Isotonik Sounds Launches with New Free & Sale Packs (+bonus freebie!)

Isotonik Sounds has officially launched, a section at the Isotonik Studios webshop featuring instrument and sample packs for Ableton Live by various developers.

Each month, new free and sale packs will be made available. The first two packs are Crumar Multiman-S by noted maxforlive developer NOISS COKO and ADM DRUMS by yes, you guessed it, the acclaimed wizard of Live: AfroDJMac.

First up, what i know most of you are going to go for, the freebie…

FREE: Crumar Multiman-S by NOISS COKO

Crumar.png
This is a SWEET little set of instruments multi-sampled from the Crumar Multiman-S Synthesizer (i know they sound good, because i beta-tested them).
The original hardware features 6 string voices which can be individually volume-controlled to create your own custom blends. The Ableton Live pack NOISS COKO has created for us features instruments showcasing each voice, plus an “ensemble” instrument with all voices.

My favorite thing about these instruments is their multi-sampling of each note individually, lending very rich, organic flavorings which stand out well in a mix.

Read More about the Crumar Multiman-S at Vintage Synth Explorer.

Crumar Multiman-S
Self-installing pack works with Ableton Live 9 or 10, Standard or Suite versions.

Grab it.

 

For Sale: ADM DRUMS by AfroDJMac
admdrums

The first in a series of ten epic packs, AfroDJMac’s “Grand Collection”, ADM DRUMS is an amalgamated, highly organized collection of drum racks, drum loops, and drum samples created by AfroDJMac from the start of his release history to the first half of 2018, now updated and reorganized into a self-installing Ableton Live pack.

Spanning content from a dozen different original premium ADM packs, this mega-collection allows you to browse among the vast selection of drum racks for jamming on or crafting beats, drum loops for layering or chopping, and drum samples for dragging-and-dropping to make your own custom drum racks.

Includes greater than…
>100 unique drum racks!
>1,000 unique drum loops!
>2,000 unique drum hits!

Everything is setup so that it integrates into Live’s existing library categories. So for example, you can browse the drum hits from within the existing Drums -> Drum Hits category inside the Live Browser. This makes designing your own drum kits super easy, and super fun!

Read Mark Mosher’s review of ADM DRUMS over at Modulate This for an in-depth impression from someone not personally involved in the pack creation. By the way, Modulate This is a really cool blog and resource for… well, you, most likely, seeing as you’re here now. Mark Mosher runs the Modular Synth Meetup in Boulder, CO, and you can listen to this interview of him on the Art + Music + Technology podcast.

You could also check out the Gearslutz Product Alert, if you’d like.

Yep, ADM DRUMS is a wee bit pricey at $76.50 (with current exchange rates). But when you think about what you’re getting and what it will do for your workflow, and the fact that many single plugins cost more… it’s sooooooooooooooo worth it!

ADM DRUMS
Self-installing pack works with Ableton Live 9 or 10, Standard or Suite versions.

Get it.

psssst, i heard a secret rumor that ADM Music Production Club Members might be privy to a special discount? Sshhh… don’t tell anyone!

 

But wait! We’re not done here just quite yet.

BONUS FREEBIE

(Live 10 Only…)
Here’s a rack i made while organizing my own ridiculous user library. I’ve always found it annoying how some kits are too quiet while many are too loud, desiring less level adjustment and other bullshit before jamming or composing. So i made an effect rack which is specifically designed to slap after the end of any and all drum racks and alleviate such issues. It’s particularly useful when hot-swapping between a bunch of different kits to audition them. I call it the “Drum Rack Endcap”. It’s also useful for some basic sculpting of said drum rack once decided upon, with carefully-calibrated low- and high-cut filtering and some tasty enhancement gimmicks. The thing has been gainstaged against pink noise for basically neutral default settings.
Available nowhere else.
DrumRackEndCap.PNG
Drum Rack Endcap (for Live 10+)
How to use:
Just slap it on the end of your drum racks. If a rack is too loud, it will take care of it already. If a rack is slightly too quiet, try using “Drive” to boost the signal by up to 4dB. If the drum rack is really quiet and that’s not enough, try clicking the “Comp” button in the Drum Rack Buss device to jolt it up. That’s all there is to it!
Tip: set the “low cut” and “low thud” parameters while playing through some medium-grade consumer speakers which don’t have much sub bass. This can help avoid making your kick drum too muddy by setting its fundamental too deep!

