While we’re going through some crazy times right now, it has been heartwarming to experience how humans have upped their compassion game in response to shared crisis. I’ve seen more freebies and crazy deals going on this past week than any other time i remember, which seems because people want to help each other, share and be nice (well, not so much a certain political faction in the usa who seems to prefer that regular people suffer as much as possible. But that’s another topic). With graciousness and care for their fellows is how humans should act, rather than trying to take advantage of each other sleazily—which happens all too much.
In this spirit, i am offering up my super secret stash of “Sweetie Pies”—a small collection of effect racks for Ableton Live Suite 10, each crafted to address a specific need in a sweet manner. These are highly practical yet fun racks with the primary purpose of “getting stuff done”.
i WAS planning on releasing this pack eventually anyways once it grew a bit more, but to expedite the process of getting you the goodies, i’ve decided to simply omit the not-quite-finished devices, give everything a good once-over, and release the pack for free as it is now.
You may have heard many varying descriptions of the difference between track compression and bus compression, usually including vaguely-defined, mysterious terms like “punch” and “glue” which don’t really help us understand anything.
Well, i have a kinda dorky yet effective way to think of the difference between track and bus (aka buss) compression for you. Continue reading →
So you’re working on a song and you’ve found a frequency which you want to adjust. Let’s say you want to nudge down 4.4k a little bit to reduce a bit of harshness. Now you ask yourself: what type of EQ should be used?
As time passes by, there becomes more and more dynamic EQ plugins available. Besides, in Ableton, Bitwig, and other DAWs, it’s easy to make any automatable EQ plugin act as dynamic by the use of envelope followers. On the other hand, when using a dynamic EQ plugin, there may be times when you want to use the bands as typical, with no reactivity. So, we have a pretty much open choice of whether to use a static or dynamic EQ on a track we’re working on. So what to do?
Brand new plugins… promotional sales on plugins… they are SO tempting. But do you really need that new compressor plugin that just dropped?
In order to assess which plugin types are lacking in your toolbox, i recommend making a spreadsheet of all the plugins you own by category. You might discover, as i did, that you have such a vast variety of compressor options to choose from, it’s likely that you won’t benefit a whole lot from purchasing any more of them. You also might discover, like me, that you’re somewhat lacking in gate plugins, and could indeed benefit from picking up a few new models. Etc… Continue reading →
True Peak Limiting is a method by which a limiter adjusts for how the digital waveform will be reconstructed by playback systems which can result in actual peak levels above 0dB even when the digital peak level is technically shown at below 0dB.
Basically the way intersample peaks occur is that the quantization points of a digital waveform can at times imply a curve between them which goes up a little bit higher than those actual sample points, resulting in a louder-than-expected actual peak level coming though.
To imagine it, just draw two dots in your mind, and then instead of drawing a straight line between them, draw a slightly curved line. The two dots are at a height of zero, and the curved line connecting them is bumping a little bit above zero. See?
I found some old notes i had taken (for my own reference) about the parameters of Ableton’s Gate audio effect plugin and figured others could use the info as well, so i’ve polished ’em up, expanded on them a bunch, and dropped them here for you.
I’ve found that getting to know exactly how each parameter works with gate plugins leads to attaining desired results exponentially easier, and in particular learning how the more exotic parameters such as lookahead and hysteresis work facilitates sophisticated gate optimization.
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 BlindTestwith clips gradually pushed into 35dB of limiting, gain-matched using Melda’s MAGCto be able to hear only dynamics, tone, and distortion characteristics without loudness levels affecting perception.