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How to Mix Using Stock Ableton Effects By Charles Hoffman September 23, Mixing is a process that creates a space for the elements of your track to live in, and ableton glue compressor creates cohesion between those elements. Ableton live full version free download mac. There are countless mixing tools available on the market in the form of plugins, but Ableton offers 5 exceptional tools that are capable of producing professional quality mixes all on their own. People always speak of ableton glue compressor professional quality mixes using stock plugins, but is this really possible? Many mixing techniques use these 5 mixing tools, so the first step is to learn how they work.

How to Mix Using Stock Ableton Effects By Charles Hoffman September 23, Mixing is a process that creates a space for the elements of your track to live in, and also creates cohesion between those elements. There are countless mixing tools available on the market in the form of plugins, but Ableton offers 5 exceptional tools that are capable of producing professional quality mixes all on their own. People always speak of attaining professional quality mixes using stock plugins, but is this really possible?

Many mixing techniques use these 5 mixing tools, so the first step is to learn how they work. Working as an audio engineer requires a set of skills, and tools, that are well beyond the scope of many music producers and musicians.

In certain situations, the mix may call for a completely unique processing device, but for the most part, these 5 tools will get you from point A to point B without a hitch. It allows you to control the gain level of different frequency ranges, known as bands. EQs can be used to fit different elements of your song together like puzzle pieces. By cutting certain frequencies from one element, you provide more room for another element.

Alternatively, you can boost frequencies from one element to rise above the frequencies of other elements. The EQ Eight in Ableton gives you control over the frequency, gain, and Q bandwidth for each of its eight bands. Compressors belong to the family of mixing devices known as dynamics processing tools. Typically, a compressor is used to attenuate the volume of a signal when it passes above a certain level.

• Ableton Live Compressor and Free Presets Compression is a key to controlling the Dynamics of your track. In this article I will be going over the basics of Compression, other resources, and share a collection of Compression Presets I use in production.
• The Glue Compressor is a nice inclusion to Ableton’s repertoire of effects. Ableton have partnered together with Cytomic to create an adapted. So in this video, Guido from CatandBeats will show you how to compress your drums with Ableton Glue Compressor. And he will be sharing his setting that.
• 100 Free Ableton EQ Eight Presets Freebies Using EQ presets is a quite controversial topic, but they can be a great starting point to help push you in the right direction.
• This is what the macros from my Ableton mastering rack do: Bass Mono sets a crossover frequency. Everything below will be mono (50 – 200 Hz). Glue decreases the threshold of Ableton’s Glue Compressor (0 – -30 dB). Shine is a high-shelf filter you can use to boost the side signal (0 – 6 dB).

Re: Glue Compresser in Ableton 8 Post by Da hand » Fri Feb 05, 2016 5:23 am It would be easier to answer if you can tell us what exactly you are looking to achieve with the glue compressor that you cannot with the native compressor.

One of the most common types of compression is peak compression, which is used to tame unruly transients in material such as drums, vocals, and all sorts of other instruments. The 4 basic controls on a compressor include threshold, ratio, attack, and release. Although the standard Compressor in Ableton provides a lot regarding functionality, I actually prefer the character that the Glue Compressor delivers. Compression is one of the audio engineering concepts that people have the most trouble understanding.

If it were, the engineer would end up with a recording full of noise caused by the surface of the tape. If the signal were too strong, the tape would reach a point in which it was no longer capable of holding any more information—it would become completely saturated.

The byproduct of saturation was non-linear distortion and compression. Color toggles two coloration filters on and off. The first filter is controlled by the Base knob, which determines how much the Saturator effect will be reduced or increased for very low frequencies, while the second filter is controlled by the Freq, Width, and Depth Knobs.

The Freq knob sets the center frequency of the second filter. To accurately listen to how Saturator is affecting your input signal, make sure to use the Output knob to level match the output signal level with the input signal level. If the average value of a waveform over one period is not zero, it has a DC offset. Drive determines how much the input signal will be influenced by the other 5 Waveshaper parameters. Curve adds third order harmonics to the input signal.

Depth superimposes a sine wave curve onto the Waveshaper curve and sets its amplitude. Lin works together with the Curve and Depth parameters to alter the linear portion of the Waveshaper curve. Damp flattens signals near the grid’s origin, behaving like an extremely fast noise gate, and Period determines the number of ripples in the sine wave created by the Depth parameter.

Many delays have the additional option of applying a filter to the feedback loop, which effectively creates separation between the feedback signal and the original input signal.