Click the image above or the words below and use the password to…

Grab it.

password: end

Ableton Live 10: New Feature Highlights

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.

New Ableton 10 features will be highlighted in italics.
“CMD/CTRL” means “CMD on mac or CTRL on windows”.

 

•Snappier Overall Performance

This is totally unscientific and subjective, but it seems to me like Live 10 takes a little bit longer to initially load, but once loaded, runs much snappier. I feel like tracks, sets, plugins and racks load, delete, and move around faster. It also seems like i can load bigger sets with heavier cpu burdens with less chance of crash. It has only crashed on me once during my work with it so far, which is quite surprising considering i was working on one mix which had 74 audio tracks and i would often use quite complex chains before freezing or bouncing, and had some sidechain and master buss stuff going on the entire time.
I like the fact that MaxForLive now automatically loads upon program start, because those moments in live 9 when i’m working, load something up, and then have to wait for Max to start because it hasn’t yet, are always annoying.

Nested Groups

I absolutely LOVE the nested groups feature. It just seems natural for Ableton, since you can already nest effect and instrument racks however you like. This was definitely a longtime requested feature of mine, but i didn’t realize until using it in practice how much it actually aids my workflow. I was technically always able to configure whatever audio pipeline i needed to before with track routing, but nesting groups, for most purposes, is more elegant and efficient. For example, say i have snare top and bottom in a set of drum mic tracks. I can group the top and bottom mic tracks into “snare group”, which itself is nested inside the larger “all drums” group.
I could see an unorganized person creating a mess of a set by grouping things eagerly and arbitrarily, but for me, the system works beautifully. And if i need to do more complex routing—i still can, by sending tracks wherever i want, using return tracks, or resampling.
AL 7
While i’m talking about routing, the new feature to route a drum rack pad directly to one of its sends is pretty cool. Now those selector slots on the far right of a drum rack’s chain list actually do something for the pads as well as the return chains.
al 8

Another new thing is that you can now unfold group tracks in the browser to access the contents directly. Very useful, especially with nested grouping. Still missing direct access to return tracks and master channels of projects… oh well.
al 23.JPG

Follow Stays On

Now when “follow” is on, it stays on. This means that you can pause, navigate somewhere, edit something, and when you hit “play” again, the view will go back to where you can see the playhead moving. Yes! I’ve been wanting this! Less constantly hitting the “follow” button to re-enable it. When i want it on, it’s on. When i want it off, it’s off. Nice.
al 24.JPG

Loop On / Off Shortcut

In Live 9, CMD/CTRL + L sets the loop point to the selected area and enables it, but pressing so again does not then turn off the loop. This is now fixed and CTRL/CMD + L will toggle the loop on or off. When no time is selected, the previous loop will toggle back on, otherwise the currently selected time will become the new loop.
If you want to toggle the loop without resetting its position, map the Loop Switch.
al 25.JPG

Split Stereo Panning

So much yes here. I’ve gone on about how “normal” panning eliminates one side of the stereo field when you pan to the opposite side (and i’ve made various Ableton Racks to address this concern). It’s just essential to be able to independently pan the left and right side content when working with stereo tracks. My only irk is that you can’t type values into the sliders like you can with knobs.
al 26.JPG

Undo after Save

Ok now this is a real life-saver here. If you’re like me, there’s been at least one time when you accidentally hit CMD/CTRL-S instead of CMD/CTRL-Z. Well shit. That thing you were supposed to undo? You just locked it in. Damn. But no more will such troubles plague us! You can now undo even after you’ve saved your set. Less chance of irreversible mistakes. Swanky!
Live 10 also automatically saves backup copies of sets in a folder in every project which will undoubtedly save us from some potential problems.
al 27.JPG

Double-Click for Default

You can now double-click on a value to return it to its default position. This works just like hitting “delete” to return a value to its default position. I like it, because sometimes it’s faster if you don’t have a hand on the keyboard, and it’s less risky than accidentally hitting “delete” while a device rather than a parameter is selected.

