Group to New Track command is available in the context menu for individual group slots or selections of group slots in Session View, and within the main lane of a Group Track in Arrangement View. The Group Track is bounced with all its processing, including any return tracks used via sends from the Group Track or any of its included tracks. For that reason, bouncing is performed from the Main track, pre-FX. The bounced audio is added as a clip to a new track.
The Bounce Group in Place command is available in a track title bar 27s context menu, as well as the context menu for group slots in Session View and for the insert marker within the main lane of a Group Track in Arrangement View. This command bounces the Group Track along with all of its processing, including return tracks, as previously described for Bounce Group to New Track. The bounced audio replaces the Group Track with a single audio track.
Note that bouncing Group Tracks works similarly to rendering Group Tracks with the Include Return and Main Effects option. The key difference is that rendering is performed post-mixer on the Main track, while bouncing is performed pre-mixer on the Main track. This means that some routing configurations may produce silence or a partial signal when bouncing Group Tracks. For example, any tracks routed outside the Group Track are not included in the bounce. Additionally, return tracks that are part of the Group Track 27s signal path are only included in the bounce if their final output reaches the Main track.
Paste Bounced Audio
It is now possible to paste bounced audio from copied material as an alternative to using the Bounce to New Track or Bounce Group to New Track command.
To do this, first copy one or more clips in Session View, or a time selection in the Arrangement, from a single MIDI, audio, or Group Track using the regular Copy command. Then, right-click in an audio track, an empty MIDI track, or a take lane, and select the Paste Bounced Audio command from the context menu or the Edit menu. The copied material will then be bounced and pasted onto the track or lane.
Note that the source material is bounced in its current state when Paste Bounced Audio is used. This means you can modify the material and use the command again to create variations. Additionally, if the material is deleted, the Paste Bounced Audio command will no longer be available.
Device A/B Comparison
Two new entries have been added to the device title bar 27s Options menu: Compare: Switch to A/B and Compare: Copy A/B to B/A.
You can use Compare: Switch to A/B to toggle between two different device states: A and B. Each state can have its own unique set of parameter values. You can, for example, use state A for tweaking values while leaving state B at the device 27s default settings, and then switch between the two to assess the differences. The corresponding shortcut for comparing device states is P.
To copy the current parameter settings from one device state to another, use Compare: Copy A/B to B/A. This is useful for preserving specific parameter changes that you want to keep while freeing up the other state for more experimentation.
Note that this feature is also accessible via the Max for Live API.
New Features and Improvements
Arrangement View
- In Arrangement clips, MIDI notes where the note start is not part of the Arrangement will not be drawn, since they should not be played.
- In the Arrangement View, the Insert Empty MIDI Clip command can now be used without time selection and will insert a clip at the insert marker. The clip length will be one bar or the currently selected grid size, whichever is longer.
- Double-clicking to create an empty MIDI clip in the Arrangement View will now work when the grid cell is not completely empty. The clip created as a result will fill the available space in the grid cell.
- It is now possible to create Arrangement MIDI clips in a definable time range by holding Shift while double-clicking.
Browser
- The browser now features new default sidebar icons for Drums, Instruments, Audio Effects, and Packs.
- Updated the icons for devices and presets to improve discoverability and to better distinguish between type (audio, MIDI, instruments) and architecture (built-in devices, Max for Live).
- When filtering for Content|Set, the results no longer show backup Sets. A new Content|Backup Set filter can be used to filter by backup Sets instead.
- When the browser is in focus, it is now possible to show and hide the Filter View and Tag Editor with the following shortcuts:
- Filter View: Ctrl Alt G (Win) / Cmd Option G (Mac)
- Tag Editor: Ctrl Shift E (Win) / Cmd Shift E (Mac)
- Double-clicking a tag in the Quick Tags panel now adds that tag to the search field and triggers a tag search.
- There is a new context menu entry "Show tag X in Tag Editor" available when right-clicking a tag button in the Quick Tags panel. Selecting this entry opens the Tag Editor and moves focus to the tag.
- It is now possible to hide the Splice, Cloud, and Push labels by right-clicking on them in the browser sidebar and selecting the "Hide from Sidebar" command. The corresponding options in Live's Settings will be updated accordingly.
