Hot answers tagged ableton
12
There are a few misconceptions here. Normalization, in the most basic sense, raises the gain of the ENTIRE track to a nominal level. What you are trying to do with normalization is maximize signal. The relative dynamics of the track are not changed. There are actually two types of normalization, but the most common is peak normalization, where the loudest ...
6
In the studio I record my guitars directly in to Cubase or Guitar Rig with no distortion before the record chain. This way I can alter the effects precisely (I pop them in the effects loop) and is the way most studio work seems to go with other bands I know. If you do mic up your amps, you can get a very live sound, but it takes a lot of work to get it clean ...
6
I've only used Premier, dabbled with it that is, and I did find it reasonably straight forward to get into (with some perseverance).
The only thing I can think of with music production software is the fact you're dealing with multiple concepts.
When using music production software it may help to separate each area into it's constituent components and study ...
5
It really depends on your workflow and personal preference(s). Logic is definitely more powerful in terms of audio manipulation, but if you are not into the user interface or the scope of your audio editing needs is narrow, the additional power is useless.
On the other hand, if you like using the traditional mixer/recorder paradigm when you record audio, ...
5
You are correct: Arrangement view clips are separate from Session View clips and from each other, even if they originated with the same clip in Session View (by recording or copying). Editing one clip will not affect the others, although you can copy/paste everywhere if you need to - although I agree that this takes time.
The one time where you can get a ...
5
I find that the best way to do it is with some kind of foot pedal switch, like the FC-50. By mapping Start, stop, undo, delete and next track to your foot switches, you can easily perform your loop in realtime, get it right, and then advance to the next scene or track when you want to record the next variation.
Looper is great for looping live audio, but is ...
5
I find it better to render in 24bit with no dither then allow whatever I use to convert the resulting WAV file to mp3/whatever to dither it down if needed.
I contacted the Ableton support team about this problem a while back and they recommended ditching the dithering after I sent them a demo set with comparisons of sine wave sweeps.
One way you can check ...
5
To make feedback a good way is to use the sends. Put on your source, for example just the default Operator, on your track. Send 100 % to Send A. Right click on the Send A wheel on the Return A channel and choose "Enable". If you increase the Send A now you will of course get feedback, but it will come instantaneously and will not output any sound. I don't ...
4
Try rtpMIDI from Tobais Erichsen to add a MIDI interface on your PC compatible with the OS X network MIDI interface.
MIDI sync should work just fine. My guess is that if it isn't, your external MIDI interface is dropping some messages (maybe due to a full buffer?), and you are losing some timing clock messages. I've seen this happen with many MIDI ...
4
There's a very good chance that you can do this with dummy clips.
Dummy clips are simple automations that set parameters via the Clip Envelope automation area. You can then trigger these clips via a midi trigger and they will reset the parameters for you.
The only issue with them is that you will struggle to use them on the same track as your audio clip, ...
4
This answers if based upon my listening to "Dance of the Pseudo Nymph" just now.
There are various instruments in the song, ranging from shakers to hi-hats to flat bass lines and much much more - even some ambient pad sounds it seems in the background. Some of the bass tones have some bit grunging happening (MPC users this term quite a bit) while some of ...
4
Dr. Mayhem has offered some very good solutions for 'direct in' recording however, I would like to add a note about live recording. Many guitarist especially blues players think of the electric guitar as only half of their tone, the other half being their amp. These folks spend hours having their vacuum tube amps tweaked for optimum bias of the power tubes ...
4
Bouncing certain tracks track to audio could be an option (those that have a heavy effect chain). What I usually do in my DAW (StudioOne) when things start to go a bit funky is bounce the whole track with effects to audio and use that. This drastically reduces CPU usage as no effects are running in realtime. A great feature in S1 is to reverse this process ...
3
What you experience might be true indeed - in terms of different, not better quality. The reason this difference occurs is very simple:
There are some effects in Live that have their default 'quality' settings set to normal instead of best (i.e. Reverb - the rendering difference between the different quality modes is pretty obvious here). It is like this ...
3
You're thinking about the mapping backwards. You don't want to map controls to other controls on your keyboard... just map the knobs to the same thing that pitch bend and modulation would have been mapped to within Ableton.
Click MIDI, then click what you want to control, then turn the knob. That's all there is to it.
As far as a standalone unit for ...
