Free Ableton Live Pack: Midi Dynamics

Midi Dynamics BrowserPresenting Midi Dynamics, the latest PerforModule free pack.

It includes 4 simple yet useful devices specifically for controlling midi dynamics, and one silly device with various fun-ctions. Click image to grab!

Midi Dynamics

Included Devices:

Midi Compressor
Smooth out too-loud midi instrumentation.
Use this like you would an audio compressor, to attenuate midi notes which exceed a certain velocity. All notes exceeding the threshold will be attenuated. The further past the threshold it is and the higher the amount is set, the more a note will be attenuated. Notes below the threshold velocity will not be affected at all.
Example usage: Playing a synth instrument melody in which notes above a certain velocity become too harsh-sounding due to a filter resonance tied to the velocity. Use the midi compressor to soften only those too-harsh notes. 

Midi Expander
Smooth out too-quiet midi instrumention.
Use this like you would an audio expander, to boost midi notes which are below a certain velocity. All notes under the threshold will be boosted. The further below the threshold it is and the higher the amount is set, the more a note will be boosted. Notes above the threshold velocity will not be affected at all.
Example Usage: Trying out a melody with a different synth instrument, and the quietest notes are now much quieter than they were previously due to the new instrument’s velocity mappings. Changing the mappings or note velocities would take too much time so you just use the midi expander to lift up the quietest notes.  

[Midi Compressor and Expander Special Notes: You can use Live’s “Velocity” device by itself to attenuate or boost overall note velocity; however these devices are useful for more precise and careful dynamics control, by using the threshold to set a cutoff point. Notes nearby other notes do not affect each other’s response the way an audio compressor’s transients do, so imagine them as if they have perfectly fast & noiseless attack and release.]

Set the velocity to a specific value.
Use this when you want rigid control of the velocity of an instrument, to be able to use a knob or automation to set the level at any moment to an exact setting. This overrides input velocity and all velocity effects prior to it in the chain.

Velocity RNG
Add in a bit of random fluctuation to an instrument’s velocity.
At small amounts, this will add in a bit of “humanization” and make the playback of instruments less robotic sounding. At higher settings it will vary more sporadically, until at maximum, a note of any input velocity may result in an output of any possible velocity. Tip: record a midi track with little or no dynamic variation into another midi track, routed through this device at a low setting. The new midi track will now have random difference applied to each note.

This is a rack with various tools to quickly alter a midi instrument’s input. Macros include:
-Mutant DNA: adds in a random chance that played notes will instead “improvise” and play a different note. The higher the control is set, the more chance of a mutant note, and the further away from its original value it might stray.
-Force Scale? -Key -Major or Minor?: optionally implement a scale selector to force all notes to conform to a chosen major or minor key. Niftily see the choices in the macro control’s numerical box.
-High Octave+ -Low Octave+: Blend in added octave notes (Make sure the instrument you are using has enough voices enabled to cover the added notes).
-Random Velocity: adds in velocity flux just like the “Velocity RNG” device.
-Dynamics: the default position for this is in the middle (63.5). Turn this up to drive overall note velocity; turn it down to soften overall note velocity.

New performodule store with shopping cart

Howdy! It is now possible to purchase not-free PerforModule Packs for Ableton Live 9 via a nifty shopping cart experience.
This makes it super easy to buy multiple packs at once, and automatically emails the files to you once purchased. Less confusing than the paypal links we were using previously!

All PerforModule Sale Packs are self-installing… once purchased, all you have to do is double-click the .alp file and all devices will be categorized into your factory library’s categories.
They also each include built-in lessons which can be accessed via the Live help menu after install.

Every purchase of not-free PerforModule packs is very much appreciated, as each is a small step towards my dream of supporting my family solely through creative endeavors.

Customer feedback for PerforModule packs so far has been 100% positive. Thank you all so much! I try hard to make them awesome.

And if you are broke… no worries. There’s TONS of free stuff here on this blog. Just scroll down. I love sharing nifty free stuff too!

