Again, this is nothing we haven't seen on previous controllers. We and our partners will store and/or access information on your device through the use of cookies and similar technologies, to display personalised ads and content, for ad and content measurement, audience insights and product development. It’s height-adjustable also has a wide tripod stance to get a good base.

Receive news and offers from our other brands? Samson’s LTS50 Ableton Push Stand provides convenient, comfortable positioning of your Ableton Push in studio and live environments. I have used Ableton Live for over 5 years and I've never seen a productivity enhancer of this magnitude before. Spotify CEO: “You can’t record music every three or four years and think that’s going to be enough”, No, that’s not a TR-909 you’re looking at, but it might be as close as you can get if you want to buy one, Watch: Baby Audio's Parallel Aggressor makes parallel processing easy. Bath Incredible!! I can get by on the keyboard and usually play what I want after a few takes, but I'm actually a guitar player. I have just unboxed this tonight, but after playing with it for about 20 minutes, and not even knowing what I am doing, I can already see how this unit is far superior to either the Novation play pads or the APC40. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. You can choose the scale you're playing in from the top four-line alphanumeric display.

It doesn't just give you hands-on hardware control for Live's functions. Jamie is also a producer and engineer for interactive media. Even though it's not a piano keyboard, if you're willing to think and compose differently, or if you've never learned to play piano, Push will get you there without having to.

And can it compete with the Launchpads, APCs, and Lemurs of the world? Made from one sturdy object of aluminum, then mStand transforms your Ableton Drive right into a fashionable workstation with its elegant curves and also silver-anodized complete.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. There was a problem. © Push 1 was made in partnership with Akai, but Push 2 is 100% Ableton. Stuart Cox . Rob Lee finds out what’s causing all the excitement. The text on the buttons is mostly unreadable in daylight, which is peculiar. Getting to where you want to be is so much faster than before, and helpfully, the pads, display contents (controls, waveform, etc) and contextual selection button LEDs always mirror the colour of the selected track.

The new low-profile, wobble-free buttons give a much more positive response than those of Push 1 - a clean, solid click, rather than the rubbery squelch that we previously knew and thought we loved - and boast far brighter backlights.

Hugely intuitive workflow. Also, I'd love to see audio file browsing from the browser/places menu added, but seriously I love this thing.

Now, rather than switching between mute and solo 'modes', you hit the Mute or Solo button to apply it to the selected track. One of the two rows of contextual buttons below Push 1's screen has been moved above it, and both now incorporate RGB LEDs. It's another Ableton product called Push - a new hardware controller for Live (or an instrument, as Ableton is insisting on calling it). Strictly speaking, we'd say no.

For all its brilliance, Push 2 isn't quite flawless. All very nice so far. Push looks good - low profile and like it means business. Disabling it will result in some disabled or missing features. Plug in and switch on and a dialog on the LCD prompts you to start Live. Hitting the Mix button a second time (or holding it down in Device or Clip mode) drops into the old 'detail' view, revealing all the mixer controls for the selected track. After viewing product detail pages, look here to find an easy way to navigate back to pages you are interested in. You'll have your own view but we think Push is still a controller - albeit one that integrates very tightly with Live.

It's solidly built and is very responsive. It still doesn't give access to Send, Volume and Pan controls within Drum Rack Chains; you still can't load samples directly into Audio track clip slots (though this is coming in a Live 9.5 update); the Tap Tempo button would make more sense as a pad; long folder names in the browser don't auto-scroll, so you can only ever see the first 16 characters; and since we can now access our enormous sample libraries, the browser would benefit from some form of tagging. It won't do anything any other controllers can't do, it just does it better, easier, and faster. (Besides, look at all the pretty lights...) That said, the controller is designed explicitly for working with clips in the Session view; you can't work in the Arrangement view from Push, which means that if you're a fan of linear recording like in regular DAWs, this controller will be more hindrance than help.

Imagine our surprise, then, to find that next to Push 2, it seems positively clunky. MusicRadar is part of Future plc, an international media group and leading digital publisher.

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