A dry riff, then with Pedal's Fuzz, Overdrive, Distortion, and finally a Pedal-Amp-Cabinet Rack. But surely serendipity isn’t the only force behind Live’s new creative tools? 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. “I think it’s nice when something like this is built by a small team. “So yeah, it was made for buses, but like with a good hardware unit, you should feel free to abuse it on anything!”. “I had this code for a filter that I’d been playing with for a while; I really liked the way it sounded. The team also passed on some insider’s tips on how to use the effects in your music. I’m applying New York Style Parallel Compression by sending my drum channels through a channel with heavy compression, then sending its output through my drum bus to give it more power. Just set the reverb to Feedback mode with a long decay time”. Item added to cart. Watch Talks, Performances and Features from Ableton's Summit for Music Makers. We had some requests for another tutorial on drum compression. As mentioned before, we’ve created our biggest bundle ever, the PML Premium Bundle. If you don't know Guido, he's giving our Masterclass in “It was more about capturing the spirit of these things; covering similar sonic space.”, The behavior of tape components brings distinctive sonic characteristics, 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. Some people even use this type of effect on vocals to add a bit of brilliance; like an exciter. 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. The devices’ creators gave us some tips, and came up with some audio examples to demonstrate them. 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. 4. 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. "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. Using on synths will also deliver extreme results. Pedal was also inspired by the characterful way hardware components process sound. ", Synth bass processed with Echo’s Mid/Side mode, Though the teams behind the three effects were small, they nonetheless fostered divergent points of view. 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. “Shoegazing made simple!”, adds Christian. 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 also has an envelope follower," continues Christian, "which responds to the amplitude of the input signal. It’s a very organic feature to have. Drum Buss is part of Live 10 Standard and Suite. Enter your email address to stay up to date with the latest offers, tutorials, downloads and more. Learn the fundamentals of music making right in your browser. 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. Especially when processing in real-time, replicating the finer details demands more and more CPU. Herein lies a new challenge. “Typically there’s one lead person who has an idea or vision, then a few others doing development and design”, says Christian. It’s just a fun device – you can happily play with the feedback for 10 minutes if you want”. “You can have something with the wobble and noise of a tape delay, but not the darkness or compression. And delays in themselves are so powerful. Prioritizing which functions to include needs testing with others, listening and making music with it.”, There were other balances to get right. 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”. 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. 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. Some tips from 74 Creative Strategies for Electronic Producers. “It’s quite simple to achieve really nice flanging, chorus, and other pretty weird sounds. But what is Mid/Side? "It’s also really good to use with a guitar, especially if you’re into ambient or drone music. Precise effects have their own charm, but Live’s new ones mean you create more sounds that just don’t sound like computer music.”, 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. "Instead of processing the left and right channel of a stereo signal, Echo delays the sum and difference of the channels individually", explains Marco. We still have tons of ideas for what we could add to Echo, but if we put them all in, the thing would explode! You’re always walking a line between usability and breadth of options. What are the quirks and imperfections that make them interesting, and how might we go about recreating these?”, Taking inspiration from classic delay units, 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. It has a colour; a way of working. 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.
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