As with the rest of the mixing tools on this list, a delay is used to create a sense of space. A short delay with a low amount of feedback is capable of making an element in your mix sound dense, while a longer delay is capable of imparting an ethereal quality. One of the biggest mistakes that you can make with your delay is losing control of the effect it applies. Certain atmospheric music calls for long, drawn-out delays with copious amounts of reverb, but for lots of Pop, Rock, Rap, and Country music, an out of control delay will merely muddy up your mix.

To calculate the quarter note value of a delay in milliseconds ms , divide 60, by the BPM of your song. In this situation, ms is equal to the value of a quarter note playing at BPM. Moderation is the name of the game when you apply reverb, and a little goes a long way.

The Early Reflections section allows you to control the modulation rate and amount applied to the early reflections. The Shape knob below the modulation controls allows you to sculpt the prominence of early reflections, as well as their overlap with the diffused sound.

The Size knob controls the size of the room… who would have guessed? A high value will provide a diffused delay effect, while a small amount will give a bright metallic sound. The Stereo knob allows you to control the stereo width of the processed signal. At 0, the output signal is in mono, and at , your left and right monitors will output reverberant channels that are independent of one another. The Diffusion Network section creates the reverberant tail that follows the early reflections.

You can apply high and low shelving filters to provide frequency-dependent reverberation decay. This section helps to say a lot about what material the room is made of.

For example, a gym has a lot of hard surfaces and would likely reflect many of the high frequencies so it would make sense to allow these high frequencies to pass through the filter section. Decay Time is one of the knobs in Reverb that has the most noticeable effect. Most beginners quickly realize they should look for the decay knob on reverb units because it will have the most drastic effect on the output signal.

Sounds with a shorter decay time are usually perceived as closer within the stereo field and in a smaller space, while sounds with a longer decay time are typically perceived as further away and in a larger space. Engaging the Flat button bypasses the Diffusion Network filters while Freeze is engaged, and toggling on the Cut button modifies Freeze by preventing the input signal from adding to the frozen reverberation.

Density affects the density of the Diffusion Network. Setting Density to a lower value produces thinner sounding echoes while setting it to a high value produces denser ones. Scale controls the coarseness of the diffusion, with higher values producing a darker sound.

Reflect allows you to control the output level of the Early Reflections, while Diffuse enables you to manage the output level of the Diffusion Network. Leave a comment below if you have any questions regarding this article. Your feedback is always appreciated and we’ll take it into account when we publish future articles. If you found this article useful, become a patron of Black Ghost Audio on Patreon.

Your contribution will help launch the BGA YouTube channel and enhance the quality and quantity of educational content being published each week. Thanks for reading and being an active member of the community!

He is the founder of Black Ghost Audio, an audio engineering company that creates educational content for music producers. You can send him a work inquiry at charles blackghostaudio.

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Trying To expand my Knowledge of Ableton live 9, could someone enlighten me on how the Glue Compressor Differs from the Gate and Basic. Hey everyone! Ableton’s Glue compressor is an amazing tool, but can be quite tricky. Since it is modeled after an analog SSL compressor.

VIDEO: Ableton Glue Compressor

The Glue Compressor is a nice inclusion to Ableton’s repertoire of effects. Ableton have partnered together with Cytomic to create an adapted. So in this video, Guido from CatandBeats will show you how to compress your drums with Ableton Glue Compressor. And he will be sharing his setting that.

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Pump My Ride, Sidechain My Heart

How well does garageband perform on ipad 9.7. The subject of this article is pretty techy – and for this reason there is almost no chance to go informal and easy… still I’ll do my best not to make you driving up the wall… or nail-biting. or both).

For those in the know (and for those who not) – these days it’s pretty hard, almost impossible to find an electronic music track (low-end heavy as a rule) where there would be no single instance of sidechained compressor used. Here are few examples of sidechain compression in action:

Proper handling of this technique — is one of the things that separate the men from the boys (sorry gals, just a fixed phrase) so please read on if you like the backstory. It’s a somewhat finicky tech— but well worth it!

Tons of pages on the subject have been printed through the years by dozens of sound producers and mix engineers. Still the catch-all and clear overviews happen not too often. Apart from that — new plugins are popping up on the market regularly so I’m giving it a shot, providing an overview of my own that hopefully would be of help both for the beginners and intermediate level producers. For the latter — I guess you won’t rant and rave, re-reading things we already know pretty often brings extras to the table — happened dozens of times to me and still happening. So let’s dig it!

