Sometimes the simplest things are the most useful… introducing the free “Utilification” Ableton Live Pack

Here’s a {free} ableton live pack of effects that are made for simple yet extremely useful purposes, including fading, stereo panning, m/s encoding and decoding, and three midi racks for suave velocity control.

It is highly recommended to grab these and implement them into your Ableton Live library.

toolz

INCLUDES:

Audio FX

“-inf to +0 Fader” — just like it says, this is a simple fader from negative infinity to zero decibels. When you want a quick and easy volume knob that goes all the way to silence and maxes out with no boost (unlike the “utility” device), use this.

“LR to MS Controller” — this will switch a Left-Right Stereo file to transmit its left channel as the sides and its right channel as the center, or you can swap those results so the right is the sides and the left becomes the center.
You can then tilt the center and sides channels, mute them, and alter their levels.

“MS to LR Controller” — this will switch a Mid-Side Stereo file to transmit its sides channel as the left and its center channel as the right, or you can swap those results so the center is the left and the sides becomes the right.
You can then tilt the left and right channels, mute them, and alter their levels.

[an example of using these controllers would be to make an MS recording into LR to be able to apply a stereo effect to it, then to return it back to MS again]

“Instant Muter” — Mutes the audio, plain and simple, the moment the knob is moved above its minimum value. Use this to be able to easily interrupt the audio flow wherever you want within a chain.

“Stereo Panner” — Allows for “stereo panning”. Using clever routing, this allows non-exclusive panning of audio wherein the content from the opposite side is moved over rather than being faded out (while maintaining overall level). This allows for more natural-sounding panning of stereo sources without losing material.
[For example, let’s say you have a stereo track with a guitar panned hard to the left side and a piano panned hard to the right. Normally if you use a pan knob to move right, the guitar sound would be lost. With this, panning right will gradually move the guitar over to the right along with the piano, rather than removing it.]

“Phase Adjust” – Select among 4 phase-flip options with one knob, and implement micro-delay to align waveforms more carefully, either between the source and the mix or between the left and right halves of the source.

“Utilify” – “Swiss army knife” which includes most of the above devices in one rack.  Use this as a more robust replacement for Ableton’s built-in Utility effect.

 

—>>> Download “Utilification” for Ableton Live 9 via Isotonik Sutdios <<<—

Final PMX Instrument pack release + Free “Square Lead Synth” Instrument

The final slew of PMX instrument packs has been launched at Isotonik Studios.
*Whew* Now THAT was a project…

At some point close to a year ago now, I decided to multi-sample all the patches of my trusty 88-key Casio Privia PX-300 Digital Piano, which i have had since 2005 and is my main midi controller for composing melodies or playing them live. Originally i had intended to do so merely to archive the instruments for my own personal production usage, for the eventual day if/when the PX-300 parts my hands or breaks down. I decided to sample them at an ultimate quality level according to my current capabilities, which happened to be 96kHz/24-bit input via dual triode vacuum tube and custom artificially-intelligent, signal-reactive processing with specific [now retired] alien intuition  PerforModule Live Pack devices. So these samples are juiced-up versions of the original PMX samples. I find myself enjoying the “sampler” versions of these instruments way more than the original patches — they sound more crisp, have fun added capabilities, and are so easy to use “in the box” at a whim.
So i figured… “why not also offer them as patches for other Ableton Live users?” …and thus you have available the PerforModule PMX Series at Isotonik Studios.
Right now, Enter BYEBYE at the checkout to get 50% off the PMX series (!!)

The PMX instruments have been spared no element of utmost quality and usability in their formulation.

Each patch includes a unique sample for each of 88 keys, and includes its own set of 8 custom macro controls which reflect characteristics of its physical instrument counterparts
(a few examples…
-pianos have a “piano reverb” which blends in subtle chromatic resonance, and controls to mimic “soft” and “sustain” pedals.
-organs have a “leslie rotary” dual cabinet which follows the exact specifications for the classic dual rotating leslie speaker effect.
-the bagpipe can simultaneously play a drone note and a chanter melody, and switch between them.
-harpsichords can add a sound similar to the sound of the keys “plunking”.
-xylophone type instruments have an effect emulating a rotating butterfly valve.
-guitars have a “palm mute” knob as well as “whammy bar” for subtractive vibrato or crazy pitch divebombs.
-the sitar can have its string-buzz amount set, as well as the key, mood tonality and strength of the sympathetic strings.
-orchestral strings such as violin can choose between a bowed, plucked, or hybrid timbre.
-brass and woodwind instruments can use a “flutter tongue” effect as well as alter the valve sound.
… + many, many more)

The start, end, loop points, crossfades, and volume levels for each note of each instrument were individually fine-tuned by hand for all 88 notes of every instrument for ridiculously consistent response and tone.  That’s over 12,000 samples… yikes.