Check out the new PerforModule Store!
Performodule Fx

Free “Funky Auto Wah” Audio Effect Rack

Here for you is a free audio effect rack called “Funky Auto Wah” that comes with the PMX Instruments pack “Funky Pianos”.

Funky Auto Wah Image
(^click the image to grab the free effect rack!)

Use this for a classic “quacky” sound which is reminiscent of the 70s. It is great on clean guitars and keyboard tones, but you could also use it for basses, synths, or even percussion if you are feeling experimental.

Macro Controls
Wah Amount: Self explanatory, eh? Using parallel processing, this makes sure signal is totally clean at 0%.
FreQ: Sets the center frequency of the filter. If you have a midi-mappable foot expression pedal, you can map this to it to use like a real guitar wah wah pedal.
Wobble: Adds in a modulation wave which increases in intensity and speed as you turn this up.
Env. Attack: The lower this is set, the quicker the auto-filter responds to input levels. Use faster settings for classic auto-wah sounds; slower settings for a more creamy sound.

Requires: Ableton Live 9 Intro, Standard or Suite (yes, you can even use this with Live 9 Intro. How cool is that?).

“Funky Auto Wah” is the special effect rack with comes with the Ableton Live pack “PMX-302 Funky Pianos” which is available at isotonik studios.


And just for fun…


P.S. if you dig “auto wah” style effects, check out “AI Wah” in the Alien Intuition set of artificially intelligent fx.
ALSO check out the new FREE “Drawbar Organ” instrument from the PMX-303 Organs Pack over at

Handy Links to All not-free PerforModule sets

PerforModule Ableton Live packs come with drag-and-drop install. Simply double-click the .alp file and it will install the contents automatically categorized into your Live 9 browser.
To access PerforModule lesson info after installing a pack, go to the Help Menu and select “Help View”. Then click “Show all built-in lessons” and find them under “PerforModule Packs”.
[NEW!] PMX Instruments
BRD_PMX-300_Cover£4.99 (Pack of 6-12 instruments) or £39.99 (Everything Set of over 150 instruments) 

A series of extreme-quality instrument packs, each consisting of 6-12 unique instruments by style, with 88 keys sampled at 96kHz through analog tube + artificially intelligent processing. Sampler + Simpler instruments are made with parameters controlled in unique manners to reflect their real physical instrument counterparts. Each pack also includes a bonus new effect rack specially suited for the instrument types.
Packs are being released at the rate of 3 per month for a total of 18 packs. Those who order the Everything Set will acquire them automatically as they are released, and also receive a bonus 19th “Sounds” pack.

PMX Packs (with Release Dates):

Now Available: PMX-301 Classic Pianos – PMX-302 Funky Pianos – PMX-303 Organs
October 2014: PMX-304 Reeds ~ PMX-305 Clavis ~ PMX-306 Mallets
November 2014: PMX-307 Guitars ~ PMX-308 Basses ~ PMX-309 Exotic Plucked
December 2014: PMX-310 Melodic Percussion ~ PMX-311 Strings ~ PMX-312 Pads
January 2015: PMX-313 Brass ~ PMX-314 Woodwinds ~ PMX-315 Exotic Winds
February 2015: PMX-316 Synth Leads ~ PMX-317 Synth Strings ~ PMX-318 Synth Voices

 (P.S. You can grab fully functional free samples of one instrument per pack)

Planetary Convolution

A set of impulse responses and presets for 10 planets of our solar system, for Ableton Live or any DAW.

Includes stereo impulse responses + Convolution Reverb Pro racks for Live 9 Suite:
-Mercury Reverb
-Venus Reverb
-Earth Reverb
-Mars Reverb
-Jupiter Reverb
-Saturn Reverb
-Uranus Reverb
-Neptune Reverb
-Pluto Reverb
-Eris Reverb

Comes as a self-installing Ableton Live pack or as raw IRs for use in other DAWs.

DynaMixing Two
DynaMixing Two

A set of audio effect racks for advanced & streamlined studio mixing purposes.

