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.
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
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.
“Testy Mastering” is a pack containing an epic effect rack which contains the entire mastering workflow for obtaining a reasonably loud and balanced master or pre-master, mimicking my real-life “Tasty Mastering” workflow using Ableton-native devices. Continue reading
What does compression sound like?
What are compressors actually doing to our audio?