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stun runner posted:What's the best way to get the old school analog vocoder freestyle robot voice in software? Buy this or this. quote:I can't really do it with Ableton's vocoder Closest I could get was this. If that's good enough for you, I'll upload the set.
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Jul 9, 2009 23:19
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stun runner posted:Any specific tips would be cool if you know 'em off the top of your head too. Condition the input signal. This isn't done by checking "Enhance" in the Ableton vocoder, but by putting a compressor over the vocals to reduce dynamic range and before the compressor, an EQ to cut away the frequencies you're not going to use anyway. A somewhat decent (hardware) vocoder has stuff like this already built in, but it never hurts to do anyway. Experiment with the number of bands. More bands = more fidelity, but may remove the grainy character you're looking for. Use a good, harmonically rich carrier signal. 2 oscillators, both saw, no filters. Even better if you can brighten that up a bit with distortion. If it doesn't work, it doesn't work. Vocoders have a certain character based on how the bands are chosen. If all else fails, simply get a different machine or piece of software to do the job for you. I can not entirely agree with Terrible Horse: various virtual analog synths have a vocoder tacked on as an effect, but it doesn't mean they all sound awesome. The Virus' vocoder is pretty tame, the one in the Micromodular is hailed as awesome and cheap, but the software I've linked to sounds pretty stellar and would probably do a better job than either. Something I have to experiment with: consider using an effects rack with EQs used as a crossover filter and a vocoder per filter. Treat the high frequencies with a different vocoder (with the same input signal but perhaps with a different number of bands).
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Jul 10, 2009 07:32
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Try putting a highpass EQ at 80 Hz on every channel you have sampled percussion, effects or loops on for starters. Transposing a sampled loop up may introduce mud. edit: forget it, just EQ everything, cut away bits you don't need/hear. Laserjet 4P fucked around with this message at 07:20 on Aug 5, 2009 |
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Aug 4, 2009 12:20
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ananke posted:Works like a dream on anything new I put together, however. I must be sounding like a broken record right now but do you work primarily with Session or Arrangement view, and would you consider it useful for Arrangement view too?
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Aug 5, 2009 12:31
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dookie posted:I'm ready to make the switch from Reason to Ableton. But one thing that discourages me every time I attempted to do this was the drastically different workflow. I never use any of the step sequencers or patterns in reason, which I am assuming is a major thing in Ableton. no, seriously, your assumptions suck. There are no step-sequencers in Ableton. The thing that gets the closest is this trick: http://www.theheartcore.com/megathread/ableton_swing_loop.png where you create a MIDI clip of 4 bars and click the instruments in the grid. In fact, step sequencers are probably a good reason for several folks to get cracking with Max 4 Live to "solve" this problem. quote:Also in reason, I would just use the pencil tool, draw out a measure in the sequencer, double click that, and pencil in each note. I can't for the life of me figure out how to do this in Ableton. This is probably the silliest of silly questions. See that thing called "Draw Mode" in the right-click menu in the screenshot? That's what you need.
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Aug 11, 2009 08:06
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dookie posted:Where can I get more sounds for my drum racks in ableton? Preferably free, but I don't mind shelling out a bit of cash. http://samples.kb6.de/downloads.php Also, http://www.youtube.com/watch?v=Cfox-ORpTKQ Boing. Boom Tschak.
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Aug 21, 2009 07:25
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Import the beats in Live first, warp the audio, freeze/flatten the track - voila, you now have a 80 bpm phrase. Save it, slice it. Slicing results in a Drum Rack which has one Simpler per key; Simpler does not have stretching options built in (Impulse has, but the freeze/flatten will probably result in better quality).
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Aug 21, 2009 13:23
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On another forum, someone asked how to make those "spraycan" effects in current dance music. Well - that's simple, just take white noise and start filtering it (or not), automate the volume/cutoff if you have to; sidechain compress it for good measure so it takes a nice dip every time the kick sounds. Then a more interesting question was asked - how do you make white noise with Ableton? After all, if you don't have the Suite, you don't have Operator or Analog which would be the first two places to look for in Ableton itself. Sure, you can get something like Synth1 and use the noise source in that. What would you do if you didn't have all of that - just Live itself? Put the following together: Vinyl Distortion (Crackle volume, Density en Drive on max, Tracing Model peaks around the center). Multiband Compression (preset: OTT). Reverb (15 seconds, high quality), diffusion network filters bypassed. Multiband Compression (preset: Flatline). Resample the master - and now you get usable white noise. Neat! But, what happens if you put an actual instrument on it? Well - this. original (a resampled Synth1 minor chord, standard Detroit fare): http://www.theheartcore.com/music/white_src.mp3 Add the effects listed above: http://www.theheartcore.com/music/white_norm.mp3 Reverse it - gee wiz, this would actually work pretty nice as an intro sound with a dry, deep kick starting right behind it: http://www.theheartcore.com/music/white_rev.mp3 Lesson learned; do not be afraid to go hog-wild with Ableton's effects. Just render/bounce the result directly to tape because it's pretty useless in an actual set. Laserjet 4P fucked around with this message at 20:37 on Aug 22, 2009 |
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Aug 22, 2009 15:34
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Whoops, no. Fixed.
