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rustyw posted:I didn't know reverb could do that.. Yeah here is what they say. Don't be limited to only that which you can capture with a microphone. Why contract NASA to build you a $10 billion, 1000-meter geodesic dome made out of the latest nano-material buckyballs to provide a negative refractive index so that you can run your sine sweep impulse through it and capture a static IR? Instead, simply use Aether in some extreme settings to achieve the result you are after. Want a 120 second reverb that decays quickly in the mid range, but sustains more in the highs? Need a reverb that decays infinitely in a one octave mid-range band while all other frequencies fall always quickly, and at the same time reverses it's panning of the late reflections? No problem. Have it your way! You are limited only by your imagination.
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Feb 5, 2010 03:28
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I got max for live! Can anyone tech me to use my midi controller with the step sequencer?
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Feb 26, 2010 03:08
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I have had max for live for 2 weeks almost. Buffer shuffler is the greatest thing ever. I can make so many cool blip bloopy percussion sounds with it, volcano2 and timeless2. Thanks max for live and for anyone needing a awesome delay GET TIMELESS 2. sick sick sick 5 feedback knobs all chained to lfo's is too fun.
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Mar 9, 2010 21:44
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I r Pat posted:Thanks for the response. What kind of audio interface would I need to hook all of my instruments to my PC so they would be controlled by Abelton? Yes get like a cheap fcb1010 foot pedal. Get at least a 4 input interface and your good.
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Sep 6, 2010 06:15
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http://www.youtube.com/watch?v=mrRyuwlNoCg here is a video about the 19 inch rack A1 Des epodium. This thing with soft synths would be amazing. It's like a rack with a 70 inch touch surface on top complete with gooseneck mic. 70 inch multitouch ableton setup. Imagine if all the knobs in the softsynth you were using, were hand sized. I would die. http://www.digitalreviews.net/news/cebit/a1-des-eboard-70q-multi-touch-lcd-monitor.html Its 10000 grand or so for the 70 inch model. drat i would love thesys sequencing gladiator on this bad boy. Total madness. Rkelly fucked around with this message at 02:23 on Oct 10, 2010 |
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Oct 10, 2010 02:19
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Reality Is Digital posted:I wish there was a way to freeze/flatten a track with a sidechain compressor on it. What I do now is duplicate the track, delete the compressor, freeze/flatten the track, and then copy the compressor over, but it always seems like a lot of work for something that should be an easy task. Record the track to another audio track while the compression is playing. Then delete the old track if you want to save cpu and flatten the new one with the sidechaining already on it.
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Oct 22, 2010 20:23
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Because you need headroom for all sounds, and the difference between analog and digital decibel scales. −20 dBFS = 0 dBVU = +4 dBu You never want to mix for zero in a daw. You want the kick hitting at -6 or -5 dbfs. That way you have room to really get some loudness with nice dynamic range. Ignore me if you are the electro artist Danger. GOGO super square wave. Man are my ears tired. That said I love danger in club. Read this post on gearslutz The Reason Most ITB mixes don’t Sound as good as Analog mixes. This is a repost from another thread. Hope you find it usefull. Ok, I'm going to try and give you An ITB education, as my over 24 years has taught me. Here is what I try and teach to students. I'll try and keep the math to a minimum. First, I own a high end analog setup's Via an SSL 4K with 1/2' 2 Track YADA YADA, ICON with Killer OB FX And classic Compressors, YADA YADA/ Hybrid Setup Via AWS 900w/ 24 Channels Of Xlogic Killer OTB FX and Comps YADA YADA. Point is not to impress, or brag in any way, but to let you know everyday I work on a verity of systems. This has led me to The Following conclusion. To learn to mix ITB coming from an analog world you must revisit what Voltage reference Analog consoles work at, and make appropriate adjustments to translate this to work ITB. The first thing we must ask is simply what is 0VU. What does