Ugh! Ableton Live 9 Rewire Bug with Logic - A Loud Buzz Issue, No Solution in Sight!

So, I was a bit stoked that I am going to start slaving Ableton Live 9 to my Logic 9 via Rewire technology.

It all worked correctly until the moment I hit the record button on Logic, it gave a loud buzz for the duration of recording count-in.

Turns out it is a well known issue and Ableton Web Site states that there currently is not a solution.

It sounds like there is an audio-loop during this period. I tried to turn off the metronome altogether on the Logic side and it does not help (so don't even try that.)

So be aware of this issue before you get all stoked and try this out on your logic.

I am sure to post another message if and when I find out this slaving issue is fixed. It is annoying enough hassle for my situation... how can I even record a track without a count-in. I guess I could create one or measures of hi-hat or something, then remove the pre-roll when bouncing the final. Really too bad.

Hope they get to fix this soon!

Chord Alteration Excercise II-V-I Progression Song

 

Tamir gave me above chord progression suggestions in my last lesson, and so I need to analyze what is going on as a homework. If you are curious or into this sort of things, you might also want to learn along with me.

Please note that I have notated substitutions using a vertical bar (|) which is OR in most software programming language notation. When you see that you play one of the chords, and not all of them.

Measure 2 (M2): Going from the Am7 to the Ebo7 to the Dm7  (o is Diminished) with Tri-tone Substitution

This is a standard tri-tone substitution  (TT-Sub) smoothly going into the Dm on M3. Same goes for the Bb9 to the Am.
 

Looks like when the last chord is a dominant 7 chord, major or minor, we can always try choosing this technique, and it is easy, as it is always a half step above the first chord on the next measure. Other TT subs occur at measure 10 to 11, 15-16, 16-17 etc.

Something I've learned about the TT-Sub is the following, and this is perhaps the best explanation of why this works - it is the 3rd and the 7th swapped.

So, for example, taking a look at a move from the C7 to the FM7 (II-V of Bb) with the C7 substituted with the Gb7. The 3rd of the C7 is E and 7th of the C7 is Bb. Now if we say what's the chord that has E as the 7th and Bb as the 3rd. Taking Bb and 3 whole step down will be the Gb, and the 7th of the Gb is E, so it is just a swap of 3rd and the 7th. Get it?

What this also means is that the bass player can play the substituted bass while the piano player stay on the same dominant chord in a rootless voicing.

Another trick to this is to approach the next chord from half step below using a Diminished chord, I will get into that a bit later in this post.

M5: Am to the E7+5 back to the Am7 with the AmM7 Substitution.

This is IIm-V-IIm7 progression on the A scale as originally written. The E7+5 contains E, G#, B, D. The AmM7 is A, C, E, G, G# and so the harmony is still supported. Personally, I think it is the AmM9 with an addition of B will make it closer to the E7+5 harmony since E and B are now covered.  This essentially means that by holding the A note on the bass and playing an E7+5 harmony it will essentially generate an AmM9 harmony.

M15: Use of a V Suspended Chord instead of TT-Sub to Approach The Next Chord

Taking a look at M15 where it goes from the Dm7 into the G7 sus (b9) instead of the Db7, which is the TT-Sub going into the Cm7. 

The G7 sus b9 contains G, C, F, G# and the Db7 is Db, F, Ab (or G#) and B. It appears both are kind of close with F and G# notes in common.

M16: Double Alteration from the Bb9 to the Eb9?

This is a bit puzzling so I will get back on this after a bit more research.

Am7 contains A, C, E, G

Bb9 contains Bb, C, D, F, Ab

Eb9 contains Eb, F, G, Bb

M20: Approaching Am7 from Em7 via G#dim7

This part of harmony is moving from E to A to D. I need a bit more work here on this, but the shared B, D, then onto D, F in the next harmony some has clue as to why this would work.

Em7 contains E, G, B, D and 

G#dim7 contains G#, B, D, F

Dm7 contains D, F, A, C

For now, this apprach of going from Dim7 from 1/2 step below is a viable option for alteration.

One of Gary Burton's suggestions is to the chord scale analysis too. That may elucidate a bit further as to the chord choices and also solo choices. I may do that next time.

See you again soon and any enlightenment is also welcome.