-Anti-Compressor (Single)

-Anti-Compressor (3-band)
-Ebenezer Compressor
-Serial Compression
-Stereo Glue (L-R)
-Stereo Glue (M-S)
-Adjective EQ (LoBands)
-Adjective EQ (HiBands)
-Lo_Hi Filter (Simple)
-Lo_Hi Filter (Breathing)
-Lo_Hi Filter (L-R DNA)
-Lo_Hi Filter (M-S DNA)
-ResoCut Filter
-Nose Cleaner
-De-Comp Esser
-Super Vocal Tracking
-Lo-Hi Splytter
-Channel Stripper (Dropped)
-Channel Stripper (Template)

Alien Intuition

Splytterz Icon$20.00

A set of hyper-advanced “artificially intelligent” effect racks which have certain parameters which automagically adjust in realtime.


-AI Track Comp
-AI Buss Glue
-AI Multiband Dynamics
-AI Mix Finalizer
-AI Limiter
-AI Gate (BassPreserve)
-AI Gate (HighPreserve)
-AI EQ (Mid-Side)
-AI EQ (L-R)
-AI Wah
-AI Tube Softener
-AI Low-Bump Filter
-AI Low-Cut High-Shelf
-AI Reverb Smooth
-AI Reverb Washed

-AI Crackler
-AI GainStage
-AI Drop Choozer
+ bonus Drop Choozer presets


Performodule Fx$4.75

A robust set of racks covering the entire spectrum of Ableton’s built-in effects.


Amp + Cab – Bass Dephault ~ Amp + Cab – Boost Dephault ~ Amp + Cab – Crisp Dephault ~ Amp + Cab – Guitar Chug Dephault ~ Amp + Cab – Guitar Crunch Dephault ~ Amp + Cab – Guitar Roots Dephault ~ Amp + Cab – Guitar Scorch Dephault ~ Amp + Cab – Guitar Solo Dephault
Auto Filter – BandPass Dephault ~ Auto Filter – HighPass Dephault ~ Auto Filter – LowPass Dephault ~ Auto Filter – Notch Dephault
Auto Pan – Sync Dephault ~ Auto Pan – UnSync Dephault
Beat Repeat – Dephault
Chorus – Mod1 Dephault ~ Chorus – Mod2 Dephault ~ Chorus – Single Dephault
Compressor – Dephault ~ Glue Compressor – Dephault
Corpus – Beam Dephault ~ Corpus – Marimba Dephault ~ Corpus – Membrane Dephault ~ Corpus – Pipe Dephault ~ Corpus – Plate Dephault ~ Corpus – String Dephault ~ Corpus – Tube Dephault
Filter Delay – Digital Dephault ~ Filter Delay – Tape Dephault ~ Grain Delay – Dephault ~ Ping Pong Delay – Digital Default ~ Ping Pong Delay – Tape Default ~ Simple Delay – Digital Dephault ~ Simple Delay – Tape Dephault ~ Simple Delay – Offsetter Dephault
Dynamic tube – Dephault
EQ Eight – Heart Chakra Dephault ~ EQ Three – Dephault
Erosion – Dephault ~ Redux – Dephault
External Audio Effect – Dephault
Flanger – Dephault
Frequency Shifter – Dephault ~ Ring Modulator – Dephault
Gate – Dephault
Limiter – Dephault
Looper – Live Jam Dephault
Multiband Dynamics – Dephault ~ Singleband Dynamics – Dephault
Overdrive – Dephault
Phaser – Space 1 Dephault ~ Phaser – Space 2 Dephault ~ Phaser – Earth 3 Dephault ~ Phaser – Earth 4 Dephault ~ Phaser – Space 5 Dephault ~ Phaser – Earth 6 Dephault ~ Phaser – Earth 7 Dephault ~ Phaser – Space 8 Dephault
Resonators – Dephault
Reverb – Entrance Dephault ~ Reverb – Hallway Dephault ~ Reverb – Moon Dephault
Saturator – Dephault ~ Waveshaper – Dephault
Spectrum – Basic Dephault ~ Spectrum – High Frequency Dephault ~ Spectrum – Pitch Dephault ~ Spectrum – Peaks HQ Dephault ~ Spectrum – RMS HQ Dephault
Utility – Dephault
Vinyl Distortion – Dephault
Vocoder – External Dephault ~ Vocoder – Noise Dephault ~ Vocoder – Pitch-Tracking Dephault ~ Vocoder – Self Dephault