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Aug 22, 2009 20:38
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Lysis posted:How do I get an effect on individual notes in the note editor? If you have a melody and you only want reverb on the top two notes, you can use both options; it's just that the reverb tail is cut off when you switch off the reverb effect. quote:Second, I recall reading/hearing something about an audio effect that stops the volume from going into the red (ie distortion) automatically in case of two bass sounds, for example, playing at the same time. What is? Keeping an eye on your levels is more useful than limiting.
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Sep 11, 2009 13:02
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Good god, you're going to get ReDrum/FL Studio sequencing in Live with this really soon.
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Sep 11, 2009 23:34
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I can only hope that they set something up like how Reaktor User Ensembles are done now with Native Instruments, only hopefully with a better interface. Create your thingy, upload and share immediately.
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Sep 12, 2009 14:46
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If you actually want to hit something with drumsticks, Roland SPD-series. If you're OK with hitting pads with your fingers, Akai MPD-series. See also: http://www.youtube.com/watch?v=v8VL1TVwjW0
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Sep 17, 2009 07:19
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You can use Ctrl to select multiple clips by the way. Even better, but it'll require a bit more work; assign the clip transpose values to a knob so you don't have to re-select everything all the time.
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Sep 30, 2009 13:17
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A Youtube link would be nice. Otherwise, if you're not on OS X, check what http://illformed.org/plugins/glitch/ and http://mdsp.smartelectronix.com/livecut/ can do for you.
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Oct 3, 2009 18:43
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Mandals posted:drat, that's awesome. Too bad there's no OS X version. If you are willing to pay: http://www.native-instruments.com/#/en/?content=985 or http://www.sugar-bytes.de/content/products/Effectrix/index.php
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Oct 3, 2009 23:08
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Otach posted:I kinda was under the impression that certain DAW's had a giveaway sound that professionals could spot; being able to tell one from another merely based by the sound produced.. You can hear that someone made something with FL Studio because they use all the built-in presets, the built-in synths, and use the samples that came with it to make their stuff. Since the samples aren't that spectacular and the (earlier) synths aren't that hot either, it's got a distinctive sound. Add to that the fact that whoever made that track was most likely an amateur with composition, mixing and mastering, and you've got your "sounds like FL Studio" recipe. quote:I still may check Ableton out.. one of the main things I've been trying to figure out is how Danger creates his sound. Or rather what he actually uses What he uses does not matter. The sequencer doesn't. Not even the plugins do. Danger has a really compressed, sidechained, pumping kind of sound going on; consider it like putting a liter of barbecue sauce on a piece of steak and a piece of chicken, and then trying to taste the difference. Learn how sidechain compression works (if you do not type this into Google I'll personally go smack yourself, the world's filled with Youtube videos explaining exactly what and how for every sequencer), overdrive your samples, sample creatively, and you'll get there. Also: don't forget stompboxes for guitars; those fuzzes and distortions are good for synths, too. Laserjet 4P fucked around with this message at 19:35 on Oct 14, 2009 |
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Oct 14, 2009 19:33
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Urban Wizard posted:I've seen a few, but I'd like to start with one that can really show me how to make everything work together. No tutorial will teach you how to do cratedigging. You have to listen to common pitches and tempos. For instance, you could take Prince - When Doves Cry and Salt 'n Pepa - Push it. Both are somewhat in the same groove, have the same pitch, and are close, tempo-wise (double tempo or half tempo - hiphop and drum 'n bass - works pretty well too). In other words, those are easy to mash up together. For the software you're going to use it means that stretching those fragments for a bit is not going to be rocket science (as there's a clear 4/4 beat to detect). 3/4ths of the job is finding such connections and bringing those songs together. The rest is layering and controlling volumes. If you can't hear those common properties, either exercise or give up. Some music theory as background works so you know you shouldn't mix Am chords with D# chords or something. Get it in tune and on time, and don't stretch too far. quote:Suggestions or tips are appreciated, too! Start with finding connections between the songs. Don't just throw some random acapella rap together with some indie rock track; there's not much creativity involved in that. Then, cut out 4 or 8 bars out of songs. Save them and number them. Get to know your audio editor properly; know where to cut and slice. Doing all that in Live (or whatever else) is tedious.