•Mouswheel Changes, Scrollin’ and Zoomin’

CMD/CTRL + Mousewheel now zooms in or out to the location on the timeline the mouse is hovering over. This makes Ableton Live’s ultra-slick navigation (one of the reasons it’s my DAW of choice) EVEN FASTER, as it’s now almost instantaneous to zoom out, move the mouse, and zoom in to the precise area you want to edit. This behavior update also applies to waveforms in Sampler, for example.
You can now scroll with two-finger trackpad gestures. I did test “Pen Tablet Mode” with my touchscreen monitor, but it’s a really bad touchscreen so i can’t give a good review of the mode.
Previously in Live 9, CMD/CTRL + Mosewheel scrolled left and right on the timeline; now use Shift + Mousewheel to scroll horizontally. Scrolling up and down is the same with the mousewheel as before.
You can instantly zoom to maximize a selected time area by pressing “Z” (assuming the Computer MIDI Keyboard is off, otherwise it will lower your octave as usual). I know i’ll be using that feature a lot. Use Shift + Z to zoom back to where it was before zooming in.
al 9
…before and after pressing “Z”…
al 10

•Optimized Display

That wonky zoom display behavior has been fixed, and it feels better. Here’s a screenshot of Live 9 next to Live 10, both set to the same skin, zoom set to 120%. Notice how the track title bar is placed with less wasted space in Live 10. Every pixel counts, right?
al 11.JPG

MultiClip Editing

I like to compose orchestral parts a lot, usually to go along with guitar parts i’ve written. I sometimes will write a tertiary element to play the combination tone of two other instruments, and seeing the notes overlap in one piano roll makes the process that much quicker to calculate.
CHECK IT OUT:
I’ll double-click in an empty MIDI track in the Arrangement View to create a new MIDI clip.
al 1.JPG

I’ll duplicate the track twice, re-color, and draw random notes in.
al 2

Now when i select all three clips… it shows the MIDI for each, and each can be edited. If i select a note, it and other notes from the same origin track become colored. Other notes are greyed-out in the background. If i draw a selection box to grab multiple notes, it only grabs ones from the currently highlighted layer. This makes it easy to manipulate notes for multiple clips very quickly. Also useful during times like working on a piano part with left and right hands as two different MIDI tracks.
al 3

(After adding some notes to a couple tracks…)
al 4

There are also “Multi-Clip Loop Bars” at the top of the edit area, one for each selected clip, which can be clicked on to edit a particular layer.
al 5.JPG

For contrast, here’s what Ableton Live 9 shows you when you select two MIDI clips. Not as cool:
al 6

Activate a Time Range

Previously, if you selected a portion of a clip or clips and hit “0”, it would deactivate the clips entirely. Now, doing so will automatically split and deactivate only the selected area. Nice little workflow enhancement.
Time selection, Live 9 and 10:al 12.JPG
Hit “0”, Live 9 and 10:
al 13

•Reverse Command

Press R (with the Computer MIDI Keybord off) to reverse the selected clip or clip segment. It will automatically slice and only reverse the selected section, similar to the time range activation described above. You can even select multiple tracks of audio to reverse slices of simultaneously which was previously impossible.
Having a command for reverse was definitely a feature request of mine to speed up workflow, and i’m happy it’s been implemented. Now if only “save clip” could be MIDI-mapped… i would be over the moon.


Automation Mode & Fades

Arrangement view now has 2 modes: one for Track Content and one for Track Automation. To toggle modes, click the “Automation Mode” switch (next to the “Lock Envelopes” switch, which by the way can now be MIDI- or key-mapped) , or press “A” (when the computer MIDI keyboard is disabled). You can also map the automation mode button to a MIDI controller, and/or to a keyboard key of your choice.
With automation mode on, everything is pretty much as we know it from Live 9.
al 28.JPG
When automation mode is switched off (“Track Content Mode”), clips become the solid color of their title bar. This is where you adjust fades now, instead of selection from a menu like other automation parameters.

Fades now have an extra edge handle for further control.
Notice the extra square breakpoint on the bottom left edge of the Live 10 fade (right). Also notice how the Live 10 curve goes all the way to the top of the clip, making better use of the available space and giving greater vertical resolution. The clip is also shaded on the faded-out side, providing a nice visual indication.al 18

 

•New Metronome Options

There are now three default metronome sounds to choose from. I personally like “click” (which sounds more like “thump” to me).
You can now set the metronome rhythm. For example, you could set it to 1/4T while in 4/4 to get 6 clicks every 4 beats. Impossible time segmentations are greyed out (for example, 1/4T in 7/8).
You can now set the metronome to sound only whilst recording.
al 29

Reposition Clip Sections in Arrangement with Arrow Keys

I’m a big proponent of not using the mouse when it’s faster not to do so. Now, a selected clip portion in the arrangement view can be moved left or right with the arrow keys.