Uno Plus
Performodule Fx - Uno Series (grey)$3.33

A set of single-knob effects, mostly designed for fun & crazy live performance tricks  but also for studio production.


-Fade Outward
-Fade Inward
-Fade Leftward
-Fade Rightward
-Fade Downward
-Fade Upward
+ 77 bonus single-knob performodule effect racks!





Upcoming Not-Free PerforModule Set: Drum Enhancerz


“8-Bit Reverb” free effect rack

Sometimes you want a pristine reverb with the most delicate and precious tail imaginable.
Other times, you want a layer of digital dirt to add a touch of gritty color.

For those other times…
here’s another new free audio effect rack for Ableton Live 9.
It’s called “8-Bit Reverb” and is a lo-fi reverb effect that can be used on individual tracks or in a return channel.
It stays at an output bitrate of 8, for an old-school computer noise sound.
It has robust controls for sculpting the timbre easily to apply to many versatile usages.

GRAB “8-Bit Reverb” for Ableton Live 9 for FREE by clicking here
8-Bit Reverb Image







Macro Controls

The amount of reverb.
At 0, effect is bypassed.
To use this as a send effect in a return channel (in order to add amounts of the same reverb to different channels), set it to 100% (127).

Tone Width:
Affects the reverb and erosion bandwidth.
Increase this for a more dense, colored sound.

Alters many parameters simultaneously.
Set this carefully for the desired reverberation contour.

Adds in erosion coloration to the reverb layer. At 0, no erosion is added.

Sculpts the lower range of the reverb. Boost this for more boominess.

Freq Center:
Sets the midpoint of the reverb and erosion tones.
In conjunction with Tone Width this has a great effect on the overall sound.

Sculpts the upper range of the reverb. Boost this for more shimmer.

Divides the sample rate by the number shown.
(Note that the bit rate is always set to 8; dividing the sample rate further degrades the sound.)

Example Usages for 8-bit Reverb
-when needing to add a reverberative type of effect to  chiptune-style music but wanting to maintain 8-bit fidelity
-to add grit, warmth, and character to audio parts (for example, a snare drum)
-to layer in with other reverb in a send channel to add lo-fi coloration to it

If you enjoy listening to 8-bit music…
Pre-Order the new album “8.1 Bit” by Animus Invidious x St. Bernard!
8.1bit_red_white (1)

New “eVokalization” voice-sampled free Ableton Live pack released at

My pal eVokal makes music out of his voice. He beat-boxes and sings and loops it, processed by a kaoss pad and a looper pedal. We’ve been jamming for years (including with the band “Gaia Experiment”) and he’s been featured on my released music more than once (including most recently on this track: ).

We recently sampled him beatboxing and singing with various crazy processing (at super-high quality) and we have made it into an amazing Ableton Live Pack consisting of
-BeatBox Drum Rack — each sample is individually set up with a custom fx chain for a tight, fat sound, and some trippy sculpting possibilities.
-“BeFeelSee” Synth — this is a 3 voice synth, including a gnarly digeridoo-like bass layer, a quirky human voice layer, and an angelic, crystal-smooth string-like layer. You can fade between the layers as well as apply an assortment of weird and tasty modulations.
-BeatBox Percussion Clips — these are ready to drop in and use as-is, or chop up as desired. They are individually warped for ideal transient response when shifting to faster or slower tempos, so even though they are each labeled with the tempo they were recorded at, work perfectly at even extremely fast or slow tempos.