3
If what you want to do is perform a live act with Ableton of your tracks produced in logic i would recommend a method that is kind of slow and tedious but once you got it going it will give you a great number of possibilities to play with during the live act..
I use two groups of 7 audio tracks in my live act, you can use whatever number of tracks fill your ...
3
Rendering stems is the usual way to transfer an entire mix from one DAW into another. However, you may be able to use ReWire to achieve what you want.
It looks like Ableton Live can act as a ReWire client ("Device") and Logic as a ReWire host ("Mixer") allowing you to treat Live like a virtual instrument in Logic. Have a look at this tutorial. I'm not sure ...
3
I know of no way to do this using stock Ableton Live while a project is running. However, I believe that Live sends out the positions of those controls when you first open a project, so if you can close and re-open the project, I think you can get the values where you want them.
It's a workaround rather than a proper solution, but short of some kind of ...
3
Turn off warping for those clips that you recorded into, now they'll play at their original rate regardless of the project's tempo. You can now tap the tempo in to figure out what it is, and then go into those clips and set that as their base tempo. At this point, you can re-enable warping and the tracks should be playing at the same rate as before, since ...
3
From the Ableton Live 7 User manual section 18.4:
Choose "MIDI Ctrl" from a MIDI clip's
Device chooser and use the Control
chooser below it to select a specific
MIDI controller.
You can then select MIDI Ctrl | 64 - Hold Pedal or Show all Modulations and the sustain pedal data will show in the view.
3
Latency is not an issue of the particular software, but of the sound card drivers. An ASIO driver means the audio goes straight to the sound card instead of going through the operating system. In windows, for example, I've managed to reduce my latency from 44ms using the normal driver, to something like 5ms. The downside is, the operating system can't do a ...
3
Currently the simplest solution to achieve what you want would be following. Solo the track with the side chain (Track B) and the two sub tracks of Group Track A, but mute the group track.
If you setup the mixer like that, the signals will flow to the group track (as they are also set to solo), but because the mixer is turned off, the signal doesn't get ...
3
There is Peak normalization and Loudness normalization, not sure which one this is, you might want to check the manual.
Peak normalization simply changes the volume of the entire song, this will also amplify quiet stuff too. If you do it on a classical symphony track you will hear the sniffs and AC of the concert hall louder.
Loudness normalization will ...
3
You have happened upon one of the edge cases where the sampling frequency above what humans can hear actually does matter. That edge case is FM synthesis.
There is plenty of anecdotal discussion on forums all over the internet that boils down to people arguing about the original Yamaha DX series of FM gear vs softsynths like FM8. These discussions typically ...
3
Whether a track is frozen or unfrozen in Ableton shouldn't make a difference in terms of audio quality but might make a difference in terms of audio content. The reason for this is that you might have modulations in your track that are complex enough that each time you play the track, the result is slightly different. When you freeze a track, you capture a ...
3
If you have a particular sound that is embedded into a wave file containing other sounds, the only mechanism anyone has for isolating that sound and excluding all other sounds is through filtering BUT this probably won't work in a general sense because....
A particular sound may be (say) a flute and its characteristic timbre is produced by a series of ...
2
If you're using ASIO already you're pretty much at the limit of Ableton Live's (current) ability to handle latency.
However, there are a couple of things you can try. Firstly, you could try to lower the buffer size of your card. This can help a lot, but I've never had too much success with this method, you get audible artifacts if you set it too low, and it ...
2
Go to Preferences, select the "Library" tab and click "Repair Library".
This will instruct Live to look at the library and correct any known errors, replace missing files that it knows should be there, and so forth. The library is a collection of files, so it's possible for them to be modified outside of Live. Live is able to do basic repairs to the ...
2
Click on the clip in your Arrangement View, and at the bottom right you'll see the name of the clip in a small box. To the left of that box is a tiny picture of the clip's waveform, in a box the same height (this is the Clip Overview). Click on the clip overview, and options for the clip will be in the area just above it. Under the Sample options there is ...
2
I just tried this in Live 8.2.2. I started in session view with a MIDI clip containing notes, as well as modwheel (CC 1) and stuenuto (CC 66) data in it as envelopes. These are envelopes in the clip itself, not on the timeline - because we're in session view.
I couldn't find any way in the clip editor to select both note and envelope data simultaneously. ...
Only top voted, non community-wiki answers of a minimum length are eligible
