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

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

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....


3

Try using "Gate" to eliminate unwanted frequencies Try splitting (ctrl + E) the audio sample in arrangement view, to isolate tiny bits.


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

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

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

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

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 ...


3

In addition to @frcake's excellent answer, I have a few points: I have been gigging for over 30 years and I still have trouble getting some sounds I want. One solution that most guitarists go for is to have many guitars. All of mine sound slightly different, sustain, wood tone, pickups, bridge, electrics, resonance etc. Some have higher action or greater ...


2

Sounds like a female voice, pitch-adjusted upwards for a synth-y quality, with a little fuzz for a buzzy static edge, a drop of phase shift for shimmer, and a short but noticeable time delay to introduce a second copy of the voice. The recording itself may be doubled instead of a delay; it's so short and heavily processed it's hard to tell.


2

Figured out a solution to this, can't believe it didn't hit me before: 1. Mix and edit the sounds with processing on individual channels, and master channel if necessary 2. Render the entire sequence, taking the output from the master channel. 3. Add this rendered file back into the set on a new audio channel. Right click this audio clip and choose 'Crop ...


2

It is possible to use 2 audio interfaces in Mac OS X, even without creating an aggregate device, but Ableton only supports one input and one output device at a time, so you'll need an aggregate device for that software. Creating an aggregate device is easy: open the application "Audio MIDI Setup" in the audio devices window click on the "+" in the lower ...


2

I had this same problem using the M-Audio Driver. I did find a fix for this problem. This will, of course be dependent upon a couple of factors. The speed of your computer and the speed of your USB audio device (2.0, 1.0, etc.). I was able to get 64 samples with my M-Track and this should work for yours too (and just about any other USB device). Uninstall ...


2

Success: 10ms Just needed to disable the onboard soundcard. (In computer sound preferences, not in asio4all)


2

If you have a sample loaded in Live, it generally is warped meaning that Live will generally attempt to preserve the pitch of it no matter how you stretch it in time. This is of course impossible to do perfectly, but it uses some very clever algorithms to attempt it by making educated guesses about the data. The different algorithms are referred to ...


2

There's several different warp mode in Live. Have a look at the cli view panel. If the clip is unwarped, slowing down the tempo will pitch the clip down and make it longer, and vice versa, like in the analog world. If the clip is warped Live will stretch it but keep the original pitch. Those "clipping" you mention are because your clip are warped with the "...


2

I might have an actual answer this time. Be sure you are doing a "Save As" a preset (not a patch) after assigning the program change number to your preset. This seems to have been the last piece I was missing in my setup for changing Amplitube presets within Ableton by sending MIDI program changes from the SoftStep pedal. As I mentioned before, you will ...


2

Logic's Flex Time and Ableton's Warping are conceptually similar, in that they're timestretching based on markers. In Live, audio is stored in Audio Clips, and the Clip View editor will pop up if you double-click one. Warping is not done from the Arrangement View timeline - it's done within the clip itself. If the Warp switch is engaged on the Sample ...


2

If master is 120 it seems to automatically adjust to song after it finishes loading in arrangement To purely determine the bpm of your track: Put the song in session view, otherwise the song will skip around Turn off warping and Play from a chosen loop start point Tap tempo to get a rough estimate of song's average tempo Usually if you just align the song ...


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