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.Continue reading
We could all use less “hmm, i wonder what this is doing exactly?” and more “aha, i understand exactly what that is doing!” moments in our lives, am i right?
Well, perhaps you have everything sorted out with absolutely perfect mental clarity at all times… but nobody that i know of does. The built-in perceptual capabilities of human bodies have limitations. Consequently, methods we can use to uncover and keep track of finer layers of detail to our perceptual input than normally possible can be quite useful for stepping outside our our usual—highly subjective and somewhat amorphous—human frame of reference.
When i look back on the last few years of my audio production journey, the one software tool which has proven the most valuable (well other than Ableton Live, obviously) has been a particular analyzer plugin. This blog post is definitely going to be promoting that specific product, so i’d like to point out that i am not affiliated with the developer in any way and this post is not endorsed. i just… really love it.
The plugin in question is the IQ Analyser by HOFA.
Continue on for an brief overview of a couple of innovative qualities that make this tool stand out, interspersed with some philosophy about the general usage of spectral analysis.
The IQ Analyser has lots of awesome attributes, but what makes it particularly extra nifty to me are two particular traits: The “Energy” Spectrum and “Difference” Mode.
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?
So there’s this issue with fading between chains in a rack in Ableton Live which i haven’t heard much mention of. Perhaps you’ve noticed it?
Say you have a rack with two chains, let’s call them “A” and “B“.
Using the Zone Editors in the Chain Selector Editor of the rack, we’ll place A on the left (full at 0), fading out the other direction. Vice versa for B, placing it on the right (full at 127) and fading out towards the left.
Now let’s map the Chain Select Ruler to the first Macro.
Macro 1 will now give us a nifty fader knob between whatever processing we place on chain A versus whatever we place on chain B.
Nice …except for the problem.Continue reading
Kind of like every human being has a height value, every audio clip has a peak level value. So what can we do with that information, beyond knowing that going above 0dB usually isn’t advised? In our eternal quest for ultimate audio quality, the inclination can be inherent to record loudly—as close to 0dB—as possible, and thereafter maintain that peak level. We fear that by mixing with track levels that are too quiet, we might be losing fidelity, some harmonic detail in the saturation floor or something.
While it is true that recording analog signals as loudly as possible without signal clipping to begin with will indeed minimize noise floor, the benefits reaped by maximizing peak level for individual tracks tapers off as you get closer to zero. At what peak level are audio sources louder than they really need to be? At what level are they too quiet, that they might need to be boosted excessively later? Using an algorithm based on the energy of how sounds stack together, i devised a set of go-to ranges for peak levels based on track counts. Since peak levels can vary fairly wildly based on content, you are given minimums and maximums (instead of single target values). Juicy details ahead… Continue reading
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.
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