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Cosmetically, Live is more or less unchanged for the version 8 update, which is reassuring, as it implies that Ableton trusts us to be happy enough with the software's conceptual functional differences.

So, the most radical overhaul is the new warping engine, which is guaranteed to divide opinion. It's uncontroversial enough at first glance, offering the new Complex Pro warp mode, which gives improved control over the Complex mode that's so popular with DJs and remixers.

Similarly, there's greater flexibility with the Beats mode that DJs have warmed to, though it can still make complete tracks sound rubbish! But there are more fundamental changes afoot, too.

Warp this way

Whereas previously you would create a warp marker at a certain point on the timeline and drag it along to the relevant point in the audio, you now create a marker on the waveform itself, and drag that to fit the timeline. These warp markers default to transient points, and once you have a marker, you can then nudge the audio along that marker, too.

There are various advantages to this system, not least of which is that what you see is what you get. Furthermore, when dealing with markers that are very close to each other, you no longer come up against a limited timing resolution, as could happen with previous Live versions.

And if you're warping multiple audio channels and flicking between them, it means you get an immediate visual reference as to how things are lining up, which wasn't easy when the timeline itself was being stretched.

It's a positive change, and once people adjust (which should take a week or two) they'll forget that it was ever any different, despite all the uproar on the forums during beta testing. However, DJs do have reason to complain, as when it comes to warping electronic material on a steady beat, you're dealing with more mouse clicks and sub-menus, as Live tends to put in loads of transient markers you just don't need.

One suggestion we have is to offer a 'DJ mode', in which the default setting is to warp straight, placing just one transient marker right at the start. You can do something similar from within the Preferences, but there should be a front-panel solution.

Oh, and no, Live still often incorrectly identifies the first beat of the song. Come on, Ableton – you've had four years of auto-warp to sort this out!

Groove engine

The next huge leap forward comes with the long-requested Groove Engine. Whereas previous versions of Live only offered basic quantising and swing, we now have full-on groove quantisation based around a vast library of groove maps, including everything from the seminal MPC grooves beloved to this day by dance and hip-hop producers, and the quantise mappings of the legendary hip-hop machine that is E-MU's SP1200, right on through to a huge range of real drummers' feels.

Listen to the MPC16-style swing: