Ableton comes equipped with 36 stock AbletonAudio Effects
Amp is an Ableton audio effect that delivers warmth and drive without hassles. Co-developed with Softube, Amp accurately delivers the sound and simplicity of legendary amplifiers and cabinets. We've focused on the essentials — tone, vibe and character — so you can focus on making music instead of searching for the right knob. Description: ABLETON Live10 Suite It is released in February 2018, it can present a stylish way to represent musical tasks. The musical software gives a digital audio workstation on windows. It is a major released of Live. So, it also used in mixing, recording, composing and maintain the sound. The instrument also used during live performances.
When I put any effect of Max for Live, I said “the Max for Live installation seems to be broken” and then said “download max from ableton.com” or “set max route in preferences” so when a i do the second, i find the effect on the folder i can’t set it. Ableton Live 10 Suite Crack v10.1.9 plus Seria Number Full Download. Ableton Live Suite 10.1.9 Keygen is fast, fluid and flexible software for music creation and performance. It comes with effects, instruments, sounds and all kinds of creative features – everything you need to create any type of music.
. Did you know that 9 of them are expandable for extra features? In this article, you’ll learn about the 9 expandable Ableton Audio Effects, and how you can use them. For more interesting production techniques in Ableton, check out our Ableton Projects Collection. This is an Intermediate/Advanced guide, so if you are new to Ableton, this might be difficult to understand.
What exactly is an expandable Ableton audio effect?
Have you ever noticed this little triangle icon, next to the “On/Off” switch in the title bar of an Audio Effect? Here’s what I’m talking about: Here are the 9 expandable Ableton Audio Effect Racks, along with an in-depth guide, showing you how to use them.
Ableton Audio Effect 1: Auto Filter
Ableton’s Auto Filter can be quite powerful under the hood. I see most people just using it for regular filter automation, but there is so much more you can do with it. Let’s start off by taking a look at Auto Filter’s expanded section. To access the Sidechain parameters, unfold the Auto Filter window by toggling the triangle button in it’s title bar. So you might ask, how does Auto Filter make use of a Sidechain? Normally, the signal that is being filtered and the input signal that triggers the Auto Filters Envelope are the same signal. Having a sidechain feature makes it possible to filter a signal using the envelope/dynamics of an external signal. Keep in mind that the Envelope section goes hand in hand with the Sidechain section. Let’s take a closer look at the sidechain settings. Here is a more in-depth description of all these settings and knobs.
Sidechain On/Off: When this is turned on, the “Sidechain” button will turn yellow to indicate that the Auto Filters sidechain input is now activated. In order for the sidechain to take affect, we need to set an audio source & tapping point.
Sidechain audio source & tapping point: This section lets us select where the sidechain signal is coming from. Clicking on the first box will open a list of all the tracks in your project. Let’s say you want the filter to react every time a “kick” sample is played. We can use the kick as a trigger to move the filter frequency cutoff according to the envelope of the kick sample. Simply select the kick track.
Tapping point: Clicking on the second box will display a list of:
Pre FX: This will take the signal before it goes through the effects chain.
Post FX: This will take the signal after it has been processed by the effects chain.
Post Mixer: This will take the signal with after going through the channel's volume fader.
Note: If you want to use a signal from a specific drumpad on Ableton’s Drum Rack, select the drum rack as the signal source in the first box, and then you can select the specific drum pad you want from the second box (tapping point).
Audio source input gain: Controls the volume of the signal coming into the sidechain. Adjusting this knob does not affect to the main track signal. Adjusting this knob can however change the extent of the filter frequency cutoff movement.
External/Internal mix: Adjust the balance between external and internal signal used for triggering the device. Dry=Internal and Wet=External trigger.
Now on the the Envelope section!
Envelope amount: Controls how much the envelope affects the filter frequency.
Envelope attack: Controls how quickly the auto filter responds to rising input levels.
Envelope release: Controls how quickly the auto filter responds to falling input levels.