it mean to us. Lets use an SSL G+ as our point of reference mainly because I work on those every day. If we put a signal into the line input of the SSL so the channel meter reads 0vu, that also, is referenced as +4 or 1.23 volts. A kick rear end SSL will go out to about +24DB, so we have approximately 20 DB of headroom above the 0 VU point on the meter before the signal goes to crap. Now let take a common situation. A Client hands you a Protools session and you spread it out over the SSL console. Like most people today every track is recorded as hot as hell. Most pro Eng's will use proper gain staging and get the now slammed meters reading around 0VU or 1.23 volts. By lowering the line trim we now have a good level into the desk so we can Compress/Gate/EQ the Signal without it overloading the processing. Sounds simple right? Remember that all outboard equipment was designed to work around the 0VU/+4/ 1.23 Volt reference. So by putting the incoming signal at around this reference, your rack equipment will work better as well. Why use a +4 reference? Well remember that the 1.23 volt reference came from the tube days where 1.23 volts was enough voltage over the plate noise that you still had a good signal to noise ratio, but still left room above 1.23 volts to allow for normal audio operations. Now to ITB. Lets pretend we have the same setup as we did on the SSL. Client hands you a session that’s recorded hot as hell. Now most folks mixing ITB don't understand reference levels when relating it to Digital. To have the same amount of "headroom" as we do on the SSL we must create a reference of 0VU or 1.23 volts at -20 from 0DBFS or the top of the Digital scale. So if you simply place the good old trim plugin as the very first plugin, you now have the ability to adjust your tracks to our Mixing (+4/1.23 volt) reference IE -20. Just like you did on the SSL. You have have the same amount of headroom. Now with your tracks properly gain staged, you can add EQ/dynamic plugins and not run out of headroom. You can also insert hardware and they will operate much better as they are operating at the level they were designed to operate at. Plugins use the same reference at real equipment. Never try and drive them to the top of the Digital scale. Don't try and make your mix look like a master. You don't do that on an analog console, so why do we do it ITB? The answer is simple. DAW meters suck Butt. There should be a meter mode in all DAW's that makes the meter at 3/4 scale equal -20 at 1.23 volts. Just like the old VU. This way, novices will quit corn-holeing their levels. Something to think about. The noise floor of an analog desk is about -75 DB from our +4 reference. Our equivalent "problem level" below our -20 reference in digital is well over 100 DB. So please don't let people tell you analog has more "headroom" than digital. This is simply not true. Headroom is only relative to your noise floor below your reference. Remember if the volume is to low, turn up the darn speaker volume. Running a Digital mix right to the top of the scale is like running your SSL mix buss where the VU meters are slammed all the way to the right and you are constantly hitting it at +25. No one will get a good sounding running the desk like that. You won’t get a good sounding mix in digital either. So what does all this mean? Put simply, proper gain staging is essential to both analog and digital mixing. You just need to correlate the references between the two. Once you figure this out, I'll Guarantee your mixes will start to sound open and wide, just like the good old analog days. I might not listen to a guy who spells variety, varity though. Believe at your own peril I guess. It is true though. You dont need to spell to run an ssl 4k. Rkelly fucked around with this message at 03:13 on Nov 20, 2010 |
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Nov 20, 2010 03:08
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squidgee posted:The only thing that stops me from using the drum rack is that you can't use global sends, only the drum rack's internal sends, on individual hits. If you want to use a global send you have to send the whole drum rack to it. This is my problem with Drum Rack as well. I use like 5 drum racks. One with kicks, another snares and claps, another with toms, one with cymbals, and then another with random drumlike sounds that I created. This is the only workaround I got for using global sends.
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Dec 2, 2010 05:02
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I am sitting here on my windows 7 laptop using 3 different interfaces all with asio4all drivers. I think you made a mistake. I even use asio without an interface all the time.