Basically, it works like this: if the cursor is just a line, Left or Right will move its position, just as you are currently used to.
Press CMD/CTRL + Left or Right to jump to a clip’s start or end.
Press Shift + Left or Right to select an area of time.
Once you have a portion of time selected, the behavior changes, and moving Left or Right will not just move your cursor, but will move the selected portion in that direction. By Pressing CMD/CTRL + Left or Right while a time portion is selected, you can jump the clip around.

Since we’re talking about horizontal movement, it’s a good time to mention how you can now…

Move Automation Envelopes Horizontally

Previously, you could always transfer the position of some automation by copying and pasting if you needed to. But now you can just grab a selection of automation and drag it left or right. Breakpoints which are in the way will be written over. Definitely hastens workflow for when you just want to move some automation around. Press shift while dragging horizontally or vertically to lock movement to that axis.
I’ll also mention here that breakpoints now snap to the grid (which can be easily disabled by disabling the grid), which can be handy when you want to be all technical and precise.

(windows) •”Fine-Tune” Modifier Change

Previously on windows, CTRL would allow for fine-grained control when adjusting parameters with a mouse. Now, Shift does it instead. I guess this was to increase cross-platform consistency. Ok, then.
However, i’ve noticed that while CTRL + Shift + Mouse used to give 1/100bpm control over tempo, now that feature is apparently gone???

Dragging Clips to New Tracks

Dragging a clip from an existing track to a blank area will create a new track populated with any necessary devices (instruments, effects) to recreate the clip. Use CMD/CTRL-Drag to copy instead of move. You can also move or copy frozen tracks this way; the new track will include the frozen track, and it can be unfrozen to reveal and adjust devices.

•”Show All Tracks” in Arrangement View

This new option (key “S” when the Computer MIDI Keyboard is off) will reduce screen clutter by minimizing and collapsing all tracks in arrangement view.
Since you can already batch-fold or unfold  all tracks in arrangement view by alt-clicking one of their unfold buttons (or multiple specific tracks by selecting each then fold/unfolding one), i don’t really get the point. Might use it occasionally.

MP3 Export

What’s cool about this is that you can simultaneously spit out PCM and MP3 if desired. MP3s can be great for quickly tossing at a client or collaborator for feedback during a project. Not having to encode as an extra step in another program post-render is a real time-saver.
I compared my go-to LAME-encoded “insane” quality 320 mp3 via Audacity with Live 10’s 320 mp3 and they compared pretty much identically other some slight deviation under 30Hz. “Close enough for government work.”
al 30.JPG

Collections

Collections are basically 7 color tags you can apply to anything in the browser to be able to access via a shortcut.
What’s cool is you can tag different types of things—folders, effects, instruments, samples, etc. You can place items in multiple collections.
You can categorize and customize them however you like. Here’s what i have tentatively ended up with. I wouldn’t expect anyone to use the exact same categories as me, but maybe they’ll inspire an idea or two:
Red: “Go-Tos” ~ all the stuff i use the most often.
Orange: “Loops” ~ includes local + external hard drive organized loop archives.
Yellow: “Samples” ~ includes organized as well as not yet organized folders of waveforms.
Green: “PerforModule” ~ everything related to performodule device craft.
Blue: “Convolution” ~ one of my side projects is slowly making custom convolution reverb pro racks for a huge archive of impulse respoonses. Stuff related to that.
Purple: “Nifty Tricks” ~  specific racks & devices which perform really cool, useful tricks.
Grey: “Tasty Mastering” ~ everything used for my mastering business workflow.
al 16


•Ability to Name Input/Output Channels

You can name your inputs and outputs. Cool! Especially useful for instances like mine where the output channel numbers do not match the ones shown physically on my audio interface (which can be confusing).
al 17.JPG