Here are a few examples of how you can use this in your productions: The most common reason to use this is to sidechain the low-frequency of a sound to sweep out of the way of the kick or snare. The cool thing about using Auto Filter Sidechaining is that we can use the kick to trigger the filter to quickly high-pass. This will prevent any frequency clashing in the low-end of your synths/basses and your kick. This is how it’s setup: So what exactly is happening here? The sidechain input signal comes from a Kick track. Every time the kick’s signal enters the sidechain, the filter frequency will be high-passed. This happens because the Envelope Amount is turned to it’s highest value, meaning the high-pass filter that is selected, will sweep all the way up to it’s maximum value while there is a signal coming in through the sidechain. The Attack time indicates that the filter will react immediately rising input signals. The Release is set to 16 ms which means that the filter will wait 16 ms after the incoming sidechain signal drops, to follow it’s envelope. Here’s what that sounds like in context: The kick track is muted but it’s signal is still being sent to the Auto Filter Sidechain. I used a basic 4x4 kick pattern to demonstrate the filter sidechaining. Before Sidechain Filter:
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After Sidechain Filter:
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Here’s what it sounds like with a more exaggerated release time of 120 ms.
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It’s also possible to invert this effect, where the incoming signal triggers a low-pass filter to open up. This can be interesting when using percussion loops to trigger the sidechain. Here are the settings I’m using to achieve that. The only thing I did was change the high-pass filter to a low-pass filter and increase the release time to 120 ms to let the filter frequency have some time to return back to it’s original position. Here’s what it sounds like now with the same 4x4 kick pattern.
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As you could imagine, there are many possibilities when using the sidechain feature in Auto Filter. Try experimenting with some different filters and see what happens!
Sidechaining is most commonly used with Ableton’s Compressor and Glue Compressor. They both have the same sidechain features, so I’ll explain the sidechain settings for the Compressor and you’ll be able to translate it to the Glue Compressor. Here’s what they look like when they’re expanded. Compressor: Glue Compressor: Unlike the Auto Filter, Ableton compressor changes the dynamics of a signal. When utilizing the compressor's sidechain, it’s possible to change the dynamics of a sound according to the envelope of the external sidechain input.
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The easiest way to visualize this is by looking at Compressor’sActivity View. Here’s what that sounds like:
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As we can hear, whenever the kick signal enters the sidechain, the signal of the bass ducks down. The attack, release and ratio control the following:
Attack: Controls how quickly the compressor responds rising sidechain signals.
Release: Controls how quickly the compressor responds to falling sidechain signals.
Ratio: Sets the ratio of compression between the input and output level.
Note: With a ratio of inf : 1, for ANY number of dB that inputs the compressor above its threshold, the output will only increase by 1dB. Let’s take a look at the EQ section. This section will filter the sidechain input signal. This does not affect the original source signal. Any changes made in the EQ section will not make an audible difference except for change what frequencies of the sidechain input signal are being used. Clicking on the “EQ” button will enable the sidechain input EQ Filter. This makes it possible to EQ the incoming sidechain signal. Using kicks or snares as sidechain signals often result in longer volume ducking because due to the long low end tail of the kick or snare signal. Using an EQ to filter out the low frequencies makes it possible to have a quicker sidechain because only the high frequencies are being used (which is usually the transient) to trigger the compressor. As we see in the picture above, I high-passed the kick signal to 353 Hz. The low-end tail of the kick is filtered out and this results in a quicker response. Keep in mind that this only because the high frequency transient of the kick is shorter/quicker than the low end tail. Using sidechain EQ doesn’t make the sidechain ducking quicker. It only filters the incoming sidechain signal. Here’s what it sounds like now:
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As we can hear, the sidechain ducking is very short. You can use different filters to isolate certain frequencies of your sidechain signal. It’s also possible to replicate this by just using a very short transient as a sidechain input signal. Just mute the track that the trigger is coming from s it’s not audible in your project.