The PMX instrument sets are available as self-installing live packs grouped by style, with instruments automatically categorized into your library’s “category” section for super-easy access. After purchasing, all you have to do is drop the .alp file into Live and everything will install on it’s own with no work or confusion required by you.

Each pack has one fully-functioned freebie instrument, available at the aforementioned Isotonik Studios.

>>>The FINAL FREEBIE, the brand new “PMX-300 Square Lead” instrument can be acquired for FREE ONLY HERE by clicking<<<
(Requires Ableton Live 9 + “Sampler”)

Listen to a demo of the “PMX Square Lead + other instruments from the pack “PMX-316 Synth Leads” play this song from the NES game “Legacy of the Wizard” (written by Yuzo Koshiro)

(audio demos for all of the pmx instrument sets are available at the performodule soundcould)

More fully-functioned free PMX instruments are located at these fine locations around the web.
Go ahead and grab ‘em!

“Warm Brass Synth” via AfroDJMac (from “PMX-313 Brass”)

“Koto” via SonicBloom (from “PMX-309 Exotic Plucked”)

“Glockenspiel” via Bedroom Producers Blog (from “PMX-306 Mallets”)

“Drawbar Organ” via Subaqueous Music (from “PMX-303 Organs”)

“Tremolo Strings” via Audiobombs (from “PMX-311 Strings”)

BRD_PMX-300_Cover

 

(!) Now until the PMX series retires, Enter BYEBYE at the checkout to get 50% off (!)

 

PMX Instrument Packs Available

PMX-301 Classic Pianos
PMX-302 Funky Pianos
PMX-303 Organs
PMX-304 Reeds
PMX-305 Clavis
PMX-306 Mallets
PMX-307 Guitars
PMX-308 Basses
PMX-309 Exotic Plucked
PMX-310 Melodic Percussion
PMX-311 Strings
PMX-312 Pads
PMX-313 Brass
PMX-314 Woodwinds
PMX-315 Exotic Winds
PMX-316 Synth Leads
PMX-317 Synth Strings
PMX-318 Synth Voices
PMX-319 Bonus Sounds
 

 [Super Hint: for the best deal, grab the “Everything” bundle. This is also the only way to acquire the “PMX-319 Bonus Sounds” pack which includes soundscape-worthy instruments such as “seashore”, “reverse cymbal”, and “helicopter”.]

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.]

VelociRaptor
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.

Rad-omizer
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.

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.
BRD_FunkyPianos

 

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 subaqueousmusic.com.

“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

Wetness:
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.

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

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

Lows:
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.

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

Down-Sample:
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 SonicBloom.net

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: https://animusinvidious.bandcamp.com/track/greegraw ).

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 SonicBloom.net, 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: http://sonicbloom.net/en/evokalization-free-live-pack-by-performodule/

 

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 https://www.facebook.com/pages/brad-flora-photographer/189033249228 ).

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]

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 http://performodule.wordpress.com/2013/05/24/how-to-organize-user-plugin-presets-like-a-boss-in-ableton-9-using-the-hidden-architecture/ for how to save this in your Live 9 library so that it shows up in the “Places” section of the browser. Super nifty.

New free GT-8 Impulse Responses by PerforModule at Bedroom Producers Blog

I got inspired one day and sampled a convolution for each effect i could procure out of my Boss GT-8 Guitar Multi-FX pedal. I sent them off to Bedroom Producers Blog, where they are now available for FREE download.
I also made a default “Convolution Reverb Pro” preset Ableton device for each IR and made them into a pack.
I sampled them at 96k 32 bit for no compromise of quality.
If you have Ableton Live 9 + MaxForLive, you can install the effects simply by dragging the .alp file into ableton and clicking “yes”.
If you do not own Ableton Live, do not fear! You can still use these convolutions with your preferred Convolution plugin.
Click the “Boss GT-8 Impulse Responses” image to teleport to Bedroom Producers Blog and grab them!

 

~`~

Oh and, if you didn’t catch it already, be sure to grab the PerforModule “Pitchbend Vibrato” midi rack over at subaqueousmusic.com! Click the image below to go there.

PitchBend Vibrato Image

Huge thanks to Bedroom Producers Blog and Subaqueous Music both for hosting my crafts and spreading the love. The worldwide creative community is so inspiring!
And a huge thanks to you, reading this. I never imagined this blog would become what it has, and every single visitor here is partially responsible and you have my personal gratitude.

much love
~animus