SHORT TECH INTRO (and whatnot)

Sidechaining is a part of versatile compression techniques family (there’re at least 5 of them that I know but I’m sure there are more). Some use “sidechaining” and “ducking” as identical terms, but I would differentiate them for clarity: SIDECHAINING means modulation of the destination track with a source track (e.g. BASS channel— KICK channel classics) with modulation happening ONLY when there is a signal present in the SOURCE track (with GAIN compensation as the only exception). While DUCKING means modulating the destination with continuous LFO-like effects (e.g. AUTOPAN) that act constantly and in the most of the cases placed as an insert in the plug-chain of the track. Still I do not mean there is an ultimate truth delivery with my interpretation – the only point was to mention that these 2 terms are not 100% identical that could have misguided you at a certain point.

ADVANTAGES IT BRINGS (and how to get on a roll)

So why should we invest our precious time learning it? Using these techniques we can create a controllable rhythmic fluctuations (e.g. our nifty pumping effect) of audio content either by level or by level and frequency (in case with complex dynamic EQs that got built-in compressor with sidechain option on board). PSHT you say! WTF! Can’t you just use another wording?! Well… got no intention to talk your ears off— but the wording, however fancy it is — doesn’t change the point. We are talking electronic music here (let’s call it EDM to simplify) and those rhythmic movements is flesh and blood of it.

Techniques we’ll be digging here can be used in multiple ways for solving versatile tasks, both technical (during mixing & mastering) and also the creative ones. The benefits for those who learn how to use it properly are top-notch— it helps to solve frequency conflicts aka masking (not only in a kick-bass pair, but also in kick-low synths, synths-vocal, synth-FX, you-name-it pairs). It adds extra movement to our instrumental parts. It allows to do miracles with reverb and delay tails when used on returns track. It’s used for de-essing, and so on and so forth.

It will make your tracks sound far more groovy, catchy and “pro”

Note that mastery of these techniques may result in a noticeable increase in drink tickets, remix offers and dates.
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HOW TO’s & SOME SWANKY PRACTICAL EXAMPLES

1. CLASSIC (OFFHAND) EXAMPLE – KICK-BASS DUO

That’s the easiest way to see the sidechaining in action: Place your compressor onto the target track (bass). Unfold the sidechain section with a triangle icon (upper-left corner), activate “sidechain” button and select your kick track from the “Audio From” drop down menu with your kick playing simple 4 x 4 pattern. Set Attack to 0.01, Ratio to 5:1, Threshold to -25 dB, keeping Release “Auto” and raise your Gain slider to 6 dB and you will get a general feeling how the whole thing works.

Bass sound without and with sidechain compression:

http://abletunes.com/blog/wp-content/uploads/2016/04/Sidechaining1.mp3

Same bass sound (without and with sidechain compression) together with the kick track:

http://abletunes.com/blog/wp-content/uploads/2016/04/Sidechaining2Kick.mp3

EXTRA TIP 1: Don’t forget that Live 8 Compressor is still available as legacy product and it brings far less clicks at short attack times vs his Live 9 counterpart, and you may get it here. Live 9 Compressor clicks heavier than Live 8 in his “FF 2” mode when set to extra short attack times, so I do recommend using the legacy version for pumping purposes (and especially its FF 2 mode).

EQ section is used to accentuate the band of the signal that will be acting as a trigger on tracks or buses we wanna influence, for example cutting down the lows and keeping only the high-mids (> 1 kHz area where kick’s transient sits). It also makes possible shortening the time needed for our bass to recover to previous levels when our trigger (kick) signal disappears in the chain. Gain Knob here is used to add extra level it the signal from the kick is too low + it allows you to accentuate the pumping effect even more when needed. Gain Slider (right section of the plugin) is used for compensation of level drop caused by our trigger signal (kick in this case).

EXTRA TIP 2: You gotta keep an eye open on the levels before and after sidechain compressor, not to ruin the volume balance in your mix you could have spent days crafting.

2. SYNTHS AS A SOURCE

Different elements may be used as a source/trigger for sidechain compressor, actually almost any drum-like one shots (short synth sounds) with controllable attack/release parameters will do. For more flexibility — take any synth with controllable ADSR envelope, playing with its Attack and Release settings you will get extra controls over your sidechaining behavior.

EXTRA TIP 3: Some drum samples may have distorted shape and as a result your sidechained track may sound “floating”. Below is a simple illustration of what’s going on when you use kick drum with distorted waveform as a trigger. In such cases, using a synth as a source for sidechain compressor may be a better choice.

3. MULTIBAND SIDECHAIN COMPRESSION

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Multiband sidechaining is another option – have a look at the free rack Abletunes has to offer here (though I’d keep it for experienced users only). Using this sophisticated technique you got an option keep the overall volume balance untouched while solving the low-end kick-bass conflict where only low frequencies of the bass will get influenced by incoming kick triggers.

Using this technique – the fluctuations of overall level are far less noticeable (vs standard sidechaining method) as they happen in a certain frequency range. Especially when you work with low frequency range – you will need a good audio system with extended low end or professional headphones to hear the effect.