- Note that a Splice account is required to use this feature, including non-subscription accounts (which offer around 2,500 free samples). You can follow the instructions in the Splice label to create a new account as needed.
Clip View
- It is now possible to use the "Set 1.1.1 Here" context menu command for multiple audio clips as long as all clips are of the same length and have the same warp marker positions.
Control Surfaces
- Newer control surfaces can now access an additional parameter bank in the CC Control device.
- The Move Control Surface now offers a wider array of LED brightness options when using recent firmware.
- When using the Move Control Surface, it is now possible to navigate between device parameter banks by pressing Shift and turning the wheel.
Core Library
- Added new Drum Racks and samples by Tamuz.
- Added two new templates for recording vocals and guitar.
- Added new presets for Auto Pan-Tremolo (the previous presets are now stored in the Auto Pan Legacy folder).
- Added Push XY mappings to Rack presets.
- Added small refinements to the Vocal Recording Template and Drum Rack presets.
- Fixed the Lydian Scale preset.
Interface
- Reduced the minimum mixer height, which makes it possible to substantially decrease the size of the mixer when editing clips or Arrangement content. As a result of this change:
- The mixer pan controls will be hidden as the mixer 27s size is reduced.
- The track activator buttons will become compressed as the mixer gets smaller.
- When using time-limited licenses (such as rent-to-own), Live now periodically displays a progress dialog during runtime while attempting to re-authorize the license. If the license has expired, a prompt to save the Set appears before saving and exporting are disabled. If no internet connection is available during the re-authorization, a prompt to retry is displayed; otherwise, saving and exporting will be disabled.
- Added purchasing options to several areas within the trial version of Live.
- Updated the What's New in Live lesson to include features from Live 12.3.
- Updated software text in various areas of Live.
- Updated various software text translations in German, Spanish, French, Italian, Japanese, and Chinese.
Max for Live
- Updated the bundled Max version to build 9.0.9:
- Max for Live Improvements
- JS Live API: fixed crash when path to jsliveapi_setpathfromid is invalid
- live.banks: support button assignments for parameter banks
- live.grid: direction arrows redraw after click
- Max for Live Improvements
- Read the complete release notes from Cycling '74: Max 9.0.9 Release Notes | Cycling '74
- The following attributes are now available via the Max for Live API:
- Track.insert_device and Chain.insert_device: Inserts the specified device at the optionally provided index in the track or chain. If no index is provided, the device will be inserted at the end of the chain. The device name is the name as it appears in the browser. Only native Live devices can be inserted; Max for Live devices and plug-ins are not supported.
- RackDevice.insert_chain: Inserts a new chain at the given index, or at the end of the chain list if no index is provided.
- DrumChain.in_note: Get/set/observe access to the MIDI note that will trigger the chain. This is useful in conjunction with insert_chain used on RackDevices that are Drum Racks, since by default they will be created with the In Note set to "All Notes, 3 encoded by -1.
Performance
- Improved the speed of adding a new track to a Set in cases where a default audio or MIDI track is configured.
- On certain Windows laptops running under power-savings modes, the CPU meter's behavior will now be less erratic and dropouts less likely. However, it is recommended to run Live with the best performance power plans and with no CPU frequency scaling.
Setup
- A different installer technology is now used on Windows, which makes the installation and uninstallation of Live significantly faster. The installer 27s interface looks slightly different, but its functionality remains the same as before. Additional improvements include:
- The new installer can now replace any existing Live installation going back to Live 10. When selecting an installation folder that already contains Live, the installer will offer to uninstall the existing version and replace it with the new one. Previously, this was only possible if the existing version was the same edition and version as the new one.
- It is now possible to install Live into a folder that already contains files. In this case, the installer displays a warning and asks for confirmation. Previously, installation into a non-empty folder was not possible. Note that installing into a non-empty folder may overwrite existing files. When uninstalling Live, all files in the installation folder are removed, including those that were present before the installation.
- The Ableton USB Windows Audio Driver for Push and Move has been updated to version 5.72.0.
- The Visual C++ distributable has been updated in order for Live 27s auto-update functionality to work properly. Follow the prompt in Live 27s Status Bar to update it.
Bugfixes
Live Bugfixes
Fixed an issue where a MIDI track's soloed state would not be preserved when bouncing the track in place.
