Finding the Rhythm

Note to Fans: This blog posting is of interest only to DJs.

Over a year ago (October 2008), Ableton, the makers of my favorite production software (and perhaps one of the most amazing pieces of software ever developed, right up there with Adobe Photoshop) announced a strategic partnership with DJ software company Serato that promised to extend Ableton Live farther into the realm of DJ’ing.

It’s already possible to DJ with Ableton, and those who do can leverage Ableton’s primary focus (production) and blend it with live DJ’ing performances, elevating mere “DJ’ing” to a higher artform. In fact, it’s precisely what I’d like to migrate to myself in time. So the announcement was exciting to me, because I hoped it would address Ableton’s numerous shortcomings in the DJ’ing department.

In conjunction with Winter NAMM, Ableton and Serato announced their love child—called The Bridge—and I don’t think I could possibly be more disappointed.

Ableton’s announcement about The Bridge calls it, “…a powerful fusion of DJ and production tools, opening a world of opportunities for DJing, remixing, and live performance.” In my view, it’s anything but. According to the announcement (disclaimer: I’ve not used the software), it does primarily two things:

• It allows you to use Serato and timecoded media (or ITCH controller) to control the transport in Ableton Live.
• It allows you to record your Serato live performance into Ableton Live for editing and tweaking.

How can I put this nicely… Big f***ing deal. Essentially what’s been announced here is a sort of DJ-oriented, proprietary version of ReWire. ReWire has always been a kludge at best, and I haven’t actually met anyone yet who uses it regularly. Don’t get me wrong, the idea—getting two disparate pieces of software to work in unison—is a great one. But creating a communications backchannel between a pair of software applications completely overlooks the actual logistics:

• Which application must be started first? (Ableton and Serato have made this concern a non-issue with The Bridge.)
• What happens if one of the applications freezes or crashes?
• How do you physically and operationally interact with two different applications at the same time?
  • Do you really want to constantly switch focus on a single monitor computer? (Alt-Tab, Alt-Tab, Alt-Tab, Alt-Tab, Alt-Tab…)
  • What about different user interface paradigms? (Ableton is elegant, and Serato looks like something from 1992.)

I don’t personally believe that anyone truly wants, dreams and aspires to strap together multiple software applications with duct tape and string to achieve some amorphous end-result. What people really want is all the functionality in one place, and the fact they can’t have it, and the fact that they want it so badly, drives them cobble stuff together with things like ReWire… And now, with The Bridge. It’s not the desired solution; it’s accepted only because there’s no alternative offered.

Now, The Bridge is a little deeper than the two bullet points I offered above (which are the same two summarizations offered by Ableton on their web site this morning). But is this revolutionary? Useful?

1. Controlling Ableton’s tempo and playback with a controller, even a virtualized one (decks + Serato) isn’t particularly revolutionary. There are already myriad ways to control Ableton’s transport. But if you really want to do it with turntables and coded vinyl, I guess now you can.
2. Serato gets a sweet “Ableton View,” where a stripped down version of Ableton’s Session View is shown right in Serato’s UI. This basically allows you to trigger clips from Serato in your DJ set. But what problem are we trying to solve here, exactly, that isn’t already solved by just DJ’ing from Ableton in the same, relatively poor way you always could?
3. Recording your Serato DJ set into Ableton for tweaking also looks like a solution in search of a problem. It’s referred to as “the ultimate mixtape production tool.” Recording a DJ set and manipulating it later is a bit of a yawn for me. Admittedly, The Bridge also records a (very) limited number of control movements from the Serato side, so you can fix both audio issues and certain control issues after-the-fact. But if I was really looking for “the ultimate mixtape production tool,” one already exists, and it’s called MixMeister. My point is that mistakes happen in live performance, and if you want to erase them all and make everything picture-perfect, then don’t perform live in the first place.

The fact is, Ableton in its current incarnation isn’t a great tool for DJ’ing, and rubber banding it together with Serato doesn’t change that fact, nor does it address the real shortcomings, which exist primarily around metadata—not vinyl or CDJ based virtual MIDI control, not recording and tweaking DJ sets, not triggering clips during a set.

The reason people use Serato, Virtual DJ, Traktor, etc. for DJ’ing is partially for control (which Ableton does as-is), partially for beat alignment help (which Ableton does as-is), and partially for metadata management (e.g., track naming, selection, tagging, filtering, rating, etc.)—which is what Ableton doesn’t do at all.

That is the shortcoming that Ableton should be working to address, not gluing the software to Serato with a backend kludge. It strikes me rather like putting a trailer hitch on a Bugatti Veyron, hooking-up a pop-up camper, and calling the result a tour bus. Unfortunately, given whatever agreement exists between Ableton and Serato that produced The Bridge (can you say “non-compete clause?”), we’re unlikely to see Ableton do DJ’ing any better than this non-solution, anytime soon.

Ableton, I love you guys, and I love your software. But wow… What a disappointment.