•See Waveform Samples

If you zoom in really close to a waveform, you can actually see the discrete sample locations. This is really neat for a couple reasons. It lets you know the criteria used for “waveform reconstruction”, providing insight into the process of intersample peaking. It shows the point at which the audio data is quantized, therefore at which (theoretically at least) performing smaller-grained operations would be counterproductive. This very well could alter how i set specific automation for extremely delicate tasks in the future by taking into account the actual sample position at the moment it hits a parameter.
al 19.JPG

•Automatic Renaming & Recoloring

There’s a new option to recolor all clips in a track to match the color of the track (either in session or arrangement view) . Just right-click on a track title bar.
I already had a maxforlive plugin to do this, but a context menu option is that much easier.
al 22.1>al 22.2

Unnamed Audio Tracks will now automatically be renamed to match the first clip dropped in. When dropping in multiple clips to one track, the name will follow the topmost clip. When removing all clips, the name will revert to default “# Audio Track”, and if you drop in another clip it will change names once more. When dropping multiple clips into multiple tracks (by holding CMD/CTRL upon drop), each track is given its corresponding clip’s name. This is awesome for mixing because most of the time i am working with one audio file per track. Manually renaming 74 or more tracks isn’t the best use of one’s time. Again, i had a max plugin to accomplish this task, but automatically is even better.
To disable automatic track naming, just give a track a custom name.
al 21.JPG

Recorded clips will have a timestamp included in the name.
This will undoubtedly be useful when organizing or searching through recorded files. “That can’t be the guitar recording we’re looking for. The date is wrong!”
al 20

Capture

It works just like Looper in “set & follow song tempo” mode when creating a first loop during stopped playback (but without having to set the start point). In other words, it will automatically detect a logical pattern and set the start, end, and tempo appropriately. It does what it’s supposed to. Captured MIDI clips will be created in each track accepting said MIDI.
I experimented by screwing around with random notes for a while, settled in on a solid beat, then hit “capture”. Awesomely, it captured all the MIDI and decided to loop the section of solid beat at the end and set the tempo to it. Super Nifty.
al 31.JPG

 

In OTHER NEWS, i’ve done a massive, sweeping update to my “Elemental Channels” spreadsheet which i talked about on AfroDJMac’s Music Production Podcast (check it out for the direct link to the spreadsheet). The focus frequencies are now based on MEL banding, which effects are in which channel strips are even more optimized, plus i’ve incorporated my new workflow for recording parts with my strat guitar in each of its 5 pickup positions. I might provide the actual ableton racks in a pack at some point if anyone shows any interest.

That’s it for now!
*wipes sweat off brow*

 

Animus Invidious on the AfroDJMac Music Production Podcast (+ new free effect racks)

I was super stoked to be a guest on the AfroDJMac Music Production Podcast. Here’s your chance to hear my actual, real-life voice(!) The sound quality on my side is not wonderful since i was recorded over skype, but whatexer. I had a great time chatting with Brian about random stuff… the conversation decided upon its own meandering path, touching on various topics including the crafting and sharing of Ableton Live racks, VST hoarding, my custom Elemental Mixing template channel strip database, workflow optimization, cassette processing, dynamic contrast between songs on albums, and even the Legend of Zelda (nerds). All in all it was a very invigorating experience and i definitely wouldn’t turn down being a guest again at some point in the future. I myself have quite enjoyed the other podcasts, as they contain a plethora of unconventional tips which are superb for kick-starting the creative juices.

Oh, and we also dropped a couple free audio effect racks for you to grab, including something i brainstormed up quite a while ago and finally implemented perfectly: ‘Dynamic Panning’ (compresses in one direction while it expands in the opposite for source-reactive width modification).

Check out AfroDJMac’s website to access the show.

How to Organize User & Plugin Presets Like a Boss in Ableton 9 using the Hidden Architecture

Problem: Hot-swapping… have to navigate to all these different folders. Wah! So annoying. End up neglecting certain folders of presets due to their unfortunate locations. Presets get sad and lonely, and begin to wither.