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Oct 19, 2009 15:00
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KaosPV posted:What are the main differences between Kontakt and Ableton Sampler? Is Kontakt worth buying or are my sampling needs covered by Ableton Sampler? Kontakt is way bigger. It's got scripting, which means you can basically program arpeggios, or when a chord is being played, you can program it so that it hits the notes in a certain order (to simulate guitar strumming). It's got keyswitching so you can load up a violin patch, and hitting the keys that are out of the playing range of the violin makes you switch between articulations - e.g. pizzicato, marcato, arco, legato etc.). Kontakt has built-in effects that are pretty good and a convolution reverb that's really awesome; you can stack modulation options until you're blue in the face. Computer Jones posted:Is drag-and-drop sample loading unique to Ableton Sampler or can other software samplers do this? quote:Is there any way to loop a short sustain portion in AS without it sounding like poo poo? There used to be a tool for seamless looping (Antares Infinity) but it looks like it's an early Mac OS (not even OS X) 7 app or something. It still costs clown money, and the newest OS it works on is OS 9, PPC. In the meantime, nobody's made something useful and/or novel in that regard. Too bad, because the actual technology behind it should not be complete rocket science; just a lot of FFT analysis.
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Oct 20, 2009 21:12
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What do you want to achieve? Another option is to attempt to resynthesize it with something like Imageline Morphine, Camel Audio Cameleon 5000, or Virsyn Cube. If you're feeling really hardcore, try stretching it in Photosounder. (check the Youtube video).
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Oct 20, 2009 22:42
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pennywisdom posted:Is there a way I can set some of my favorite plugins as favorites so I dont have to scroll through this bitch of a list? No, but you can use the search function and type "RC". I think there's not really a way unless you call a folder _fav or something and then move the DLLs to that place, but god help you if that's not the original folder it was installed in and the plugin is being a bitch about it. Another stupid workaround: create a disabled audio track, dump all your "favorites" on it, and every time you need one you copy + paste it to the track you need it on.
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Nov 4, 2009 10:18
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Aw, not fair. My upgrade routes are both 20 euros more expensive  .
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Nov 5, 2009 12:26
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Grease Faucet posted:The synth itself, I think. The instruments I'm using Which ones? What are you putting on them in terms of EQ/compression? An easy trick is to layer a triangle waveform one octave below the original bassline.
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Nov 10, 2009 09:58
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Grease Faucet posted:but I have no idea what they do exactly or how to implement them. Have you read this? There are some rules of thumb when it comes to recreating realistic instruments - e.g. use saw for brass and strings, use square for clarinet and harp, but the concept behind using a triangle wave an octave lower is that it adds oomph without getting in the way of the original sound. When you transpose a saw or square down you'll get this "ripping" sound which is caused by the fact that the speaker cone has to jump back in a really short timeframe; the "clicks" saws and squares make distract. Triangle waves have a few more harmonics which make the sound blend in more with the rest. Also, use Analog for this, though Operator can do triangle waveforms, too - just layer Sampler and/or Tension with Analog and Operator; it's what they've invented Instrument Racks for  .
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Nov 10, 2009 22:22
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colonp posted:I'm still contemplating getting Live. quote:What are your biggest annoyances with Live? Pencil tool instead of automation envelopes per clip. (I don't even know why, I'm just used to that from Cubase). Higher quality timestretching when rendering, I liked Cubase's MPEX (but they licensed that from Prosoniq). A Cubase style arpeggiator/chorder, but I'm going to build that with Max for Live anyway.
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Nov 12, 2009 15:07
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colonp posted:Smartarse! If tutorials aren't going to do the job of teaching you you have to find someone nearby who can show you the ropes. It really helps with DAWs which are all weird kinds of applications anyway.
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Nov 12, 2009 22:45
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No. Simpler's limitation is that it only keeps one sample stretched over the keyboard; it can read Sampler patches (in that case it doesn't show a waveform, just a notice). The workaround is to build an Instrument Rack with several Simplers and to use the Instrument Rack's option to limit the number of keys the Simpler plays on. Alternatively, use a different sampler (if you're running Windows, check out ShortCircuit). Alternatively, load each sample up in a Drum Rack where you get a different sample per key.