The auto-installing live pack (complete with lesson that automatically opens upon install) has been released at, one of the absolute hottest online locales for Ableton-Live related awesome free stuff and tutorials.
Definitely check out the tutorials, as i have learned some really neat tricks there!

Grab the “eVokalization” Ableton Live Pack
 FOR FREE here:


Listen to a Demo of  “eVokalization”

For fun, here’s a picture of me and eVokal performing at Rubbish Gallery 12/12/2009 (image credit Bradley Flora ).

eVokal & animus by Bradley Flora

Free PerforModule “AutoGain” effect rack (for Ableton Live 9 + Max4Live)

 PerforModule – “AutoGain”

AutoGain Image








This is an audio effect rack which can be inserted anywhere to “auto-ride” the volume level. It can be used to provide automatic attenuation of too-loud signals and/or boosting of too-quiet signals by up to 6 decibels in either direction. The unique “Intensity” and “Target” setup allow for intuitive usage with auto-adjusting attack and release responses.

How it works:
“Flux Intensity” at zero (minimum) will bypass the effect. Once it is turned to 1 or more, the effect will begin. The higher the “Flux Intensity” control is set, the more the volume will fluctuate, trying to maintain the target level. Whether the volume fluctuates upward, downward, or both depends on the target setting and on the source material’s dynamic level.
With “Target Volume at minimum (zero), the gain-riding will ONLY be downwards. The setting of zero is good if you are sure you don’t want to boost the source, but only to attenuate it. As you move the target up, the gain will edge up into higher averages, while still trying to attenuate the louder parts. Near the middle it is likely to both boost and cut audio, trying to balance it. At maximum, it will strive for +6db.
When levels are within the “Goldilocks Zone”, nothing happens! Only when straying too loud or too quiet from the “Target” will they be smoothly curtailed or boosted.
Watch the green Auto-Gain knob move around to see what is happening to the gain in real-time!

Click the image above or this text to download “AutoGain” by PerforModule for free!
[requires Ableton Live 9, “Max For Live Essentials” & “Max For Live Building Tools”]

Questions & Answers:
Q: Why would i use “AutoGain” instead of a compressor?
A: This just changes the volume level, and not the character of the sound. The attack and release response are both automatic, smoothly shifting in real-time according to the signal it is fed… which leads to a complex, “program-dependent” response curve. You could think of it as additive rather than multiplicative. I guess you could say it’s like a weird sort of semi-feedback optical compressor. 

Q: How does “AutoGain” affect transients / dynamics?
A: The effect on transients varies depending on the source and settings. AutoGain reacts more quickly to more punchy inputs, and more smoothly to more smooth inputs. Set “Flux Intensity” and “Target” carefully to find the desired dynamic response you are looking for. 

Q: Isn’t this a “cheater” effect? I don’t like cheater effects; they kill the soul of music.
A: Well, if you use this poorly, it will sound bad. So no, it’s not a “cheater” effect. ;)

Q: What do the blank macro controls do?
A: Nothing!

Don’t click here! Nothing will happen if you do!

Ideas for Usage:
Pre-Compression: on very dynamic material, use “AutoGain” just before a compressor, set moderately. Gently smooth out the dynamics a bit before they hit the compressor and allow the compressor settings to apply more uniformly. This can lead to a cleaner overall sound (as you don’t have to push the compressor so hard). This workflow works well on slower instruments. 

Post-Compression:  some compressors don’t have a “makeup gain” feature. You can use this immediately after such a compressor plugin to restore and balance the level.

Volume Riding: use this like certain famous vst plugins to automatically help your bassist, vocalist, or any instrumentalist’s volume level stay consistent. You could use it for tracking (recording in the studio), live performance, or to process already-recorded parts. If you’re an ambitious member of a band and have the ability to route all the players thru your ableton rig, you could throw one of these on each instrument so they are all massaged in real-time.

Boosting Quiet Stems: sometimes when producing you’ll be working with very quiet recordings. This can be an easy way to make them sit in your mix clearer.