Solution:
Ableton 9 has a built-in secret “Folder Architecture”. Fiddling around with how things appear in the browser i discovered that if you make a folder with the same name as one of the built-in categories (for instance: “Amp Simulation”) in your User Library Presets folders, any presets in that folder will appear in the respective folder of the same name in the “Categories” pane of the browser (instrument, drum, audio effect, or midi effect racks). Customizing this way provides more unified access to all factory and user-created content in the same location, which makes my life easier. If i want an amp coloration effect preset, for instance, i have one single folder i can open up where i see all user AND factory presets (and even vst and max for live presets) all in one nice list together, easy to hot-swap and preview amongst. How to do this? Simply save files in your user library, organized however you like, but in folders with specific names. That’s all! The text has to be verbatim. There are only certain folder names you can use, which i figured out with experimentation. There are quite possibly other folder names which work, or even a process i am not aware of to be able to create one’s own categories (that would be really cool). But for now we are stuck with using these specific category names.

Let’s run through an example of the process. Let’s say you devise some wacky modulation audio effect rack you want to save to be able to use later in other projects. You want it to appear in “Categories -> Audio Effects -> Audio Effects Rack -> Modulation & Rhythmic” along with the factory modulation-type presets.

1) Save Preset In User Library: Save your preset wherever you want in your user library. Let’s say you’re saving it in a custom folder you made in your user library called “Cool FX By Me”.

Category Folder in User Library

2) Set Browser Category folder: Choose a category for your Instrument, Instrument Rack, Drum Rack, or Midi FX Rack preset according to the lists below. Make a new folder of that same name where your preset is saved, and move it into the new folder you just made. Now it will appear in the correct category section of the browser as well as in your custom spot.
In our example “Modulation & Rhythmic” would be appropriate, so we’ll make a new folder inside the “Cool FX By Me” folder called “Modulation & Rhythmic” and save our new effect rack there. Now it shows up in the “Categories” section of the browser next to its Core Pack buddies. Cool indeed!
User Library Thing in Main Browser Yay!

Done! Unless you want to make things even more cleaned up, then you can also follow more advanced procedures to optimize navigation of your hierarchical content…

Optional 1) Name-Changings: Add a word to the beginning of the filename so that it appears alphabetically listed next to other devices of similar types (example: EQ; Phaser; Limiter;). Many presets already contain the word you may want. If so, i recommend moving that word to the beginning of the file name (e.g. rename “Swanky Reverb” to “Reverb Swanky”) so that similar items are alphabetically adjacent. This will feel natural to speakers of Spanish and other languages which tend to naturally place adjectives after nouns rather than before.
Example: “Norman – Optical Compressor” would be renamed “Compressor Optical Norman”in out system, so that it appears in the browser right next to other compressors, immediately adjacent to any other extant optical compressors. How handy.

Optional 2) Holder Racks: For each Plugin (VST, Audio Unit, MaxForLive, and Ableton Factory) device you own and use, group it (mac: cmd-G / win: ctrl-G) and save it as a default preset with an appropriate name and in an appropriate category folder in your user library. If you want all unique devices to appear separate from amalgamated-device-racks, add an underscore prefix to the name (Example: Save “Generic Analog Compressor VST” as an Effect Rack called “_Compressor Analog Generic” or save “TAL Bassline” as an Instrument Rack called “_Synth Bass TAL Bassline”). For devices with 8 or less parameters, map them to the macros if you want, set to full practical ranges and at starting default points. This is completely optional, though, since you can access all parameters and automation of plugins and max devices anyways. Whether or not you decide to map any of the parameters to macros, it is recommended to make one default rack for each Plugin saved in your User Library.

*RELATED: please check out the newly rolling-out “FreeVST Racks comin’ at ya” to sign up to grab free presets for free vst plugins, featuring one developer each month. These presets are created by PerforModule to be “the definitive” default racks for a vast swath of vst plugins which are publicly available for free, including embedded into the racks user guide info text for every macro, and with coordinated knob position and colors.

The Categories. Only these categories seem to work. So if you want something to appear in any category folder in the browser (other than “Other” which everything else defaults to), you have to use one of these. [Example: Say you have an exotic-sounding tension instrument preset you want to save; create a new folder inside the “Tension” folder called “Exotic” and save the preset there.] The named folder can be nested anywhere inside your user library, which is really useful, but the items will have to be directly in a folder with said name (within whatever location it resides).
Another good excuse to perform these organizations is to avoid that “Other” folder from being overwhelmingly stuffed with a clutter of variant types of stuff. Another obvious benefit is the ability to hot-swap to ALL similar items (as determined by you) in one single unified folder location.

