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13

There are a few misconceptions here. Normalization, in the most basic sense, raises the gain of the ENTIRE track to a nominal level. What you are trying to do with normalization is maximize signal. The relative dynamics of the track are not changed. There are actually two types of normalization, but the most common is peak normalization, where the loudest ...


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

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

In the studio I record my guitars directly in to Cubase or Guitar Rig with no distortion before the record chain. This way I can alter the effects precisely (I pop them in the effects loop) and is the way most studio work seems to go with other bands I know. If you do mic up your amps, you can get a very live sound, but it takes a lot of work to get it clean ...


6

Universal Quantization is your friend Clip recording in Ableton Live's Session View is quantized to the Universal Quantization setting and the project's bars/beats position. This works for both starting and stopping clips, which includes recording into them. You do not need to press "stop" precisely, only within the quantization amount before the next unit ...


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 ...


4

Dr. Mayhem has offered some very good solutions for 'direct in' recording however, I would like to add a note about live recording. Many guitarist especially blues players think of the electric guitar as only half of their tone, the other half being their amp. These folks spend hours having their vacuum tube amps tweaked for optimum bias of the power tubes ...


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

Komplete includes a lot of samples, but it also includes several great synths and some effects. Some specifics: FM8 is a six-operator FM synth with arbitrary routings (including feedback) for all operators. Much more powerful than Operator, but also more complicated to get your head around. Massive and Absynth are powerful subtractive synths that go well ...


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 ...


4

To move the whole automation, you have to select the entire area of the automation first, then move it. BUT.. This is a common problem, that pretty much everyone solves the same way. Do not under any circumstances automate the final volume of a track...EVER. In Ableton you drop a utility effect on the track and use it to do volume automation. This way ...


4

What you describe sounds like Buss/Master/Group Compression gone wrong. This effect sometimes appears when you have a compressor set to affect both the bass and the lead (via any of the Buss/Master/Group) When the bass hits the compressor the really lows(which consume a lot of space) instantly bring the threshold down and lower the volume of each other ...


3

What you experience might be true indeed - in terms of different, not better quality. The reason this difference occurs is very simple: There are some effects in Live that have their default 'quality' settings set to normal instead of best (i.e. Reverb - the rendering difference between the different quality modes is pretty obvious here). It is like this in ...


3

Ableton Live does not allow you to map incoming MIDI signals to pitchbend information in MIDI tracks. It would be useful, but it is not supported. Your controller's knobs probably send MIDI Continuous Controller (CC) data. As Brad pointed out in the comments, modulation is CC 1, but pitchbend is its own type of message. The simplest solution, if your ...


3

You're thinking about the mapping backwards. You don't want to map controls to other controls on your keyboard... just map the knobs to the same thing that pitch bend and modulation would have been mapped to within Ableton. Click MIDI, then click what you want to control, then turn the knob. That's all there is to it. As far as a standalone unit for ...


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

I've always had a really hard time using Ableton for anything but music. Don't get me wrong, the stuff it can do straight out of the box is munkey farking incredible. Pro-Tools is a large pile of bull refuse in comparison. My beef with Abletown is the same I have with Logic, Cubase, and Reaper, the audio editing just isn't there for me. The way I work, ...


3

I'm not a FL Studio user, but I'd be surprised to find that there are no active forums full of FL Studio users. That said, the other DAWs you suggest break down as follows: ProTools is said to be great at audio and weak at MIDI. It seems to be the go-to choice for full-serivce professional studios. As far as I know, you can't run VSTs natively in ProTools, ...


3

Had the same problem (Ableton Live 6, pc version). When re-installation was the only solution every time it happened, I chose to update to a newer version (8.34). This seemed to resolve the Library issue.


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.


2

Ableton is my go-to tool for creating one-off FX. I couldn't live without Sampler. The ease and speed of throwing sounds into there for incredibly quick mutability makes life easy for me. I usually operate with it Rewired into Pro Tools. I agree that it is definitely not made for doing sound to film but that's what I've got Pro Tools for right? Joe


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