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Dec 15, 2010 21:10
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Martytoof posted:This might be super simple, and if it's in the manual I apologize but I skimmed it and must have missed it: Piano roll step sequencer YO! http://www.youtube.com/watch?v=ejWN3M1RIw4&feature=player_embedded
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Dec 29, 2010 06:19
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SkandalousPanda posted:So I own Live 8 and I've mostly been using it to sample, which it's great for. Now that I'm getting more into production though I'd like some instruments to play around with. I'm having trouble deciding whether I should upgrade to the boxed Ableton Suite and get the Essential Instruments Collection, or if I should get NI Komplete. Komplete clearly comes with more, but how would you guys rate the sound of its instruments compared to what I'd get with Suite? The sound quality is definitely more important to me than having 6 synths, 4 pianos, etc. I have used Guitar Rig before with a friend who plays, so I'm leaning a little more towards Komplete, but Suite would give me Amp which seems pretty comparable. Any advice and pros/cons, especially from people who own both would be much appreciated. Ableton 8 + Komplete is pretty much a kickass loving combo. I would use Massive over Analog, and Fm8 over operator. Guitar rig destroys amp for sample processing. Kontakt and all its patches and expansions make EIC useless IMO.
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Jan 16, 2011 23:46
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Nindoze posted:m4l http://www.youtube.com/watch?v=tgIosccwlA0&feature=player_embedded! totally tight. Some nice tones in that.
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Jan 18, 2011 03:49
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Dr Rotcod posted:I'm interested in using Live on stage with a 3 piece band consisting of drums, guitar and keyboards. Each person would have their own laptop running Live all connected to each other via MIDI(?). It requires an external midi time code generator. You will have to do poo poo loads of research and practice x5. I spent a lot of time in bands running ableton. Syncing via wifi has to much jitter. Ethernet is a better solution. So midi interface sending out time to laptops all connected via Ethernet. This will work. Most people who do this have a whole backup rig setup to a crossfader or something. If one rig crashes crossfade to the other rig. I can't stress how much better off you are to build a giant badass rack based pc. If you need multiple displays use a video card that supports 3 displays. Setup midi changes to each vst. It is really really easy to do this with one pc. Ableton just doesn't have tight enough midi over master/slave setups, unless you have like Daft punks techs or something crazy like depeche modes sound guy.
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Feb 6, 2011 08:01
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dolphins are gay posted:kind of a weird question: has anyone here ever had the vertical line that scrolls when playing (playback cursor i guess) disappear? Mine's gone and my playback control has disappeared. You got the special 4th dimensional version of Live. Congratulations escaping the fishtank, we are all swimming in!
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Feb 26, 2011 22:58
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Hey guys finally got my account back woo. So, I have pure data running touch osc live control template, that thru the touch osc bridge and midi yoke running my pads and keys from my iphone on touch osc. everything controls perfectly. I got this awesome Diva patch i made on touch osc. man having a nice group of knobs on the phone vs a mouse is inspiring. i can only imagine an ipad. The problem. I can only use windows audio to get sound out of ableton when pure data is running no asio. i need asio for latency, interface, and everything. how do I get pure data, max 4 live, live8.3 and asio to play nice with my osc stuff? drat I just want sound lol. Please help me make asio work in ableton while pure data is running.
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May 11, 2012 19:26
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I finally got an apc40 and jesus is this wonderful. It is amazing how easy ableton is to navigate. My process with my production buddy has sped up by probably 40 percent. We are getting work done. YAR!!!!!!!!!
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Jul 13, 2012 07:19
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That LiLo mixer LOOKS RAD AS BALLS
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Oct 23, 2012 05:35
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http://createdigitalmusic.com/2013/03/generative-genius-free-max-for-live-patch-lets-you-schedule-scenes-at-any-clock-time/ I wish I had a business to make the clocks run off ableton live and fire awesome poo poo every 15 min and every hour..
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Mar 19, 2013 01:35
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I thought intro made you use 4 or less vsts total or some poo poo and like only 2 return tracks.
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May 1, 2013 06:43
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minidracula posted:Any APC40 owners here? It's the only controller I currently have with me (my Launchpad and BCR2000 are still back east, in storage until I ship things out here), and I'm looking at using it as my primary/only interface to Live for an upcoming thing in December. Weirdly enough, I didn't buy it for Live, but for planned use with Resolume. When I got my apc, I made live mixs and mixdowns of so many tracks. its so nice and wonderful to just easily be able to arrange and effect things on the fly. I literally had no trouble sequencing on the fly even the first day I had it. It just works.
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Nov 18, 2013 20:49
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