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Dec 2, 2009 20:50
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Here's some stuff you might not have known. http://www.youtube.com/watch?v=mCx5L3kOoRA&hd=1 I was pleasantly surprised by the grain delay and I really have to dig deeper into effects racks with the parallel stuff and whatnot. Jimix posted:dude never mind how do you get back to normal, how the gently caress did you get there in the first place Best post/avatar combo. Laserjet 4P fucked around with this message at 07:56 on Dec 8, 2009 |
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Dec 8, 2009 07:54
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If you haven't seen this yet, brace yourself. http://www.youtube.com/watch?v=eU5Dn-WaElI
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Dec 17, 2009 21:50
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http://www.ableton.com/skibeatz Was that posted already? Because goddamn is it clever. Completely throws the need for ReCycle out of the window. Would it be too patent-encumbered to create a "Slice to REX" option?
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Jan 16, 2010 17:29
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Here we go again: https://www.youtube.com/watch?v=6ZYLp5uX9Yw
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Jan 27, 2010 00:58
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OMGWTFAOLBBQ posted:Hey, what's the best reverb plug out there? I'm not a fan of Live's native one. There's no such thing as "best". There are always budget constraints, and choices for a certain character - precision of convolution, or artificial lushness of algorithmic. Give http://www.audiodamage.com/effects/product.php?pid=AD023 a try.
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Feb 4, 2010 08:48
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The transpose is a "soft" operation; it is not applied destructively. You change this by freezing/flattening the audio clip or track and then you perform the slice to new MIDI track again. Since transposing apparently can be improved in terms of quality by some algorithms you might want to use a regular wave editor for this instead of Ableton itself, depending on algorithm quality.
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Feb 7, 2010 14:05
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What do you have in terms of audio interfaces? What is hooked up via PCI, perhaps something's trying to prioritize itself? Have you tried disabling your wireless network card if there's anything present? Anything on USB or Firewire trying to steal your CPU's attention?
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Feb 8, 2010 08:16
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mezzir posted:any ideas anyone? Check the Export Audio/Video dialog and look just above the OK button. "Live will render the output of the chosen track over the selected time range". Make sure the track is correct and the numbers are correct.
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Feb 12, 2010 00:00
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sTickHead posted:What am i doing wrong? You're not telling us which soundcard and if the Windows volume is set to zero or something  .sTickHead posted:Only problem with that is that i'd have no idea what i was looking at. http://www.youtube.com/watch?v=mCx5L3kOoRA is useful.
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Feb 20, 2010 21:26
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moron posted:I really want something like Goldverb or Platinumverb from Logic which costs about £50. I think Live's reverb is pretty OK but only in high quality mode and for long drawn out stuff (I just love the freeze option).
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Feb 22, 2010 11:17
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windwaker posted:After about a week using Ableton, I think I'm starting to get the hang of it. There's one thing I don't quite get yet though: when I have a sample of a simple bass frequency, is there any way for me to change the pitch while maintaining the velocity(?)? quote:Like, the note kind of has its own rhythm to it, but when I try to make a bassline out of bass samples, they all seem to have a different "speed" to them. This isn't solved in general with regular synthesizers; it's possible, however, if you route negative keytracking to oscillator 2's fine tune. The result is that the beating can stay around the same tempo - but at the same time, you're lowering the amount of detune, so the note will become somewhat flatter. Alternatively, if it's a single oscillator but using pulse-width modulation (PWM), the LFO rate can again be keytracked, and that gives a more stable sound. Here's some demo sounds from U-He's ACE, an incredibly excellent software synth. http://www.theheartcore.com/megathread/detune_pwm_demo.mp3 What you hear first is a single saw wave that is then mixed with another one that's not detuned. I slowly move the detune knob up, and play higher notes so you can hear the oscillator beating speeds up with the pitch. After that, pulse-width modulation. I start with a plain square wave, then change the pulsewidth (the proportion between the part of the wave below the zero and that above; square waves are 50% up, 50% down). Then I let the LFO modulate the pulsewidth. Go check the demo at http://www.acesynth.com/ if you want to test this yourself .
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May 3, 2010 19:51
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Because it works by detecting transients, not chopping it up in 16 perfect parts. Humanized drumloops can be off the grid a bit.
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May 10, 2010 22:57
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pennywisdom posted:Exporting to MP3 would also be nice. It's not a lot of work to drag the resulting wave file to RazorLAME and get better quality because you can tweak it to perfection. It certainly wouldn't make things go faster. QPZIL posted:I know I can add a new audio track, set the input to "master" track, and record, but... I can't do that AND record MIDI through another track so I can't actually record live performance What if you set it to "Resample"? Also, by holding Ctrl you can have several channels record at the same time, but you knew that already, right?
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Jun 5, 2010 00:30
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