The UI of VST3 plug-ins will now animate more smoothly when changing plug-in parameters.
Reduced Live's CPU load when nudging clips within a Set with many (i.e., several hundred) locators.
Preset changes for some plug-ins with a large number of parameters will now occur noticeably faster on some platforms.
Fixed an issue where Live would hang when recording a large number of automation events.
Fixed a crash in Live that occurred when instantiating some plug-ins, including SoundBetter 27s Halo Effect, if Push 2 was connected.
Fixed an issue that occurred in plug-in sliders, where it was impossible to set a slider to the minimum or maximum value in some circumstances.
Fixed a bug that caused Live to hang when recording dense MIDI CC.
Fixed an issue that caused visual glitches to appear when changing VST3 parameters from the plug-in 27s UI.
Fixed MIDI program change for some VST3 plug-ins, including Korg M1, Sylenth1, and Viper.
Fixed an issue with incorrect labels in Analog's Glide Time mode.
Fixed an issue where the Quick Tags view would sometimes obscure items in the content pane.
Fixed a bug where Expression Control's curve controls would not work until switching from the Velocity tab to a different tab.
Adjusted the way Live plays back tempo automation ramps and curves to be more mathematically accurate. Previously, ramps with increasing tempo were played slightly too slow and ramps with decreasing tempo were played slightly too fast.
Clicking on the clip title bar in the Clip View now fully scrolls Arrangement clips into view as expected, zooming out if necessary. When multiple clips are selected, all clips are scrolled into view. Previously, only the time selection start was scrolled into view.
Fixed an issue where the volume for Group Tracks would not appear after clicking the Optimize Arrangement Height toggle. Folded Group Tracks in the Arrangement View are now taller so that the volume controls are visible again.
Fixed an issue that occurred when using the Bounce to New Track command on a part of a clip from a frozen Group Track, where the entire bounced clip was muted instead of only the time range that was bounced, while at the same time the UI indicated that only the bounced region was muted.
Fixed an issue where the mixer or device parameters would sometimes briefly show a wrong value when adding or bouncing a track, or loading a Set.
Fixed a crash that occurred when discarding unsaved changes in the File Manager.
Live will no longer crash when using the ASIO driver for audio interfaces with an odd number of output audio channels, e.g., 3 or 9 channels.
On Windows, added support for odd-numbered input and output channels. Previously, opening a device that used an odd-numbered channel would fail.
Fixed a crash that occurred when viewing the browser history after restoring a Set with exactly two undo steps.
Fixed a bug in the Komplete Kontrol S Mk3 Control Surface that could cause delays when renaming tracks and devices.
The Komplete Kontrol S Mk3 Control Surface no longer shows device-related information in Live's Status Bar.
Fixed a crash that could occur when calling duplicate_clip_to_arrangement on a track in the Max for Live API.
On Windows, Live no longer hangs while working with certain videos.
When in automation mode, take lanes can now be inserted and made visible from the tracks header context menu. When these entries are selected, the automation mode is closed in order to show the take lanes.
Fixed an issue where crossfades would be reset after dragging and dropping a clip.
When soloing a track, track activators for Group Tracks are now grayed out like other track activators, as expected.
Fixed an issue where the "Reset Fades" command was disabled for clips with no fades.
Reduced the spacing between the track index number and track name in default track names.
The GPU renderer on Windows will now perform much better with curves such as MPE curves in the MIDI Note Editor, allocating a lot less memory. The changes should also reduce the likelihood of audio glitches that could occur because of the GPU renderer.
Accessibility fixes:
- Live no longer crashes when navigating the transport bar using VoiceOver.
- Cleaned up the contents of the Control Bar for screen reader users.
- Improved the way Live's sample rate indicator reports itself to screen readers.
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 Live would hang when bouncing a track that contained samples with high sample rates.
Fixed a crash that could occur during multi-clip editing when right-clicking a note in a background clip if there were no notes of the same pitch in the foreground clip.
Fixed a crash that could occur when capturing MIDI into the Arrangement if existing clips were overwritten during the process.
Fixed a bug where automatically generated files might not have adhered to the file path length limitation on Windows.
