We had some requests for another tutorial on drum compression. “So yeah, it was made for buses, but like with a good hardware unit, you should feel free to abuse it on anything!”. “It was kind of a fluke” admits software developer, Marc Résibois, about the conception of Live 10’s new Drum Buss device. We listened to a variety of classic stomp boxes and tried to combine the different characteristics and elements in a way that worked harmoniously. Pedal and Echo are included with Live 10 Suite. Following user testing, Pedal’s Fuzz mode got some not-so-nice tone-tweaking. “Our existing delay effects are quite clinical – we wanted something that could drift a little more. Item added to cart. With Echo and Pedal, however, it was a case of concrete inspiration from hardware. “It was never our intention to model anything real” explains Christian. If you don't know Guido, he's giving our Masterclass in And he will be sharing his setting that "works nine out of ten times" - which is great! Drum Buss is not a neutral device. So that makes for some interesting discussions.”, Working on Drum Buss, Marc shared this preoccupation with sound, and reliance on the rest of the team: “I have a very experimental approach to things. It’s a sound that the latter band’s guitarist, Jimmy Page, described as outright “rude”. We wanted a device with few parameters that would all play really nicely together, so they sound like something desirable no matter what you do. The devices’ creators gave us some tips, and came up with some audio examples to demonstrate them. We tried to get the essence of the pedals.”, But how do you go about capturing this hardware spirit? The handful of parameters in the Drum Buss device, Marc explains, needed careful calibration: “We had the Boom section in place, then after some initial user testing we added crunch and later transient shaping, compression and other elements. It helps to get more sounds out of Amp and Cabinet, bringing the kind of extreme saturation made famous by a long list of guitarists, dating back to the 60s, topped by the likes of Jimi Hendrix and Led Zeppelin. Get started with synthesis using a web-based synth and accompanying lessons. What makes them special, and how can you make music with them? Coming from a musician's background, I had a clear idea of what I wanted things to sound like. Also, we have up to 50% off many packs and online courses in the store. But not for an engineer… you still have to make it usable. Fortunately I have team members with a deeper understanding of intricate DSP matters than me.”, For Marc, working in such small teams can help a device inherit real character and uniqueness. It’s easier to reflect someone’s personality. For me, that’s a reflection of its versatility.”. Think of the wailing distortion employed by Daft Punk at an earlier, rawer point in their oeuvre: Pedal offers the type of extreme distortion heard in Daft Punk’s ‘Rollin’ and Scratchin’, “One unconventional use,” adds Matt, “is to sweep EQ peaks around before a Pedal device – the results are really unexpected. So in this video, Guido from CatandBeats will show you how to compress your drums with Ableton Glue Compressor. Compare editions of Live 10. The type of upfront drum processing made possible with Drum Buss “But you can get very subtle with it too; it’s not just about in-your-face sounds. It’s just a fun device – you can happily play with the feedback for 10 minutes if you want”. Of course in the analog world, you can’t separate these.”, “The way you can modulate things goes way beyond what you could do in any of the hardware pieces [whose sound inspired Echo]”, says Christian. Alternatively, use Glue Compressor in front of Drum Buss, for more detailed compression settings. "Instead of processing the left and right channel of a stereo signal, Echo delays the sum and difference of the channels individually", explains Marco. And he will be sharing his setting that "works nine out of ten times" - which is great! People like Frank Zappa used it quite a lot.”, An enveloped-flanged delay – first with guitar, then a drum loop, “The thing I like most about Drum Buss is that it finds a nice balance between instant gratification and control,” says Marc. By approaching compression in this layered way, you’ll achieve a drum sound that’s up-front and impactful, without sounding lifeless or overprocessed. Under the hood: understanding analog processing, A different usability issue informed the development of Echo. Echo grew a Mid/Side mode quite late in the process after early feedback from music makers – “We thought about about it, tried it and it was so interesting, we had to do it”, Christian enthuses. Click People have started using it for kicks, snares, single percussion elements or even synths – all with very convincing results that don't necessarily carry any Drum Buss imprint. Some tips from 74 Creative Strategies for Electronic Producers. Want to stay up to date with us? Track 2 contains a ‘real’ bass-guitar track. ", Synth bass processed with Echo’s Mid/Side mode, Though the teams behind the three effects were small, they nonetheless fostered divergent points of view. Learn the fundamentals of music making right in your browser. But surely serendipity isn’t the only force behind Live’s new creative tools? Posted on March 12, 2018 in Downloads, “With Pedal, there wasn’t a formal decision by a project owner to develop it. So in this video, Guido from CatandBeats will show you how to compress your drums with Ableton Glue Compressor. The happy accident that helped create the Drum Buss prototype sounds much like the kind of creative spark that leads music makers to a new track. Pedal was also inspired by the characterful way hardware components process sound. Newer Post →, Mastering with Ableton stock effects (Free Download), 12 Best VST Plugins for Professional Vocal Mixing, Top 7 Vocal Recording Techniques – Secrets For Killer Vocals, Making a Track from Start to Finish (in Session View), Boris Brejcha Style Track from Start To Finish, Anjunadeep Style Track from Start To Finish, PML Premium Bundle FAQ: Your Questions Answered. 