Attenuating Loud Stems: a common problem with a lot of mixes (especially with the prevalence of loop libraries which are already maxed out to 0db) is that the individual tracks are mixed too loudly, and then when summed the end result is not as clean as it could be.. This can be a quick way to curtail too-loud parts.

Previewing Clips: when previewing a bunch of audio clips sometimes it can be jarring when the volume differences between them are great. This can help keep everything in perspective when listening to a bunch of different clips (just drop them all onto the same track w/ AutoGain).


Click the image above or this text to download “AutoGain” by PerforModule for free!

[please note, in order to use, you must own Ableton Live 9 + Max For Live, and have the “Max For Live Essentials” and “Max For Live Building Tools” packs installed]


If you like “AutoGain” by PerforModule, be sure to also check out the Alien Intuition set of devices:

The free “Super Fader Rider” you can acquire is similar to “AutoGain”, except it controls the volume mixer control itself (attenuation only), and has a fine-tuneable response.
The other groovy devices in the “Alien Intuition” set apply effects with automatically-responding parameters as well, for a range of specific purposes.


“Planetary Convolution” – a new set of impulse-based reverbs for use with any DAW.

Now unveiling “Planetary Convolution” – a pack of Reverb Impulse Responses, each based on a planet (including dwarf planets!) in our Solar System.


They were created using different custom settings of Ableton’s built-in Reverb Algorithm, re-sculpted into Impulse Responses, and then further enhanced.

Each is presented as a “Convolution Reverb Pro” preset for Ableton Live 9 (+MaxForLive) with individual IRs, tone control parameters and a special 1-knob extra effect each.

Using Ableton Live, the presets will open with their corresponding impulse files automatically.
Non-Ableton users can use the IRs too… just open them with your favorite Convolution plugin (though you won’t have access to to the custom EQ shaping parameters and bonus FX, sorry).


“Planetary Convolution” : $1.11 via paypal / credit card.  <<<<—- Click Here.

(If you’d like to snag some original Convolution Reverbs by PerforModule for FREE… then click hereGT-8 Convolution.)

Now for an overview of the Impulse Responses that come with “Planetary Convolution”.

Mercury Reverb_
Has a sizzling, bright tone, like you’re getting fried by the sun.
Xtra FX: “Liquid” – adds a creamy movement; molten.

Venus Reverb_
Sandy-sounding with a smooth high end.
Xtra FX: “Scorch” – adds a subtle fuzz which is affected by the tone control. Also has an enhanced “Thick Chorus” control.

Earth Reverb_
Our good ol’ home planet, you know? This has a medium room sound, good for hip hop drums. The overall tone is (you guessed it) earthy.
Xtra FX: “Gravel” – this adds a nice gritty, chalky color to the reverb.

Mars Reverb_
This reverb has a punchy, forthright quality. It is well-suited for march-style drum patterns, brass, or other high-energy instruments.
Xtra FX: “Anger” – dials in some burning bite to the sound.

Jupiter Reverb_
This reverb has a ridiculously long and smooth tail (25.6 seconds to be precise). Use this for extreme spaciousness and super fade-outs.
Xtra FX: “Storm Swirl” – adds movement to the sound as you get carried along the current.

Saturn Reverb_
Very large and with a resonant, ringy quality.
Xtra FX: “Rings Twirl” – take a trip along the concentric circles.

Uranus Reverb_
Has a billowy texture, as if enveloped in thick fog.
Xtra FX: “Vapor” – adds a smokey layer of reverbish decay.

Neptune Reverb_
Has an icy, chilly spaciousness.
Xtra FX: “Frost” – dial in some crystalline crunch.

Pluto Reverb_
Very small, very cold. Just listening to it will drop your body temperature by a few degrees.
Xtra FX: “Interior” – fade into the interior cavity of the sphere. It must be hollow?

Eris Reverb_
A lesser-known dwarf planet, Eris is known as the Goddess of Chaos, having a bizarre orbit.
It has a short, foreboding sound, like the feeling of someone watching over your shoulder.
Xtra FX: “Dirt” – adds a muted, broken darkness.