Ableton Audio Effect 4: Multiband Dynamics
Multiband Dynamics sidechain feature can be a little intimidating to understand and utilize at first. I won’t fully go into how Ableton’s Multiband Dynamics works, but we’ll scrape the surface enough for you to start using it’s sidechain feature. Let’s take a look at the expanded sidechain feature. Essentially, Multiband Dynamics is 3 separate compressors+expanders for 3 separate frequency bands. It’s possible to use an external signal to either compress or expand the signal which the Multiband Dynamic Effect is applied to. This means that we can apply sidechaining to individual frequency bands. This is useful for ducking the low-end of a bass to a when a kick drum is played, so the low frequencies don’t clash. For simplicity, I’ll disable the low and high bands of the Multiband Dynamic plugin, which results in the middle frequency band spanning the whole frequency spectrum. Essentially now it’s just a regular compressor/expander. With the sidechain signal still coming from the kick, let’s setup a simple downward compression triggered by the kicks signal envelope. In this case, we only want to focus on what happens to the signal above the threshold. So what exactly is going on here? Alright, let’s break it down. Here are the settings (they are quite drastic for demonstration purposes) Threshold = - 50dB Ratio = 1 : inf When the sidechain signal enters the Multiband Dynamic, it will downward compres, causing the main signal to get quieter.The Ratioof 1 : infmeans that for ANY number of dB (inf) that passes the threshold of -50db, the output increases by only1dB. Since the signal can’t be louder than infinite dB, the output will only ever be 1 dB above -50 dB(threshold), which in result is really quiet. This is what the “volume ducking” sidechain effect is. We can create the inverse effect which is upward expansion. This means that when the sidechain signal exceeds the threshold. The main signal will increase in volume accordingly according to the threshold. A ratio of 1:0.50 means that for every0.5 dB over the threshold, the output will increase by 1 dB. Here’s what that looks like:
Ableton Audio Effect 5: Gate
If you aren’t sure what a Gate does, here’s a brief excerpt out of Live’s Manual “The Gate effect passes only signals whose level exceeds a user-specified threshold.” So by default, the gate let’s signals through which exceed it’s set threshold, the signal that determines this is also the same signal passing through the gate. But what if we want to use an external signal to trigger when the gate opens to let the main signal through? For that, we can use the Gate’s extended sidechain feature. Let’s take a look: So with the same 4x4 kick pattern I’ve been using throughout this article, we can see the consistent peaks whenever the kick signal enters the sidechain. We can see that the Kick peaks at around -12 dB and the threshold is set to around -19 dB. Since the signal of the kick exceeds the threshold, the gate will open up, allowing the main signal to pass through. Here’s what that sounds like:
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Similar to the compressor's sidechain, we also have an EQ filter section, to filter the incoming sidechain signal.
Ableton Audio Effect 6: EQ Eight
Ableton stock plugin’s have one little downside, they are so small! The extended toggle feature in EQ Eight makes it possible to change the display location and enlarge the EQ to a more workable size. This is simple yet very effective whenever you need to see an expanded display of Ableton's EQ. To adjust the height of the extended EQ display, simply drag it’s top bar up or down.
Ableton Audio Effect 7: Saturator
Let’s take a look at Saturators expanded features: Upon toggling Saturators expanded features, we see 6 additional settings. Drive, Curve, Depth, Lin, Damp and Period. These features are only available when using the waveshaper curve type. These settings make it possible to create a custom saturation curve. Here’s what they do: Drive: This determines how much the input signal will be affected by the other five waveshaper parameters. Setting Drive to 0% will negate the effect entirely. Curve: Adds mostly third-order harmonics to the input signal. Depth: Superimposes a sine wave 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 grids origin. This acts like a ultra-fast noise gate. Period: Determines the number of ripples in the sine-wave created by the Depth parameter. Note: Experiment with these settings and see what they do/how they can change the Waveshaping curve. Saturator gives visual feedback upon adjusting the settings. This allows for many possibilities beyond the 6 default waveshaping curves. Here’s what a Waveshaping curve looks like with some random settings:
Ableton Audio Effect 8: Corpus
Corpus is an effect that simulates the acoustic characteristics of seven types of resonant objects. By default, it’s resonant pitch is determined by the Transpose and Fine knobs. Unless modulated, these stay at a static pitch. It’s possible to use external midi information to control the resonant pitch by utilizing the Sidechain feature in Corpus. The frequency and/or decay rate of the resonance can be MIDI modulated, by enabling the Frequency and/or Off Decay switches in the Sidechain section. The “MIDI From” choosers allow you to select the MIDI track and tapping point from which to receive MIDI note information. With Frequency enabled, the tuning of the resonance is determined by the incoming MIDI note. If multiple notes are held simultaneously, the Last/Low switch determines whether the last or the lowest note will have priority. The Transpose and Fine knobs allow for coarse and fine offset of the MIDI-modulated tuning. PB Range sets the range in semitones of pitch bend modulation. With Frequency disabled, the Tune control adjusts the base frequency of the resonance in Hertz. The corresponding MIDI note number and fine tuning offset in cents is displayed below. Enabling Off Decay causes MIDI note off messages to mute the resonance. The slider below the switch determines the extent to which MIDI note off messages mute the resonance. At 0%, note offs are ignored, and the decay time is based only on the value of the Decay parameter, which is located under the Resonance Type selector.