4. Just set the reverb to Feedback mode with a long decay time”. Ableton have filled us in on the device’s under-the-hood signal flow and operation, so let’s dive deeper into this multiband processor… Step 2: The input signal first comes in and hits the fixed compressor section, engaged via the bottom Comp button. “I think it’s nice when something like this is built by a small team. Using a guitar, the amplitude of the note can be used as modulator for the delay line. The team also passed on some insider’s tips on how to use the effects in your music. For more news, blog posts and videos, sign up for the Ableton Newsletter. It makes sounds the way I like them!”. I was just messing about with it and inverted the filter from high to low pass – it suddenly started booming in a really satisfying way. It's definitely rooted in the distorted drum-machine beats of contemporary hip-hop, and harsher drum sounds in rock/electronic crossovers.”, The type of upfront drum processing made possible with Drum Buss, “But you can get very subtle with it too; it’s not just about in-your-face sounds. Christian uses the example of Echo: “Its LFO behaves perfectly; digitally. Following the unforeseen invention of Drum Buss, an early version of the device was soon on show at one of the development team’s regular hack sprints – a kind of internal show-and-tell used for Live experiments – where it picked up admiration from fellow engineers. A lot of effects are based on them: flanger, chorus, even reverb to a degree.” Christian saw a chance to create new effects that would broaden Live’s palette: “They distort sound in a way that is usually only known in analog gear. “You have to choose between simple and more sophisticated models for every part of the device”, adds Marco. User testing can play a big part in the creative decision-making process. Or, have a tape-like distortion without the noisy artefacts. Some people even use this type of effect on vocals to add a bit of brilliance; like an exciter. The early form of the device we saw at a Sprint was so convincing that everyone quickly got behind the idea.”, The origins of Echo, Live’s third new audio effect, were a little more predetermined. Using on synths will also deliver extreme results. Pedal “Completes the circle” of devices for guitars in Live. It gave us a lot of direction.” The Pedal device underwent a lot of tone-tweaking; it was made to sound more extreme, especially after user feedback that suggested the Fuzz sounded “A bit too nice”. We still have tons of ideas for what we could add to Echo, but if we put them all in, the thing would explode! Marc is clear about the importance of other music-makers in the development of the Drum Buss: “It was super useful as it helped us make decisions about what to do next. So what do the new effects sound like? A dry riff, then with Pedal's Fuzz, Overdrive, Distortion, and finally a Pedal-Amp-Cabinet Rack. Tip #4: Use Parallel Compression “But we also wanted it to be efficient”, Marco points out. For parallel compression, where the compressed and direct signals are both heard, use the Dry/Wet control to adjust the balance. We had some requests for another tutorial on drum compression. You’re always walking a line between usability and breadth of options. Note that you can also route return tracks through your drum bus. (You can download the preset files of the settings used to create the following audio clips. But many early user-testers wanted access to what's behind those controls, so we decided to expose quite a few of them, like the noisy elements for example. Then we recorded a whole bunch of old delay and echo units – like the Roland Space Echo, WEM Copicat and Morley Oil Can – and asked ourselves, What gives them their character? In the last few days, we've received different questions... Mixing and Mastering a Track from Start To Finish (Full Course). ", Noise and wobble parameters in Echo offer control over pitch inconsistencies and noisy artefacts, "This makes Echo a little more complicated at first use, but also better for creating unique sounds. “It’s quite simple to achieve really nice flanging, chorus, and other pretty weird sounds. to view cart and checkout. "It’s also really good to use with a guitar, especially if you’re into ambient or drone music. I’m just trying to discover things that sound cool rather than making sure I’m doing it the best way. But as soon as you introduce something imperfect, that behaves randomly in a listenable way, you perceive it as more alive. Apply a compressor to the drum bus to glue things together. Let’s use the regular Compressor audio effect on this one. In the following article, a few members of the Live development team recount the inspiration and perspiration that went into creating three characterful new audio effects for Live. “ I think it ’ s quite simple to achieve really nice flanging,,., NewsLive 10, Share this: Ableton on FacebookAbleton on Twitter “ Shoegazing made simple! ” simple achieve. But how do you go about capturing this hardware spirit feature to have still. And how can you make music with them with analog noise in useful ways ”, adds.... 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