It’s a set of free presets for Dither, optimized for the Metal genre.
They were made for the mastering of the upcoming metal album, Lust & Insecurity by Animus Invidious.
Noise-shaping dither algorithms are theoretically optimized to “bury” the noise in the frequencies you hear least, while avoiding so much in the preeminent tonalities (in this case, distorted electric guitars focused around 2.5kHz).
You can DOWNLOAD HERE and open the .fxp presets using your DAW of choice. If you happen to use Ableton Live 11, you can additionally access the .adg Racks which allow for more easy snapping-to or fine-tuning of the intensity value.
This pack includes the bespoke Effect Racks from the 𝓢𝓾𝓹𝓮𝓻 𝓐𝔀𝓮𝓼𝓸𝓶𝓮 𝓢𝓸𝓾𝓷𝓭𝓼 retro keyboard instrument pack for Ableton Live i released in collaboration with Brian Funk (but not the instruments), updated for Live 11.
As usual, care is taken to map parameter values cleverly and gainstage things sensibly so that these racks are highly usable in many situations. I also tried to come up with unique signal processing chains leading to interesting results, like 𝓓𝓻𝓾𝓷𝓴 𝓕𝓻𝓲𝓮𝓷𝓭𝓼 sounding like your inebriated companions trying to sing along with you very badly — or like 𝓣𝓱𝓻𝓪𝓼𝓱𝓮𝓻 giving a one-knob guitar distortion that scales from subtle overdrive to brutal metal fuzz — or like 𝓡𝓲𝓷𝓰𝓲𝓷𝓰 𝓔𝓪𝓻𝓼 emulating… your ears ringing (perhaps to be used for film sound design) — or like 𝓢𝓱𝓮𝓹𝓫𝓪𝓷𝓭 𝓡𝓲𝓼𝓮𝓻 performing the auditory illusion of constantly increasing pitch.
Remember that you can hover your mouse over device headers and macro controls to learn about what they do. Don’t fly blind! Or say screw it and go crazy with the random button. I’m not your parental unit.
So one day i got it in my head to figure out which of Ableton Live’s Effects are the best to use in parallel.
What is the criteria for this? Simply, which processes alter the phase of audio passing through them, either to the least degree, or in a nicely summable way.
Why does this matter? Because phase offsets, when summed in parallel with the original signal, will inevitably cause changes to the frequency contour. Sometimes slight amounts of this phase offset can add a nice creamy touch to the sound of things (and pretty much all analog gear causes it to some degree), but when being surgically technical like during the finalizing stages of a track, they are generally just not helpful.
An example of not altering phase at all is Live’s Compressor effect which is phase-neutral; it can be used safely in parallel with no unwanted frequency coloration whatsoever.
An example of altering the phase in a “nicely summable” way is Live’s Reverb. Technically, it’s altering the phase a whole bunch, but it’s doing so in a time-smeared fashion which results in far less likelihood of perfectly-lined-up frequency cancellations, and so, when at 100% wet, reverbs can be just fine to use in parallel, and are often preferred this way.
After carefully checking the phase response of all of Ableton Live Ten’s native Audio Effects, i came up with five distinct racks providing combinations of the most parallel-friendly native effects, optimized for specific purposes with maximal versatility of application.
Here’s a bunch of Reverb IRs for you, sampled from the unobtainable TC M30 Plugin. I believe that plugin was one of the very first VSTs i ever grabbed after i started getting into Ableton Live. I remember it being some sort of time-limited temporary free offer. After years of not thinking about it, i recently realized i still had a working 32-bit copy of the plugin, and so took some IR snapshots of it, because why not.
We’ve got a new pack for you, Super Awesome Sounds, featuring samples of the Casio SA-20 Keyboard. This was my first instrument as a kid and thus has a very nostalgic place in my heart, so i recently re-acquired one and went nuts sampling its 100 patches and making instrument and drum racks for ableton live out of them (plus audio effect racks inspired by them), using the amalgamation of my accumulated knowledge over the years to create the most refined PerforModule instrument pack to date.
Since it seemed to fit nicely with his existing collection which includes quite a lot of 80s- and 90s-esque sensibilities, i’ve teamed up with Brian Funk to release the pack. We talked about it as well as various other random topics on his show, the Music Production Podcast. Many thanks to Mr. Funk for having me on, always an interesting and insightful time.
There is a free version of the pack as well as the full version linked below, which can be currently had for just $6 by joining Brian’s Music Production Club this month (along with a bunch of other cool stuff). That’s a sweet deal! The MPC is a great way to acquire a constant influx of goodies into your inbox every month for a very accessible sum, so that even poor, cheap bastards like me can afford it. It’s rad! The price for Super Awesome Sounds is otherwise $15, itself a tubular deal considering the vast assortment of wonderful gadgetry it contains within.
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.
Apologies for the delay between posts, but i’ve been super busy with the finishing stages of completing production on Shavano‘s upcoming new album Progressive Energy Transfer (among various other things). Now, on to the topic!
I spend a good deal of time listening to music and occasionally take stabs at optimizing the experience. A recent subwoofer upgrade to a nicer one i snabbed at auction for super cheap is one example. Another example is fine-tuning my Desktop PC music playback experience.
Lately i have taken quite strongly to foobar2000 as an exquisite audio playback experience, as it is highly customizable and of utmost quality, but feels quite approachable. And also it’s totally free.
Having recently optimized my foobar interface to a highly satisfying degree, i figured i’d share it with you / the world. You can use it as-is, or (as i would recommend) spend some time tweaking it to your personal liking, perhaps removing some elements, moving things around, or adding features.
This week we’ll be sharing with you an Ableton Live set used for impulse response creation. Requires: Ableton Live 9 or 10, MaxForLive, MaxForLiveEssentials pack.
It allows you to quickly capture IRs from effects (software or hardware) by dropping them onto a track and pressing a couple of keyboard shortcuts. Using the template skips the setup time, avoids having to fiddle around with routing, and prevents accidentally sending bursts of audio through your system, with the option to listen to the process if curious. Continue reading →
For this tutorial we’re going to posit an example scenario: a way to achieve the common practice of narrowing the bass content of a stereo track by scooping out the S channel’s low end—but this time, using analog gear instead of plugins. But what if we don’t have any M/S gear? Not to worry.
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).