For Instruments & Instrument Racks:
 Any of these will work in all of these folders: Analog, Collision, Drum Rack, Electric, External Instrument, Impulse, Instrument Rack, Operator, Sampler, Simpler, and Tension.
Presets put in folders of these names will appear in the respective folder in the “Sounds” browser link.

Instrument Rack screenshotAmbient & Evolving
Bass
Brass
Effects
Exotic
Experimental
Guitar & Plucked
Mallets
Orchestral
Others * everything in a folder with any name other than one on this list ends up here
Pad
Percussive
Piano & Keys
Strings
Synth Keys
Synth Lead
Synth Misc
Synth Rhythmic
Templates
Vintage
Voices
Winds
(No Category)
* Instrument Rack presets placed in the “User Library -> Presets ->-> Instruments -> Instrument Rack” folder will appear listed after the category folders.

For Audio Effects:Audio Effect Categories 101.jpg
Amp Simulation

Distortion
Drums
Filter
Formant
Hall
Instrument
Mixing & Mastering
Modulation & Rhythmic
Others * everything in a folder with any name other than one on this list ends up here
Performance & DJ
Room
Space
Special
(No Category) * Audio Effect Rack presets placed in the “User Library -> Presets -> Audio Effects -> Audio Effect Rack” folder will appear listed after the category folders.

For Drums:
Drum Kits don’t have any categories that i have found that will appear in “Drums”, unfortunately. Drum Racks that sound melodic rather than percussive can be categorized into the instrument categories if desired. Otherwise they will just appear in “Drums” in a big list. However, we CAN categorize individual drum hits, which is extremely useful when making custom drum kits. The cool thing about Drum Hits is that both raw samples and rack presets will appear. So… you could for instance grab a snare .wav file, or grab a snare shot already set up in a simpler, either from the same list. Less switching around to different folders to build custom kits!

Drum Hits Categories:
Drum Hits screenshot
Bell
Bongo
Clap
Conga
Cymbal
FX Hit

Hihat
Kick
Misc Percussion
Ride
Rim
Shaker
Snare
Snare Articulation
Tambourine
Timbales
Tom
Wood
(No Category) * Drum Rack presets placed in the “User Library -> Presets -> Instruments -> Drum Rack” folder (or any nested folder therein not named with one of the set categories) will appear listed in “Drums” after the Drum Hits folders.

For Midi FX:
mididid
Arpeggio
Experimental
Others
Performance & DJ 
(No Category) * Midi FX Rack presets placed in the “User Library -> Presets -> Midi Effect -> Midi Effect Rack” folder will appear in no category, listed after the category folders.

Max Devices:
Max MessWon’t show up in categories. Viewing within your User Library folder, all Max devices will be shown categorized as you have it, but in the Max For Live category pane link, Max Audio Effects, Max Instruments, and Max Midi Effects will each appear in long, messy lists.
SOLUTION: Holder Racks. (see above)

<–…Max Mess (yikes!)

PerforModule Recommendations for Specific Categorization (optional reading below)

Instrument Racks: Not all of the categories are useful for all the instrument types they can be used for. I put instruments that play intervals or chords into “experimental”. i put 8-bit and waveform component tool instruments into “Synth Misc”.
Super Hint: Save Drum Racks which are melodic as opposed to percussive into one of the instrument categories to have that drum rack appear in “Sounds” instead of in “Drums”! I haven’t figured out if it’s possible to get percussive Simpler or Sampler presets to appear in “Drums”. But at least you can can put them into the ‘Percussive’ category.

Audio Effect Racks: I put distortion, saturation & degradation fx into “distortion”, while amp, cab, mic & tape fx into “amp simulation”.  Anything specifically for Drum processing i put in “Drums” — other instrument-specific fx / chains (including for voice) in “Instrument”. I put modulation fx (other than chorus,  pitch & some other fx) and delay into “Modulation & Rhythmic” (using name-changes is essential for separating delays from other effects here) . Having both a “Hall” and a “Room” category, i recommend putting very short ambient short reverbs into “Room” and longer, lusher reverbs into “Hall”. Or, you could use one for insert reverbs and one for send reverbs (make one default preset of each for each reverb plugin — the insert presets starting from 0-20% wet and the send presets set to 100% wet 0% dry).
I use the “Space” category for chorus, stereo width, tremolo, and the like. I use “special” for analyzers, frequency splitters, routers, and other miscellaneous tools.