Ableton Audio Effect 9: Spectrum
Last but not least, Ableton’s spectrum can change it’s display location, similar to EQ Eight’s extended feature. This is very useful for taking a closer look at the frequency spectrum. Simply click the triangle toggle in Spectrums title bar. [x_line]
Conclusion
Ableton is a massive program with many features. I hope this article gave you some more insight on Ableton Audio Effect extensions. Some of these might be hard to understand at first but anything becomes easy with enough practice. The best thing you can do to get better is to experiment with all the settings and continue to study things you are unsure of! Thank you for reading this article! Keep your eyes peeled for part 2 of this series, coming soon.. Do you have any tips on Ableton audio effects you want to share? Comment Below and let us know! If you liked this blog post then it’s safe to say you’re an Ableton user. Get some free Ableton project files here.
“It was kind of a fluke” admits software developer, Marc Résibois, about the conception of Live 10’s new Drum Buss device. “I had this code for a filter that I’d been playing with for a while; I really liked the way it sounded. 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. I was pretty sure it was something worth exploring.”
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. But surely serendipity isn’t the only force behind Live’s new creative tools? Keen to find out more, we spoke to a handful of the Live development team about the inspiration and perspiration that went into creating three characterful new audio effects for Live. The team also passed on some insider’s tips on how to use the effects in your music.
Sparks and sprints
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. “People are encouraged to explore whatever they want,” says device designer Matt Jackson, who had a hand in the production of Drum Buss, Wavetable (Live 10’s new synth), and Pedal – a device that took off from the same hack platform. “With Pedal, there wasn’t a formal decision by a project owner to develop it. 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. “We felt a slight dissatisfaction that we didn’t have any modulated delays in Live” reveals the Sound Team’s Christian Kleine. “Our existing delay effects are quite clinical – we wanted something that could drift a little more. And delays in themselves are so powerful. 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. Precise effects have their own charm, but Live’s new ones mean you create more sounds that just don’t sound like computer music.”
Inspiration over emulation
Christian led the research into the world of classic hardware delay units that guided Echo’s initial design.“We made a kind of playlist of songs with delay sounds we found interesting; ones that would have been hard to achieve with what we had in Live. 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? What are the quirks and imperfections that make them interesting, and how might we go about recreating these?”
With the idiosyncrasies of these devices in mind, software engineer Marco Fink worked under the hood of both Echo and Pedal: “To emulate the repitch behaviour [that results when changing the delay time] of many hardware delay units, for example, you have to think about the physics of what's happening in the hardware. And then you reproduce it digitally with a mathematical model.” But aside from Echo’s analog-modeled filters – which Marco mentions “distort, compress and saturate” – the effect is no copycat. “It was never our intention to model anything real” explains Christian. “It was more about capturing the spirit of these things; covering similar sonic space.”
The behavior of tape components brings distinctive sonic characteristics
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While Drum Buss wasn’t directly influenced by specific pieces of gear, its conceptor Marc always imagined it as “A hardware device that never existed” on account of its immediate, limited control set. With Echo and Pedal, however, it was a case of concrete inspiration from hardware. Matt echoes Christian’s words about character and spirit: “I think what’s interesting is that we actually didn’t emulate a specific pedal. We listened to a variety of classic stomp boxes and tried to combine the different characteristics and elements in a way that worked harmoniously. We tried to get the essence of the pedals.”
But how do you go about capturing this hardware spirit? What’s the ghost in the machine? Christian uses the example of Echo: “Its LFO behaves perfectly; digitally. But as soon as you introduce something imperfect, that behaves randomly in a listenable way, you perceive it as more alive. More analog. Sometimes it’s fairly simple to introduce artificial randomness, but in other cases it’s very challenging. We spent a lot of time experimenting with how to best achieve nice-sounding noise and wobble, for example.”
Finding the balance
Pedal was also inspired by the characterful way hardware components process sound. “But we also wanted it to be efficient”, Marco points out. Herein lies a new challenge. Engineers often face the question of how deep to go when emulating analog behaviour. Especially when processing in real-time, replicating the finer details demands more and more CPU. “You have to choose between simple and more sophisticated models for every part of the device”, adds Marco.
A different usability issue informed the development of Echo. Christian explains how original designs were for a simpler device: “In the beginning we wanted to create something with very few parameters – we always think about how to avoid adding more features. 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.'
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. You’re always walking a line between usability and breadth of options. We still have tons of ideas for what we could add to Echo, but if we put them all in, the thing would explode! Prioritizing which functions to include needs testing with others, listening and making music with it.”
