Category Archives: Tute

PerforModule Recommends: Ideal Peak Levels

by in Tute and tagged , , , , | 1 Comment

Kind of like every human being has a height value, every audio clip has a peak level value. So what can we do with that information, beyond knowing that going above 0dB usually isn’t advised? In our eternal quest for ultimate audio quality, the inclination can be inherent to record loudly—as close to 0dB—as possible, and thereafter maintain that peak level. We fear that by mixing with track levels that are too quiet, we might be losing fidelity, some harmonic detail in the saturation floor or something.

While it is true that recording analog signals as loudly as possible without signal clipping to begin with will indeed minimize noise floor, the benefits reaped by maximizing peak level for individual tracks tapers off as you get closer to zero. At what peak level are audio sources louder than they really need to be? At what level are they too quiet, that they might need to be boosted excessively later? Using an algorithm based on the energy of how sounds stack together, i devised a set of go-to ranges for peak levels based on track counts. Since peak levels can vary fairly wildly based on content, you are given minimums and maximums (instead of single target values). Juicy details ahead… Continue reading →

Optimizing a New Windows PC for Audio Production (w/Profanity)

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Having recently acquired a new custom-built PC, various steps implemented to optimize its performance and usability were taken note of. While not an expert in such things, i figured to share these tips in case they may prove useful. Keep in mind that this guide is presuming that you already dabble in audio production and are upgrading to a new—from an existing—system.

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Ableton Live 10: New Feature Highlights

by in Tute and tagged , , , , , | 5 Comments

So i’ve been delving into the Ableton Live 10 Beta for a little bit now, did a couple of large mixes and some experimenting with it, and have accumulated a fair impression of how it differs from Live 9.

Ableton Live 10 ~ What’s to Like?

I’ll run over some of the things i’ve noticed in particular which stood out to me, while slipping in mentions of more minor program enhancements. Everything i explain below i will have confirmed personally with Live 9 and Live 10 side-by-side testing.
You’ll notice i completely ignore some new features. These are things i’ve either not tested yet, don’t care about, or would take too much time to dive into properly here. I not even touching on the new instrument or effects (yet…)
My overall impression of Live 10 is that they added in a lot of workflow improvements i didn’t know i wanted. Continue reading →

A Limiter Tournament

by in Tute and tagged , , , , , | 6 Comments

So i set up a Limiter Tournament (using a variation on single elimination style) to decisively rank my Clipper/Limiter/Maximizer plugins against each other. Unlike with compression, which i often like to use for adding character, injecting density, and enhancing groove, my primary purpose for limiters tends to be to increase headroom by curtailing short transient peaks, leading to a consistent, clean output. For this reason, it is not so impractical for me to classify some limiters as “better” than other (unlike with compressors). This is also the reason why i am including clippers and limiters both in the same tournament. Limiters tend to pump and Clippers tend to distort, but lots of plugins have characteristics of both, and the basic purpose is the same for both: to reduce the pokiness of peaks which are so fast we don’t really hear them anyways. Maximizers? What the fuck are those? There is no consensus as different developers release things they call “maximizers” which do different things, but in general, they combine peak limiting with either low-level compression or saturation.

4 limiter/clipper/maximizer models at a time were pitted against each other in contests using HOFA BlindTest with clips gradually pushed into 35dB of limiting, gain-matched using Melda’s MAGC to be able to hear only dynamics, tone, and distortion characteristics without loudness levels affecting perception.

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Controlling MIDI in Ableton Live with a Video Game Controller

by in Tute and tagged , , , , , , , , , , | 3 Comments

joystick ableton
DO WHAT NOW? Get your video game controller to do stuff in Live.
DO WHY? Because doing so is awesome. Duh!
DO HOW? This is where it gets tricky. But not that tricky.

MIDI or KEY mapping? Key mapping alone is groovy, but you are limited to toggling between two values. That’s no fun for a filter sweep! With 0-127 ranges you can map that analog joystick to control knobs and faders with full precision.

Continue reading →

Free “Emphasizers” Racks

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emphasizers image

Now updated for Live 11!

Click to Get Emphasized.

Control any audio effect with more precision than ever before.
Drop any nonlinear FX plugins into them and have the ability to alter the signal they are reacting to.

Includes:

•In~Out
Provides basic input gain, compensated by an opposite amount of output level. Super simple and super useful for fine-tuning any nonlinear effect. For example, use it on a saturator to make that saturator drive harder or softer, expanding its usual working range. Same idea for any threshold-based effect like a compressor — you can use In~Out to fine-tune the onset or expand the range of any built-in threshold.

•Emphasizer
•Emphasizer (LR)
•Emphasizer (MS)
•Emphasizer (Dual Shelf)
Boost a certain frequency or frequencies to hit nonlinear FX differently, output-compensated by exactly opposite curvature, leading to a totally neutral sound (other than the reactivity of the dropped-in FX).
For example, you could push more midrange (say…2.5kHz) into a saturator, without directly affecting the overall clip gain. This greatly expands the capability of normally non-adjustable distortion processors by a great deal, if you think about it. Want to crunch up only the highs or the bass more than other frequencies? Go for it. It’s especially great for guitar distortion and amp plugins whose tone controls tend to be quite limited.
Same for compressors and the like. You can make a compressor plugin that has no built-in sidechain EQ effectively have one. Effin’ sweet. Think about gating and noise reduction. Preserve certain frequencies by boosting them in the sidechain, or ignore frequencies you don’t care about.

~`~

(inspired by this excellent tutorial video by Dan Worrall)

Have with the funs!

Handy Tip: Custom Metronome Sounds in Ableton

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Sick of the default Ableton metronome sound?

Since it is already described more eloquently than i could, i recommend Sonic Bloom’s nifty guide:
http://sonicbloom.net/en/ableton-live-tutorial-how-to-change-the-metronome-sound/

Do that thing.

Here’s what my current metronome sounds like.

and remember: NEVER HESITATE TO MAKE LIFE MORE FUN!