11
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 ...
7
Assuming you recorded your MIDI into MIDI clips (and weren't recording just the audio out from Kontakt), there certainly is!
Pitchbend messages are stored in clip envelopes, similar to other MIDI CC messages. Open your MIDI clip in clip view at the bottom, and click on the "e" in the lower left corner to bring up the Envelopes box. In the choosers there, ...
7
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 ...
6
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 ...
5
No, that doesn't make much sense. The point of a maximiser/limiter is to exploit the 0dBFS range as thoroughly as possible, but 0dBFS is only a meaningful range at the very end of the mastering process: it's the highest level that can be expressed by the consumer format you're exporting to. OTOH, digital plugins use floating-point arithmetic internally, ...
5
I've seen people use Live in so many different ways. That's one of my favourite things about it, it allows you approach things in new ways. I used to use session view mainly when I started out with it, but these days I use the arrangement window more. It really depends on what I'm trying to achieve. I've found the session view useful for a number of things, ...
4
The classical acid sound comes from the TB-303 Synthesizer. The effect is generated by using high amounts of resonance on its 4-pole 24 dB/Octave Filter. Then the filter gets modulated via an envelope. (Decaying motion in most parts)
The Acid sound you here in this intro is a combination of a minimoog like bass synth and a "acid" TB-303-like fx/melody synth....
4
I want to preface this by saying that I could be totally wrong and invite anyone to correct me as this is just my best guess from one internet academic to another. But what i think is going on is this:
Any time digital audio exists it is created with both a sample rate and bit depth. The sample rate controls how high a frequency is accurately produced (how ...
4
Well, you gotta be on the envelope tab, then the option is available.
4
Okay, how about this- not for LONG silences, but it kinda works.
When you want to insert silence, first set the "end" time so that the loop is now longer by the amount of time you wish to insert.
For a 2 measure loop (1.1 1.2 1.3 1.4, 2.1 2.2 2.3 2.4) if you want to insert 2/4 of a measure you would change the End value from 3.1.1 to 3.3.1.
If it won't let ...
4
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
Play around with the ASIO buffer size, assuming you're on Windows. If you're on OSX, it's Core Audio instead of ASIO, but same idea.
Generally, ASIO4ALL (and actually, any low-latency audio driver) will expose a parameter for how large the ASIO buffer is. The buffer is a buffered set of samples between your sound hardware and your computer. The idea is that ...
3
In Live, the spacebar plays from the start marker position. However, fn + left arrow (OSX) or Home (Win) should move the playhead to the beginning.
If you're using a MIDI controller for transport control, you can double-tap the "Stop" button which will return the marker to the beginning as well.
3
For anyone who wants to make this sound in MASSIVE it's pretty simple.
You only need one Oscillator on. Select Squ-Sw 1 and pull the WT-position all the way to the right so you only get a normal saw sound. Pull the F2 switch all the way up. At this point you wont hear any sound. On "filter 1" select Acid. Pull the resonance to the top. Take envelope 1 and ...
3
The TB 303 obsentiably has a "square" and a "saw" wave, but neither one of them are particularly square or saw like--especially the square!. Your best bet is to find a sample of an original TB 303 (or one of the true clones) with the filter fully open and no resonance.
Play around with a 3 pole or 4 pole filter. The TB-303 has a very messed up 4 pole ...
3
I took a look through Ableton and it is possible, though potentially more time-consuming depending upon how you have your session set up.
If your edits are clean and each "ooh", "aah", etc. is its own separate region, bring all of the regions into the "session" view as clips. Make sure they are edited with proper start/end times using the start/stop ...
3
why not try cutting open a pomegranate and squeezing one half slowly. It's a really nice thick woody sound. Put it through some effects and there you go. Plus you get to enjoy a little snack as you go! Be sure to do it face down over a bowl as it can get messy as some of the seeds pop.
Good luck
3
Try using "Gate" to eliminate unwanted frequencies
Try splitting (ctrl + E) the audio sample in arrangement view, to isolate tiny bits.
3
I would say your hardware or software can't keep up with that sample rate. You really shouldn't need to go that high, but if you do then you really need a pro sound card.
Double the top frequency you can hear is ample, so anything over 40k should do.
3
Well, I've found someone already asking for that feature on ableton forums:
https://forum.ableton.com/viewtopic.php?f=3&t=118351
Guess the answer is no.
3
I have done some digging and experimenting, and will hopefully even hear back from members of the Ableton community soon, here are the answers I've found so far:
1: What is the scale of "Detune"?
This value is some type of percentage, where 0 is the tone being played, and 100 is one octave above that tone. But it doesn't seem to be linear. 75 is a whole ...
3
Not sure what you mean here by 'feeds into'? Beyond summing audio together there's convolution, or using one source to modulate another like FM or AM. You could check out Soundhack for convolution which can work with any sounds.
3
VST synths are not designed for this sort of thing, hence why Andy Farnell (I presume those are the tutorials you encountered) used PD.
Designing Sound is THE book for this, but I'm really questioning why you are planning to take this route when designing the sounds for a whole game; it's very interesting to discuss/consider procedural audio tech and its ...
3
This seems like an awful lot of work, and I think you would get better results from recording foley. However, I understand that want to try exploring another avenue within synthesis.
As has already been mentioned, Andy Farnell's Designing Sound is the best resource for this kind of sound design, and all of that is done within PD. If you want to get away ...
Only top voted, non community-wiki answers of a minimum length are eligible
