808 Core Kit Ableton

[Karri Pretty]

Efficiencycores are less powerful cores. So pick one with the most performance cores as possible. And Ableton only uses the performance cores. So imagine a computer with 20 cores total but 18 of them are efficiency, versus one with a 4 core total where all four are performance cores, in such nonexistent scenario, the 4 core computer would beat the 20 core one using Ableton

Apple M3 is a series of ARM-based system on a chip (SoC) designed by Apple Inc. as a central processing unit (CPU) and graphics processing unit (GPU) for its Mac desktops and notebooks. It is the third generation of ARM architecture intended for Apple's Mac computers after switching from Intel Core to Apple silicon, succeeding the Apple M2. Apple announced the M3 on October 30, 2023, at its Halloween-themed Scary Fast online event, along with models of the iMac and the MacBook Pro using the M

I got one better for you. M2 PRO (12 core version) also has 8 performance cores vs the 6 from the m3 pro. They also have a binned version with 6 cores for the M2 pro though so make sure you pick the 12 core one. So either M1 max or M2 pro (12c version) will be better than m3 pro for Ableton Live.

I am using a MacBook Air M1, Mac mini MB 2 both with 8GB as well as as a MacBook Pro M1 with 16 GB and all of them work really well with Roland Cloud, Arturia stuff and NI Komplete 13 or whatever that is and Maschine as well. I do think 16GB is better but did not have a problem with the 8GBs either.

What version of Rack pro are you running? since 2.0.3b I think there are separate templates for Rack standalone and Rack VST - just save a template file that has the DAW driver loaded in the audio module (if Core Audio is giving you problems) and you should be good to go. Everytime you add an instance of Rack VST, it will use that template.

I have the same problem: As soon as I change the audio driver to CoreAudio and choose ES-9 as a device Ableton audio output stops and the window type of freezes. Critical seems to be the device, not the driver (at least is that the point ableton freezes).Interestingly, the test tone (from within Ableton preferences) still works.My workaround is (as already written): reloading the audio driver in Ableton preferences restores control of Ableton and thus avoids the need to restart Ableton.

Steve - I only started having this problem with 2.0.3b and now with 2.0.4. The way I was finding it at first was working on a patch in Standalone, and then to open it in the VST version. This is how the settings for audio get set up in a way that screws up the way Live seems to be running. I was freely going back and forth between Standalone patches and VST patches without this problem in 2.0.2.

The Omri video for Ableton/VCV is a great source. However, all of the Audio Modules in his examples are defaulting to DAW. I believe this always happens when you instantiate a Audio Module in the VST version. If, however, he changed the setting from DAW to Core Audio, my bet would be that his Live interface would freeze. In some of my cases, I loaded a patch from Stand Alone, or from downloading, that had the Audio Module already set to Core Audio on loading the patch. This is what had me going on circles

Yes - It was only in 2.0.3 that access to Core Audio from within the VST was added - so if your issue relates to core audio in the VST, it would not have happened before 2.0.3. And then (I think) in 2.0.3b, separate Rack templates for Standalone and VST were added to avoid problems related to the VST loading templates with Core Audio rather than DAW driver enabled by default.

I've got 800+ plugins in Logic Pro (running on the latest MacOS on an M1 as of today with no issues whatsoever). I've been running in Rosetta for the last few years because I wasn't sure that my plugins would work otherwise. Today I installed iZotope Ozone and a few other iZotope plugins (the Apple Silicon versions of the plugins), and when I tried to load the plugins through plugin manager I got the error message within the auval tool that it "can't get core function pointer".

I recently upgraded from an iMac - 32Gb RAM, i5 CPU to a Mac Mini M2 - 8Gb RAM as I was having issues with multiple Pigments instances in Logic. I immediately saw a drop in CPU usage and was able to play problematic projects with no problems. The latest update introducing Multicore has just made things even better

I am on a Ryzen 7 2700X which came out in 2018, and I can have 30 instances of Pigments in one project while my CPU is still only at around 20% usage or so. Pigments is really light on CPU compared to other synths like Diva.