You can also use built in sidechain option by clicking on triangle button next to the on/off-button.

4. AUTOPAN TRICKS

AUTOPAN in mono mode could provide you some great a-la sidechain ducking with no source signal involved. Nice tool, using in on a daily basis to create either volume or pan fluctuations in my projects. Set Phase to 0, change Sync from Herz to Notes, Amount to 100 and start tweaking the Shape and Waveform parameters to get the result to fit your track.

If you’re looking for a nice 3rd party options – I could recommend Cableguys’ Volumeshaper (commercial), GVST’s GLFO (free), Nicky Romero’s KickStart (commercial) to name a few.

Make sure to check Sidechainer rack based on Autopan.

5. USING UTILITY

As we work with our levels using sidechain techniques in most of the cases – you still may use Utility for the purpose, but I wouldn’t recommend using it as a rule as it’s VERY time consuming. So don’t use Utility for that unless you’re really HAD TO in some specific cases (those who spent hours automating a parameter in a 5 min long track and had to re-do it again due to some mistake or bug or whatever will understand me perfectly). Utility is an excellent tool but mostly used for another purposes.

6. THE GLUE AND AUTOFILTER. SONGS OF PRAISE.

Probably somebody missed that both Glue Compressor and AutoFilter got a sidechain sections that could be opened using the same triangle icon in the upper-left corner. While Glue Compressor got discrete Attack/Release settings it’s not that flexible as a general Live compressor, but still it can be set up to work nicely while sidechaining AutoFilter yields fantastic creative effects.

Fantastic SSL-bus-emulated The Glue Compressor (its standalone bit more sophisticated version sells at nifty 99.00 USD price from Cytomic) and incredible, analog filters updated AutoFilter (Starting from Live v 9.5) will make you bonkers as soon as you will manage to tweak them properly. FANTASTIC tools, highly recommend to invest time in mastering them first prior then switching to 3-rd party plugs (that pretty often cause extra crashes and bring additional instability in our already complicated studio scenarios).

“How does their plug-in compare with established offerings from Waves and UA? … The Glue sounds more open and has a more defined stereo width — and it certainly provides ‘the glue’ on a variety of instruments. It’s kind of a ‘more of everything’ compressor, and at a great price too!”

- Sound On Sound Magazine Nov 2010 Issue

7. KEEP IT SYNCED

I do recommend to use similar attack/release setting at your side-chain units to assure synchronized movement of audio material on different tracks, though you could still play with release times keeping them as integers of 2 for even more sophisticated fluctuations.

EXTRA TIP 4: It makes a big sense to “unlock” your eyes from the screen from time to time, both during production and mixing (and of course when you set up your sidechain compression— remember we produce music that’s perceived by ears) So I highly recommend to install something like CLUTTER CLOAK, a free utility (PC) that makes your screen black thus allowing you to use your ears only. It activates/deactivates with a short cut that’s very handy and will help you a lot as you go.

8. GO RACKS

For the happy owners of the MIDI controllers (with Akai APC/Push owners to be the happiest peeps I assume, though any MIDI controller will do) creating a simple Sidechain Rack will be of great help — assign your Ratio/Attack/Release/Threshold/Output Gain to Macros and you will reach another level of flexibility. Following the advice above — you’ll be able to tweak your compressor settings even with your screen faded out reaching even better results (applies both for sidechain, peak and RMS compression).

What’s more — you may add several compressors of your choice to the rack as a chain and assign the same parameters from every compressor to the Macros you already have (don’t forget to map ON/OFF buttons on them with only one (!) from the chain working at a time.

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This way you’re getting a nifty solution for all your compression needs! Just go and grab it

EXTRA TIP 5: For those who wanna dig the science bit deeper, you may used use this simple formula to set the attack and release times: dividing 60000 / BPM of your track will give you the length of 1/4 note in milliseconds, e.g. 60000 /125 BPM = 480 ms. If we keep on dividing we’ll get 480 /2 = 240 ms=1/8 note, 240/2 = 120 ms = 1/16 note lengths. Set your release as 120 ms in 125 BPM track and you will get your sidechain perfectly synced to the tempo.

Still it’s only one of the options of setting it up – there is no ultimate truth here. Alternatively you may use another approach – put your attack to minimum, ratio/threshold/release to maximum, launch the playback and start shortening the release. At a certain point you will clearly get that pumping effect popping up.

Hopefully this article brought some worthy extras to your table, so try some of them in your projects. Invest time and effort in “mastering” it and…

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…and remember the quote at the top)

Take care.

Article by Andrey Romanenko

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