This is just a quick, simple tip.
If it takes forever to scan plugins every time you open Live (due to certain poorly-coded plugins taking longer than others and bottlenecking the process), you can set it up to skip plugin scan. Keep in mind that if you do this, you’ll want to perform a manual scan (from preferences) any time you install or update any new VST plugins.
How to do it?
Add “-NoVstStartupScan” to your options.txt file
But how to do that?
To familiarize yourself with Ableton’s options.txt, i will point you towards sonicbloom.net’s awesome article and series of videos on the topic.
That’s it! Live will no longer do a scan every time it opens.
Ever since i applied this option, the stupidly vast size of my plugin collection doesn’t adversely affect my workflow. Live startup time is way snappier. When i occasionally buy or grab a free plugin, i just run a scan after installing it. Every once in a while you might have to do a “deep” scan (hold alt while clicking the scan button) if something doesn’t show up when it’s supposed to.
Note that from Live 10.1 onward, the plugin rescan button is located in the new dedicated plug-ins tab in Live’s preferences, rather than under file/folder, as previously.
Hopefully this nifty tip is inapplicable to you, as that means your plugin scan is not bloated. However, for those of you that are having issues with slow startup of Ableton Live (or in case it eventually becomes an issue) this may be a viable solution.
PerforModule has got a new Ableton Live pack available.
What makes this one special? Well, it’s the first in a proposed series of “Binaural Textures” instrument packs, which include the unique feature of built-in binaural surround panning.
Binaural Surround Panning? What the heck is that!?
(listen to the video below on headphones to hear for yourself)
Subterrestrial by PerforModule
As curator of Isotonik Sounds packs for Ableton Live, i’ve gotten the chance to preview some amazing material. It’s been a great honor to be tasked with pinpointing unique and interesting artists and nurturing their product development. -animus invidious
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.
Isotonik Sounds has officially launched, a section at the Isotonik Studios webshop featuring instrument and sample packs for Ableton Live by various developers.
New sale packs will periodically be made available. The first is ADM DRUMS by yes, you guessed it, the acclaimed wizard of Live: AfroDJMac.
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.
The newest sale pack is here: “Bussification”. It consists of channel strip racks designed for placement on groups of tracks, auxiliary tracks, and on the master buss during mixing. Each macro control for each is specifically restrained in minimum and maximum ranges to exemplify the relevant characteristics of different types of instruments.
(massive props to Joshua Casper for the above video demonstration!)
By grouping similar instruments in a mix and placing different Bussification racks onto them, each is given a distinct frequency character “home”, leading to a clearer and more vibrant overall mix when applied carefully. For each buss, decide upon a frequency to enhance, in particular, to help it stand out. You can sculpt the brightness and darkness to fine-tune the resultant tone, remove unnecessary frequencies with “tauten”, and infuse parallel saturation. There is a “juice” control which determines overall intensity of various parameters, parallel saturation calibrated uniquely for each buss type, and finally a knob for natural-sounding, sophisticated level automation which works by balancing various internal parameters.
Set up two return channels (CMD/CTRL-ALT-T), one for “Dirt” and one for “Space”. Solo them and send just enough of each channel in the mix to it to be able to barely hear. Use “Dirt” to add a bit of edgy presence for a less muddy mix. Use “Space” to emulate a nice room tone, helping to glue all elements together and cohesify punchiness. After balancing all track sends, unsolo the return tracks, reduce their levels to minimum, and slowly introduce them into the overall mix for added vibe and color. A next-level trick is to automate those levels to introduce more dirt and space during different song sections.
Place one of these on the master buss to subtly alter the overall character from digital neutrality to match the media of choice. These each have different controls. “CD” is for general-purpose, modern pre-mastering with an emphasis on the solidity of bass and the clarity of high frequencies. “Vinyl Record” adds in custom emulations of turntable rumble, stylus quality, and surface grime, also with RIAA pre- or post-equalization. “Cassette Tape” is equipped with a very nifty tape hiss generator which creates the hiss based on the original material as well as nonlinear subtle sub and air contour distortion.
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