Hi everyone! A few of my users have reported that my plugin takes up 70-90% CPU on the Ableton 11 meter, all on M1 Max machines (it should use 2-10% CPU). Their MacOS versions are Monterey and Sonoma. I got one of them to send me the logs from an altered release build with a bunch of PerformanceCounter instances, and discovered that there was no one culprit in the code - all DSP modules were simply running 2-10x slower than on my machine (a macbook pro 2022 M1).

One theory I had was that the audio thread was being run on an efficiency core - I heard that Ableton 11 can only allocate performance cores with small buffer sizes, so I asked one user to reduce his buffer size and see if that fixed it. He said that the performance was even worse with a 64-sample buffer size.

I went with a 12-core AMD Ryzen process, based it on the Silent Base 601 case from be quiet!, and threw 128gb of ram along with 4tb of ssd storage into it. Oh and an 8gb video card. This joint should treat me well for a long time!

First things first, in Dante controller, make sure that you are routing the dlive as the transmitter and the ableton computer as the receiver. Then also make sure you route the ableton as a transmitter and the dlive as a receiver. I personally set everything 1 to 1 to keep the routing as frustration free as possible. Setting it that way will allow you to send AND receive audio.

On the Ins B page set your send to be Dante slot/channel. The return should automatically be the same channel (I think). If you want the return to be a different channel, then Unassign the return and route ableton to return the audio on a different Dante/Dlive channel, then assign that channel to a separate fader.

Since the last place you describe seeing meters is on the input side of Ableton Live have you routed each channel out to the corresponding external output? By default, Live routes everything to the master bus.

Additionally, you could also accomplish this same insert routing from the Waves SoundGrid card if you install the free SoundGrid driver on your computer. The SoundGrid driver works similarly to Dante Virtual Soundcard. Both Dante and SoundGrid are audio transport protocols. Because SoundGrid is most frequently talked about for plugin processing many overlook the fact that it can be used for recording or the audio routing you are attempting here.

The truth is that every producer, artist, and engineer has their own personal preference based on how they work. It is hard to say which DAW is best when hit records get made in all three. Each of these DAWs serve the same purpose at their core- they are for recording, editing, and mixing music. However, just as every producer may have their area of expertise, each of the big three DAWs in my opinion are best for certain task. Here is my breakdown of the big 3 DAWs and how I use each of them in my workflow.

This was the first major DAW I ever worked with so it is no surprise that I am the most familiar with it. Though I have gone on to work in the other DAWs of the world, there are certain features in Pro Tools that keep me coming back.

Scoring to Video

Pro Tools- The counter options and additional window for video sold me despite having a limited option for quality stock sounds. Time is paramount when syncing music/audio to video.

Logic Pro X

Ableton

Ableton Live, the music creation software that revolutionized the world of laptop music making, is poised to do so again with a new version of its software that "renews the core" of the program, promising better sound quality and three new virtual instruments for modeling strings, electric pianos, and analog synths.

* New memory management technology allows users of large sample

libraries, such as Ableton's new sampled instruments or third-party

libraries imported via Sampler, to run an impressive number of

instruments at the same time. This happens automatically, with no

setup changes required.

* The slicing feature fills a Drum Rack with the individual hits from

REX or audio loops. The original sequence is represented as a MIDI

clip, making it easy to replace, reshuffle or re-record the events

and process them individually.

The new add-on instruments are the result of Ableton's collaboration

with leading industry partners. The palette covers physical models of

electric pianos, analog synthesizers and string instruments as well as

multi-mic/multilayer sampled acoustic drums, drum machines,

orchestral strings, brass, woodwinds and percussion. The instruments

integrate tightly into Live, both in terms of workflow and resource

management.

* ANALOG emulates the unique circuitry and irresistible tweakability

of vintage analog synthesizers, employing the renowned physical

modeling technology of AAS's Ultra Analog. Analog is a creative

workhorse that features versatile alias-free oscillators, multimode

filters, syncable LFOs, looping envelope generators and much more.

Able to produce everything from silky pad sweeps to earth-shaking

bass, Analog is also completely integrated in Live's familiar

interface.

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