Liam O’rsquo Mullane gets you introduced in this Ableton Live mixing and workflow tutorial. So discrete, in fact, that you appreciate them only when used in practice. We therefore did the legwork for ableton mixing tips and had a good look around, bringing you some highlights here. The Device View Selector window is a fixed size and the Clip Overview window at the bottom of the screen can be re-sized only vertically, but ableton mixing tips is perfectly fine to work in.
SHOULD I MIX IN ABLETON LIVE? THE GOOD, THE BAD, AND THE GLITCHY
You can also work through and download the included project on Splice. Ableton Live has many different tools for creating and controlling the stereo dimension of your mix. Then use Key Map Mode to assign the Device Activator switch to a key for quick access from anywhere within the project.
A higher balance of sides will push sounds out from the center and at more extreme settings, leave the center free for other sounds to occupy in the mix. This leaves more space for my drums and other mix elements to live. Mid and Side EQ Shaping Like the previous tip, this technique also requires a stereo sound to begin with. I like to boost the air content of the sides using a High Shelf EQ filter which then creates a wider, yet not too dominating stereo width in the mid-range. Opposing Phase of Left and Right Channels One of the wildest effects for creating an out of the speakers or inside your head effect for speakers and headphones respectively is to reverse the phase of the left or right channel.
Stereo information requires information to be different in the left speaker to the right and always has some form of opposing phase information. This effect is an absolute opposition in phase so is quite extreme. Haas Effect Haas is a psycho-acoustic effect which tricks the brain into hearing a sense of space and directionality when one channel of a mono signal played in stereo is fractionally delayed behind the other. Keep checking mono compatibility as this effect can produce strong comb-filtering in mono, so I tend to tweak between both stereo and mono playback to find a happy balance.
A lower delay time will create a tighter and more defined stereo effect and also avoids the detection of any flam being heard with transients in a sound. Reverb for Stereo Spread Though reverb is known as a tool to add ambience, I often use it to create a very slight sense of stereo with minimal decay time.
Settings can be explored further for tonal shaping but I generally start as above and also turn off all Input Processing, Spin, Diffusion and Chorus elements to get as clean a stereo sound as possible. The sound is tight enough with this approach that I can often use quite a wet balance setting without losing too much definition to the sound.
This tight reverb technique for stereoizing sounds can produce a bit of low-end muddiness in the side signal. Haas with more control The Haas technique mentioned earlier offers a quick and easy way to create a sense of stereo to a mono source but is limited by the fact it delays the full frequency spectrum of one channel.
Instead of leaving one side at 1 ms to try and have no delay on one side, I instead raise the Dry parameter to full so my original signal passes through unchanged. Then I can use the delay lines for two of the longer delay lines up to around 50 ms. The advantage here is each delay line can be filtered with a band-pass so a narrow set of frequencies is delayed per side.
This minimises comb-filtering when summed to mono. The band-pass filters allow you minimise the comb-filtering effect created from a normal Haas effect when summed to mono.
They also allow you to focus on the none transient frequencies of percussive sounds to avoid any flam effect created by the delayed signals.
Enable Wide then lower or raise the Fine amount to hear a phasey stereo effect. I find the best technique is to tune these effects to work musically with the source sound by exploring the X-Y Controller for a sweet spot. The most subtle modulation effect is Chorus and helps to slightly soften the frequency content of a sound at the same time.
Layering and Panning Unless a sound source is already stereo, most people tend to assume the best way to create a stereo signal is through processing. But stereo can also be achieved through the layering of sounds, much like the approach of panned and double tracked guitars in rock music. This can be easily achieved through Instrument racks in Live or by layering audio clips alongside each other on different tracks.
I often record found sounds with my portable recorder, edit different takes to be sequenced at the same time and then pan them around the stereo field. My pad sound is made up of four different instrument layers which are panned to different positions in the stereo field. But, this device is actually a very handy tool for creating a sense of stereo through its noise Carrier signal.
The Carrier is set to Noise by default, but you will need to increase Bands to 40 and Range 20 Hz to 18 kHz for the best noise fidelity as possible. Then use Formant to tune the pitch of the noise and draw into the Filter Bank to remove unwanted bottom-end from the signal and perhaps a little top-end too to avoid brittleness.
When used sparingly, this can give a few mix elements a unique sense of separation to all other sounds. When I use this approach I prefer a mild sense of stereo and am very shy with the Amount parameter so the pan effect is less obvious to the listener and keeps a stable image in the center of the mix. When the Rate control is set to Hz over Sync, the higher rate amounts can be used to introduce a stereo flavour of amplitude distortion. Set the Amount to quite high and tune the Rate to sound musical with the source, then back off the Amount until the distortion sits discretely behind the original sound.
To begin, add a Utility device, then Group it from the Edit menu. You then need to reveal the Show the Chain List editor so you can duplicate the existing Chain. A Chain is an audio channel within a Rack and duplicating the first Chain creates to channels in parallel with a Utility device on each. Listen to the stereo mix: Listen to the mono mix: Splice this project here:
SOUND ON SOUND
Interested in learning more about audio-mixing techniques? We’re debuting a new mentor-driven course featuring instruction from today’s. 10 Tips for Clean Audio Mixdown in Ableton Purpose of mixing down your track is to create clean sound that will be easy to master later on.
VIDEO: Ableton Mixing Tips
In case you missed them, on Facebook or Twitter we’re offering a roundup of some of our latest Splice tips using Ableton Live for mixing and. 50 Effective Tips for Improving Your Mixdown Quality, Workflow, and Mixing .. To send a channel directly to your speakers in Ableton Live, simply route the.