There were other balances to get right. 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. 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. So we spent a lot of time tweaking – probably 75% of the time was spent finding the right balance between the various processing elements.”
A fine balance between Drum Buss’ elements means a broad sweet spot of desirable sound
Testing and teamwork
User testing can play a big part in the creative decision-making process. 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. 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”.
Following user testing, Pedal’s Fuzz mode got some not-so-nice tone-tweaking
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.
But what is Mid/Side? 'Instead of processing the left and right channel of a stereo signal, Echo delays the sum and difference of the channels individually', explains Marco. 'The mono and stereo part of a signal can be repeated using different delay times to create a time-variant stereo image – so you can have, for example, fast repetitions in the centre, but slower ones on the sides. Sonically it really does have its own character.'
Though the teams behind the three effects were small, they nonetheless fostered divergent points of view. “Typically there’s one lead person who has an idea or vision, then a few others doing development and design”, says Christian. “But what I found interesting about the process for Echo is the different perspectives. Coming from a musician's background, I had a clear idea of what I wanted things to sound like. An engineer might not have the same vision, but a better technical perspective. If something is technically crappy but still sounds great, to me that’s wonderful! But not for an engineer… you still have to make it usable. 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. I’m just trying to discover things that sound cool rather than making sure I’m doing it the best way. I usually end up with code that has 'spirit' but doesn't behave very elegantly – I often make mistakes. 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. “I think it’s nice when something like this is built by a small team. It’s easier to reflect someone’s personality. Drum Buss is not a neutral device. It has a colour; a way of working. It makes sounds the way I like them!”
Using the devices
So what do the new effects sound like? What makes them special, and how can you make music with them? The devices’ creators gave us some tips, and came up with some audio examples to demonstrate them.
Pedal
Pedal “Completes the circle” of devices for guitars in Live. 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. It’s a sound that the latter band’s guitarist, Jimmy Page, described as outright “rude”.
A dry riff, then with Pedal's Fuzz, Overdrive, Distortion, and finally a Pedal-Amp-Cabinet Rack
Using on synths will also deliver extreme results. 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. It sounds more like a change in distortion type than a filter sweep. And don’t worry about the resonance – just go completely nuts!”
Some EQ Eight sweeps before Pedal in Fuzz mode (plus beat processed with Drum Buss)
“It can certainly do more heavy-handed distortion sounds,” Marco adds, “but with the Wet/Dry control you can of course be subtle too. Some people even use this type of effect on vocals to add a bit of brilliance; like an exciter. They stack a second distorted voice on top of the clean one.”
Echo
So aside from tape delays and the psychedelic stereo panorama of Mid/Side mode, what sounds are possible with Echo? (You can download the preset files of the settings used to create the following audio clips.)
“Well, you can combine cleaner digital sounds with analog noise in useful ways”, Marco explains. “You can have something with the wobble and noise of a tape delay, but not the darkness or compression. Or, have a tape-like distortion without the noisy artefacts. 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. “It’s quite simple to achieve really nice flanging, chorus, and other pretty weird sounds. It’s just a fun device – you can happily play with the feedback for 10 minutes if you want”. Marco adds, “I like the weird robotic sounds you can get by setting small delay times, adding lots of feedback and modulating the time with a Random LFO setting.'
'It’s also really good to use with a guitar, especially if you’re into ambient or drone music. The kind of interconnecting delays and reverb combos you need are built into Echo. Just set the reverb to Feedback mode with a long decay time”. “Shoegazing made simple!”, adds Christian.
“It also has an envelope follower,' continues Christian, 'which responds to the amplitude of the input signal. Using a guitar, the amplitude of the note can be used as modulator for the delay line. It’s a very organic feature to have. You can do envelope-followed flanging or delay lines and this sort of stuff. People like Frank Zappa used it quite a lot.”
An enveloped-flanged delay – first with guitar, then a drum loop
Drum Buss
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“The thing I like most about Drum Buss is that it finds a nice balance between instant gratification and control,” says Marc. “When you add the device, your drums just sound bigger right away. Then you can tailor things to how you like them – boomy lows, crunchier highs, snappier attack. 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. 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. For me, that’s a reflection of its versatility.”
An acoustic kit processed with Drum Buss – from subtle to heavy treatment.
“So yeah, it was made for buses, but like with a good hardware unit, you should feel free to abuse it on anything!”.
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Drum Buss is part of Live 10 Standard and Suite. Pedal and Echo are included with Live 10 Suite. Compare editions of Live 10.