Drums:
Drum Hits: Organizing drum hits is extremely useful because you can set it up so that both samples and instrument patches triggering one-shot samples can appear together, making assembling your own custom drum kits from scratch a breeze.
Drum hit samples that aren’t specifically put in one of these categories won’t appear there — they will be mixed in with the kits in a big mess. If you categorize all your hits, navigating your kits via the browser list rather than search might actually be feasible (although there is no known way yet to re-categorize any core pack hits that are uncategorized to begin with, so they remain in the messy list. Shucks.)
Drum Kits: (see “Super Hint” above). I highly recommend using “Name-Changing” to organize your drum kits. If nothing else just make sure they say “Kit” in the name somewhere so you can that search by term and see all your kits easily (not mixed in with uncategorized individual drum hits). For further refinement, make subcategories “Kit Acoustic ___” “Kit Glitchy ___” “Kit Tasty ___” or whatever.
“Snare Articulation” is for snare presses, brushes, rolls etc.
I noticed at some point that “Timbales” is also included in the drum hits categories. You could use this category folder name for timpani drums too, since timbales are descended from them, if you want, perhaps use it as a category for all pitched drums.

MIDI Effect & MIDI Effect Racks:
I’ve only found a few categories for MIDI effects. The experimental and arpeggio categories i discovered more recently, so wonder if there are more i don’t know about.
“Performance & DJ” i put devices which i have used, or plan to possibly try using, live (minus arpeggios and sequencers).
In “Experimental” i’m placing more bizarre glitch effects and wacky fun stuff. Not stuff you would use live because stability would be questionable, but tools for wild spontaneity during composition and sound design (make crazy stuff, freeze and flatten).
“Arpeggio” has specifically sequencers and arpeggiators. The MaxForLive community has created and shared tons of awesome and unique sequencers, so after i test one i like, i save it in a default midi effect rack and categorize it here.
“Others” has a ton of stuff in it. Wish could sub-categorize more.
[Uncategorized].

VST OrganizingVST effects can be custom-organized into their own folders (in case you didn’t know). Unfortunately, Audio Units cannot. While i recommend making a Holder Rack for each of your VSTs so they show up as presets in the browser anyways, you may instead (or additionally) prefer to organize your VSTs according to type inside the plugin folder. In this case, just make folders inside your VST plugin location named whatever you want, and they will show up in the browser’s “Plugins” link as such. You can usually move vsts that have required files in a folder with them; just make sure you move such files as well to the same folder. I have had one or two instances of issues when trying to put certain plugins in the same folders as others, so be careful and rescan/test after every change.
<–…Example VST FX Custom Whatever Categories

ABOUT HOARDING
Since the point of such a-retentive preset organization is to be able to quickly access what you need, when you need it, the concept of utility (“usefulness”) is paramount. If you are bulk dumping 5,000 presets you’ve never even tested into a category, you may end up wasting a lot of time later combing through them. Risky presets will only be an annoyance when hotswapping… unstable ones might cause a crash. Try to test every tool that’s in your library at least once (a short “full clip” loop containing drums, bass, and melody layers is a great source for testing just about anything), and if something is whack, level-wise or tone-wise, either fix it real quick or delete it. Seriously, deleting a preset which is just going to annoy you later is way preferable than stumbling across it and it getting in your way. My rule is to only import instrument presets, effect racks, midi racks, max for live devices, or vst plugins and organize them into my browser if i have the time to test them as i do so. For instrument presets i make sure the typical note at max velocity doesn’t peak muych above -6dB, so all my instruments are close to the same level when browsing presets. Switching between two flute synths and one is 18dB louder than the other makes for a faulty comparison due to how our ears hear at different loudness levels, and would require an adjustment on-the-spot. By instead doing these adjustments one time for each patch first, you save tons of time later because you never have to do them again, and auditioning presets becomes smooth as butter and more fun than frightening. For audio effects, i try to set them at a neutral default setting (depending on the effect there may be no 100% dry setting) and get the gain as close to +/- zero as possible. Same as with a synth preset; testing out 3 different “upper mid saturation” presets is not going to be useful if one of them is 2dB louder than another — it might sound “better” just because of that, and would result in bad decision making.