Fixed a bug in Hybrid Reverb where the previous reverb tail was still audible after the device was turned off and then back on.
Fixed an issue where focus was lost after closing certain views, such as the Undo History or File Manager in the Help View. Now, when one of these views is closed, focus returns to the visible main view (Arrangement or Session) as expected.
The context menu options "Set 1.1.1 Here" and "Warp from Here" are no longer shown for the rightmost edge of a clip.
Fixed minor timing issues that could occur when recording or bouncing clips with tempo automation.
Fixed a crash that occurred when duplicating scenes by holding Alt (Win) / Option (Mac) and dragging them above other scenes.
Fixed a bug on macOS that could cause Live to hang indefinitely in certain scenarios.
Fixed a bug where duplicating multiple scenes with linked scene follow actions resulted in some of the follow actions to not be triggered as expected.
Fixed a bug in the Komplete Kontrol S Mk3 Control Surface script that caused some pitch-related parameters to be too sensitive.
Fixed a bug in the APC64 Control Surface script that could result in a crash when hot-swapping devices via Push.
Fixed a bug in the Move Control Surface script that incorrectly allowed the loop menu to be accessed for audio tracks.
Fixed a bug in the Move Control Surface script that caused step durations to be displayed incorrectly when a triplet step grid was used.
Fixed a crash that occurred when dragging Group Tracks from the browser into a Set.
Fixed a crash that occurred when pressing Enter with two or more selected scenes.
Fixed a crash that could occur when clicking on specific sample references in the File Manager.
Fixed an issue where latency would not be correctly compensated in bounced audio when using plug-ins that have a dedicated latency for offline processing.
Fixed a bug that caused sidechaining to fail when exporting audio if the sidechain source was a Group Track and the 3Include Master and Return Effects 4 option was enabled.
Fixed a crash that occurred when dragging files into the Arrangement.
Max for Live Bugfixes
- Clip IDs accessed by Max patches will now remain stable when clips are moved in the Arrangement View.
- Fixed the following issues in Max for Live:
- Sending getid to a live.remote~ or live.modulate~ now returns 0 if the last mapping failed.
- Fixed errors that occurred when undoing or redoing operations such as duplication of a Max device with a remote~ or modulate~ that has been mapped to a parameter.
- Fixed an issue where bouncing a track involving Max for Live Modulators would not work correctly if the Modulator was mapped to a device in the bounced track but was located on a different track.
Note: When saving a Set in Live 12.3 that was created in an earlier version, you will be prompted to save it under a new name.
Original source Report a problem - Nov 12, 2025
- Parsed from source:Nov 12, 2025
- Detected by Releasebot:Nov 12, 2025
- Modified by Releasebot:Dec 20, 2025
12.2.7 Release Notes
Live 12 updates fix Windows screen reader crashes and boost macOS Push connections. It tightens audio, UI, and scripting stability with v8 optimizations and broad crash fixes across patching, file paths, and preferences. Note: older sets must be saved with a new name when upgrading.
New Features and Improvements
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)
Note that when saving a Set in Live 12.2, any Set created in an older version of Live must be saved with a new name.
Original source Report a problem - November 2025
- No date parsed from source.
- 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
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Live 12.3 is here – see what’s new and save 25%
Ableton Live 12.3 lands with Stem Separation in Suite, Splice integration, bounce groups and Paste Bounced Audio, plus Auto Pan-Tremolo and new Push and Move enhancements. Free upgrade for Live 12 users and 25% off upgrades, packs, and hardware through December 2.
Ableton Live 12.3 is here
Ableton Live 12.3 is here. All Live 12 users can update now for free to explore the latest features: including Stem Separation in Live Suite, Splice integration, Bounce Groups and Paste Bounced Audio, the new Auto Pan-Tremolo, and more. The update also brings major new expressive features for Push, plus new drum racks and a new device for Move.
With up to 25% off Live, Push and Move until December 2, now’s the time to save on tools that keep getting better with every update – and join a community of music makers continuously exploring and sharing new ways to use them.
Watch the video below for a full rundown of Live’s new features, and see what ideas they spark for your music:
With Stem Separation in Live 12 Suite, you can instantly split vocals, drums, and bass from any audio clip. Pull a track apart to reveal its raw materials – and reshape them into something completely new.