By Style_
Booth Type (very small)

Room Type (small)

Hall Type (large)

Epic Type (vast)


Mars Reverb Image

Ableton Racks Macro Controls_
Dry/Wet: Convolution Reverbs tend to be quite lush, and often are audible at even 1% wet. These start at 23% as a default starting position — make sure to adjust this carefully to not over-use reverb.
Tone: Starts in the middle by default. Each planetary reverb has its own unique band interactive filtration which will occur upon moving the “Tone” control up or down. If you have the EQ pane open, you can see a visualizer of the audio input spectrum and the EQ curves. After adjusting with the “Tone” dial, you can grab any of the 3 individual EQ nodes and adjust them by hand to fine-tune (they are not “locked” to the control). However once you move the tone knob again, that planet’s custom filter curve will take over again.
Distance: This begins at the default (normal) setting. Turning it down will make the object sound closer; turning it up will make it sound further away. Use this to alter the spatial depth of elements in a mix.
______ (Special Effect): This Macro is named differently for each planet, and has a different sonic effect on each.
Predelay: The time before the reverb first begins. Can be useful for preserving your original transients or adding a stuttered rhythmic feel.
Chorus: Adds a subtle creamy stereo movement. The planet Venus has a more extreme “Thick Chorus”.
Stereo Width: Lower settings place the reverb at the middle of the stereo field; greater setting lead to more spread up til the maximum possible.
You Can Also: Using controls on the Convolution Pro device (which aren’t mappable to the audio effect rack), one is able to lengthen or shorten the decay, shorten or lengthen the size, combine 2 different planet IRs attack and decay sections, alter the shape of the early reflections and length, cause “cascade” overlapping of decay curve, implement reverb fade-in or fade-out,  adjust the Damping Curve (basically the EQ for the decay), or even flip the reverb into a reverse reverb.

Grab PLANETARY CONVOLUTION for ONE DOLLAR and ELEVEN CENTS via paypal or credit card by clicking >>>>>>>>>>HERE<<<<<<<<<<<

-“Planetary Convolution” self-installing Ableton Live Pack. Simply drag the .alp file into Live to install it, and the presets will show up in the “Room” and “Hall” folders under “Places”. BAM. That easy.

-“Planetary Convolution” set of .aif Stereo Impulse Responses (L + R files). These are for anyone who doesn’t have Live.

Provided as a single zip file to download. Once unzipped:
If using Ableton Live: use “Planetary Convolution by PerforModule.alp”
If using another DAW: use “Planetary Impulse Responses” zip file. Unzip it and find the aif IR files inside for usage in your Convolution plugin of choice.

Audio Demo_


ps. On the topic of celestial bodies, check out the “moon reverb” ableton preset which comes with “PerforModule – Dephaultz”.

L/R + M/S Panning Control Rack For Ableton Live. Free.

Now revealing the “LRMS Splytter“.

First, a brief and haphazard overview of the difference between L/R and M/S processing.
crude panning diagram

As shown in the hastily-drawn diagram above, L/R separates the audio into two equal halves. This is how stereo speaker systems send and receive audio, and seems intuitive enough considering humans are programmed with a stereo set of ears.

M/S processing is when things get weird. With L/R processing, there is always an L and always an R. There may not always be something playing there, but the space exists. Things are not so distinct with M/S… sometimes there may only be center or sides, and there is no arbitrary cutoff location between them! So how do you know if/when center or sides content will exist?
The Center is defined as the audio material that is exactly the same in the Left Channel as in the Right Channel. This creates a “Phantom Third Channel” (back in the day some vinyl records used to hilariously advertize this phantom channel). If the entire audio file’s audio wave is exactly the same on the left and on the right, there will ONLY be a center channel, and no sides will exist (in the diagram above, imagine the “Center” section inflated so wide the sides are squished all the way to the edges and gone). In such a case, the result is identical to a mono sound file.
Likewise, if the Left Channel’s material is completely, absolutely different than the Right Channel, there will be NO Center Channel (in the diagram above, imagine the “Center” section squeezed inward so narrow it disappears and the Edges mimic the upper “L/R” portion). In this case, the “Left and Right Halves” content would be exactly the same as the “Left and Right Edges”.
When you have an audio file which contains BOTH some difference between the left and right, AND some similarity between the left and right (drum recordings tend to be a great example of this), M/S processing can be very useful.

