Why wouldn’t it work? It has been working just fine for Note and Move since Oct '24, so I’m sure it works on Push 2/3 as well. It uses MPE Pitchbend automation to change the pitch of the notes on a pad, so - if Ableton wanted - it could be implemented on any hardware with pads, because it’s just a software “trick”.
Works on push2, too.
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Voted
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Ok, but not really my question, though 
Great, thank you!
Upvoted!
If you’d like the LFO device to have the new timing options (from the new AutoFilter, like triplets, dotted, etc), please also upvote this:
Cheers!
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I agree completely, I want more of everything, all the time 
You’ve probably seen this already:
Quite useful. There’s a ton of other great M4L devices which enable various things to happen too.
The guy who made ‘Knobbler’ has some great stuff:
This also looks amazing (haven’t tried it yet though):
It’s the kind of stuff you can in Drambo (similar anyway). I do wish that Live had this sort of stuff natively, these M4L solutions sometimes have quirks or take more CPU than expected.
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Thanks! Yeah, I grabbed all of Zack’s stuff and Knobbler, the Fibonacci midi delay has been a favourite. I used Live for a long time without getting into Max, but once I did it’s started reminding me of modular a lot. To the point that my hardware modular is getting used less and less. Especially with Push and especially in standalone, I think customisation is the absolute killer feature here.
Although I’m really starting to notice that I have a lot of third party devices that almost but not 100% do the exact thing I want, mainly in terms of utilities. Been kinda cobbling things together by using multiple devices, but I think at this point for a lot of relatively straightforward stuff like mapping and routing it makes more sense to just build my own, if for no better reason than cutting down on clutter. And it’s a lot easier to learn when you’re taking it in blocks of figuring out just enough to solve a particular problem.
Re 16 pitches, I was half hoping it could trigger different slices in a simpler, but still have to select the slice via midi note in the rack’s i/o and you can then play it chromatically using the 16 pitches layout.
I really want to see a slices mode next in drum racks - would be a huge deal in Move and a nice to have in Push.
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Pretty timely video from Philip Meyer - pitched for beginners. I’m not sure if this was in previous versions but right clicking a control in Live to get its address to use for building max controls is extremely chef’s kiss
Edit: top comment on that YouTube video lol
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This bug in Live still drives me nuts:
While I appreciate that only audio effects can be inserted into an audio track, I don’t appreciate that a) I didn’t try to insert a MIDI effect onto an audio track in the first place and b) that the warning never, ever goes away without closing and reopening Live. >_<
I’ve read reports of this happening to other people - this is something I’ve encountered for what feels like years now - I do hope Ableton fix this as makes my heart sink every time!
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Same here 
I menaged to make it go away when actually putting audio effect on an audio track, when dragging over the right audio track it will remove message, still very annoying.
I don’t remember this being a problem on Live 11
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I’ll try this fix next time, thank you!
Haven’t encountered this myself, seems like some conditional bug. Be very detailed and precise in your bug reports, and see if you can manage to reproduce it faithfully
It happens to me, and I’ve seen it on a few Ned Rush videos. It’s mildly-but-frequently annoying!
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Do you know anything about Ableton and OSC?
Specifically - I’m wondering why, when you map a control via MIDI, you can still move that control with the mouse.
But when you map a control using OSC, you cannot move that control with the mouse any more?
This is halfway guessing, but I would assume that the OSC protocol then is exclusive, and MIDI isn’t. So with OSC you take over the actual control of the button/fader, controlling it in the same way the mouse would. but with MIDI you send a separate CC signal that acts independently to the mouse control.
Edit: After some cursory research I think this was an Ace Ventura speech. But it doesn’t seem like osc should take over control, so might be a bug you’re encountering
I get this one too. It is annoying.
Another annoyance I have is with missing plugins;
I decided to remove VST’s from my system last year (so I just have AU’s and VST3’s).
If I open an older project that used a VST2 it does the ‘missing plugin’ thing, but WHY can’t it switch to the AU/VST3 version of the missing plugin??
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I hope you’re right! Because it doesn’t make any sense that way.
I’m trying to set up 2-way communication with an Ipad running TouchOSC.
Then, for example, I select I preset on my Reverb device, all the parameters should change, and send those changes to TouchOSC to update my controls.
As it stands now, once you’ve mapped a control to OSC, that control no longer changes when you select a new preset.
MIDI works fine both ways, but I’m out of CC’s, and sometimes you want the fine control of OSC.
I’m gonna try asking on some Ableton forums, maybe try and get a response from the devs etc.
This has nothing to do with OSC, but about how to control parameters via Max for Live. Using Max for Live, you have, to make it short, two ways to control a param (3 ways since L12). Using live.object you can control exactly like MIDI, meaning it will still be controlled with the mouse and it will feed the undo history.
In the other hand, you can use live.remote~ which will completely take control of the parameter and allow sample accurate modulation. It will not create undo steps. You will not be able to mouse it.
Newly introduced in L12 is live.modulate ~ which will allow to modulate the parameter relatively to its current position.
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Thanks so much for this info! Very helpful.
Does this have anything to do with the relative resolutions of CC/OSC?
Also, do you think it would then be possible to modify a pre-existing M4L device (like OSC TouchOSC), replace the live.remote commands with live.object commands?
Would this then lower the resolution to 7-bit like MIDI?
Not bothered about sample-accurate for my use case, but would like the increased resolution OSC offers.
I’m struggling to understand how OSC can ever work bi-directionally with Ableton, if live.remote completely takes control of the parameters!
Appreciate the help btw! I think I’m going to have to dig into Max. Seems like the missing piece of the puzzle!
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