Splice integration now brings Splice directly into Live’s Browser. Audition samples from Splice’s library in sync and in key with your Set without ever switching windows – plus, try the new Search with Sound feature to find samples that gel with your existing elements.
For faster ways to resample, create transitional effects, micro-edits and more, you can now bounce entire groups in place or to a new audio track – or use Paste Bounced Audio to quickly print and create variations on your ideas without breaking your flow.
The updated Auto Pan-Tremolo device adds easier access to tremolo effects, plus deeper modulation and rhythmic control, and the new Device A/B feature lets you compare mixing tweaks or sound design choices instantly.
Generators by Iftah is a new Pack of intuitive MIDI Tools available to Live 12 Suite users and Live 12 Standard users with Max for Live. It includes Sting, adapted from the well-loved acid bassline pattern generator, and Patterns, which offers quick ways to spark new percussive rhythms.
The Sequencers Pack, introduced in Live 12.1, now supports reproducible arrangements, while Live 12.2’s Expressive Chords device adds a Chord Edit mode – letting you transpose selected chords or enter your own using the Learn function.
Save 25% on Live 12 until Dec 2 ›
What’s new for Push?
With the new XYZ layout, part of Push’s pad grid becomes a control surface for movement and expression – slide to shape effects and instruments, press for punch-in effects, and play as you go. Use the new Rhythm Generator to strike up percussive ideas, then humanize them instantly with touch-sensitive step editing.
For even more flexibility as a creative hub, Push Standalone now also lets you split stems, and supports class-compliant audio interfaces for expanded recording and performance setups.
For a full list of what’s new for Push, see the release notes for Live 12 on Push.*
Save 20% on Push 3 and the Push Upgrade Kit ›
What’s new in Move 1.8?
Move 1.8 adds Live’s new Auto Pan-Tremolo effect and a range of presets – perfect for bringing new rhythmic movement to individual sounds, or anything from a subtle sense of groove to momentary chaos on the Main output. The update also includes two new hybrid Drum Kits with a hyperpop edge – provided exclusively by Kučka.
Move keeps evolving with frequent free updates — and 1.8 builds on recent additions like sample slicing, reverse, and full access to the Drift synthesizer.
Get 20% off Move until Dec 2 ›
Explore brand new Packs at 25% off
Invest in new tools and sample collections for your studio with all Live Packs now at 25% off. Check out the new Softube Tape and Saturation bundle: four characterful, Push-compatible devices for tape, distortion, echo and reverb effects. Individual Live devices like Meld and Roar are also available separately at 25% off.
Browse all Packs ›
Update, upgrade or buy now
Live 12.3 is a free update for all Live 12 users and will be installed the next time you open Live. If auto-update is turned off, go to your user account to download.
Take the tour to learn more about Live 12, and head to the Ableton shop to save 25% on your license now.
For full details on Live 12.3 check out the release notes.*
*Note: Release notes are only available in English
Original source Report a problem - November 2025
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Note 1.7.2
New sampler workflow with start/stop markers, double‑tap zoom, faster scrolling, and slice-to-pad with adjustable start markers. Adds Auto Pan‑Tremolo, track colors, KUČKA Drum Racks, external folders, and iCloud sample downloads, plus a cleanup fix.
New
- Samplers: New start/stop editing workflow with dedicated markers
- Samplers: Double tap to zoom to selected range
- Samplers: Scrolling now uses scroll acceleration
- Sample Slicing: Slice Samples to individual pads in Drum Sampler
- Sample Slicing: Adjust individual start markers for a sample in slicing mode
- Sample Slicing: Change Start/End on initial slicing
- Audio Effects: New Auto Pan-Tremolo Effects Device
- Track Color: Added option to change track color in track menu
- Core Library: New Drum Racks by KUČKA
- External Folders: Add external folders from anywhere on your iOS device in the Sample Browser
- External Folders: Added "External" folder at the top-level in Sample Browser to gain access to external folders
- External Folders: Added support to download samples from iCloud Drive
Tweaks
- Autopan/Tremolo: Added icon for the waveform parameter (visible in Panning mode presets)
Fixes
- Fixed missing paste sample option on empty drum pads
- App Size: Removed unused onboarding material from the app bundle
- 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