So what does the LRMS Splytter do then?
LRMS Splytter

With this one rack, you can:
-fade between the L/R and M/S processes with no phase or gain alteration.
-use L/R processing and M/S processing simultaneously in parallel to an adjustable percentage.
-apply different effects to the Left Side, Right Side, Center, Left Edge, and/or Right Edge.
– solo and preview the difference between the Left or Right Half and the Left or Right Edge of any audio material and really hear the difference between what is going on with the L+R vs the M+S.
-alter panning of each of the 5 chains individually (use this for subtle stereo enhancement and surreal perceptual effects).
-alter the gain of each of the 5 chains individually (-infinity to +6db).
-invert the Mid and Sides content with each other, completely or by percentage.

A few wacky ideas of things you could do:
-Monitoring: use this to solo (and preview) just the center, left or right half, or edges content of any audio (use the “S” buttons in the chain list). Very handy! Fade between L/R and M/S and monitor the gain meters in the chain list to be able to see the difference between the “halves” and the “edges” content.
-add a real tube preamp routed via the “External Audio Effect” device to only affect the center channel and not unbalance the stereo image (i myself have used this technique — works awesomely). You could expand on this idea by running 3 tubes and routing the center, left edge, and right edge each thru its own tube, then use the the “L/R or “M/S” knob to fade in the tubed M/S signals with the dry L/R.
-add a ring modulator enhancing the bass with a vowel-type sound the the center, then use “Invert M/S” automation to make it breathe into the sides.
-add a sidechain compressor on each edge linked to its respective half and key-filtered to be triggered by certain frequencies (i.e. on Left Edge > sidechained to Left Half) for a stereo-enhancement that pulses reactively.
-add dub delay on the left and right halves, but only automate in the L/R process when you want the delay to come in.
-add almost-obscene, thick distortion and compression to the center and edges individually, keep the left and right halves clean, start with “l/r or m/s ?” set to zero (0) and then gently apply a tasty amount of m/s process for parallel chunkiness.

Remember if you forget (haha) what the controls do, like with all PerforModule FX, tooltips are enabled: just hover your mouse over any control and info will appear in Live’s Info Box.

The possibilities are truly endless!
If you come up with an awesome way you’ve used this to process something, please tell us about it in a comment.

CLICK HERE (or on one of the images above) to snag the free “LRMS Splytter” for yourself.
{requires Ableton Live 9 to use!}


new free Multiband Reverb effect rack for Ableton Live 9

“PerforModule: MultiBand Reverb”

MultiBand Reverb Image

A reverb effect rack sending different calibrated reverb algorithms to the lows, mids, and highs. The lengths, widths, and shapes of each reverb chain are scaled compared to each other leading to very complex, smooth and lush sound which can be used from very short ambience “small box” reverbs to extremely long-tailed hall reverbs, and everything in between. The tone can be altered carefully with just a few macro controls to sculpt the sound with great versatility and ease.

Add in Low, Mid, or High reverberation, change the room size and tightness, and alter the tone with the cutoff and diffusion knobs.

Each chain of the reverb is suited for the frequencies of material sent through it.
The “Low” chain additionally saturates its output. Tip: Try using it on a kick drum or drum buss with a higher “Tightness” setting and turn up “Low Reverb” then play with the room size to add a natural boom to kick drums. 

Click the image above or these words to grab “Multiband Reverb” for free!

Check out an audio demonstration of various settings of the “Multiband Reverb” applied to drum + percussion loops_


ps check for how to save this in your Live 9 library so that it shows up in the “Places” section of the browser. Super nifty.