The Glue produces some nice distortion when it's really pumped – how does this mirror the hardware? On a good analog compressor it really doesn't matter which setting you dial in, everything sounds good, just different styles of good. I love music and computers and maths and the cool thing is that they all go so well together. How do you find The Glue as a native device in Live 9? Wrong, oh so wrong. One of the most used inserts that come with Ableton Live is the GLUE COMPRESSOR, which can be defined as a device that resembles the stereo compressors included on vintage analog boards that were typically used to “glue” the overall mixes coming out of the boards before getting printed to … The Dry/Wet control allows you to choose how much of the compression to dial in which means parallel compression can be easily achieved. Component modeling in Andrew Simper's studio. On the Gain parameter, dial in a setting of around 12 dB. Dropping the Range to about 5 dB will limit the range of compression to between 0-5 on the Gain Reduction meter. We spoke to Andrew Simper, the architect of both the Glue and the new EQ Eight filters, about analog modeling, his thoughts on Live 9, and more. So in theory, given infinite precision numbers, and if you don't adjust any of the settings, both will sound identical. My first go at applying true circuit modeling techniques to a device was the BusComp effect included with BFD2. Everything bends wonderfully like a rubber band grabbing to your audio and making it bounce. The onset of compression caused by the diode based envelope follower is very smooth, this isn't the same thing as a soft knee, it is more dynamic with the attack and release times also smoothly ramping up to their full values. The Glue Compressor has your standard compressor controls such as: Attack, Release, Ratio, Threshold and Makeup Gain, but it does have other parameters that make it a better choice over Ableton’s standard Compressor. You can make it snap back with a slap but never breakup because the limits of the circuit that keep everything under control. Trying To expand my Knowledge of Ableton live 9, could someone enlighten me on how the Glue Compressor Differs from the Gate and Basic Compressor? Could you tell us a bit about how The Glue came about? In combination with the new frequency analyser the new SVF algorithm will make tuning in on which frequency you want to adjust much easier since the sound remains silky clean even when you are adjusting the settings. Do you have any particular favorite applications for The Glue? Try it out in your next production! All of these behaviours interact in complex ways and all happened automatically due to the accurate analog modeling of the circuit. The feedback then took the output of this messed up audio and inserted it back to the input, so the results could be quite complex. Ableton have partnered together with Cytomic to create an adapted version of the '˜The Glue' compressor plug-in for Live 9. Start dropping the Range amount and you will see a guide in the Gain Reduction meter to where the range is being applied. The new algorithm is a linear SVF analog model based on the circuit of the Urei 545 parametric EQ. Gary Hiebner is an enthusiastic South African Sound Designer and Apple Tech Head! To be able to model these circuits properly I needed to learn how circuit simulators work. It adds a warmth and color to your sound that is missing with Ableton's standard compressor, and should make a positive difference to your mixes. With the EQ section you have a choice of 6 different filter types. I think most traditional DSP has concentrated on linear systems, since they were the only ones that could be solved easily enough with the computer power of the time. Watch Talks, Performances and Features from Ableton's Summit for Music Makers. In practice computers don't have infinite precision and people tend to like adjusting the controls on their EQs! This works well on drums, but can be used on other instruments too. Since then I have been fascinated with the sound of analog electronics, and have been doing as much as possible to bring that wonderful tone to the digital world. Were they modeled off of hardware filters? Any behaviours that wouldn't make sense in, say, a digital compressor? Using the Dry/Wet controls you can choose how much of the external signal the compressor will detect. Dial in the following settings: The settings above will apply a heavy dose of compression to the audio to the point where it starts losing the original dynamics. I'm not talking about distorting something with a basic waveshaper, most interesting music non-linearities are in feedback loops or in some way coupled with many parts that influence each other in complex ways, and the resulting complexity is pleasing to the ear. Try this out to add some color and warmth to your tracks. Since I wanted to concentrate on writing plugins I then teamed up with FXpansion to do all the distribution, web page and support side of things. You can add SSL-style bus emulation to your tracks or use it as a hard limiter on your master output. With the help of Antti Huovilainen I started teaching myself how circuits work. The Glue Compressor also comes bundled with a Sidechain section. Let's take a look and see how the Glue Compressor can be used. Ableton Live 9 Standard and Live 9 Suite come with the Glue Compressor, a new device modeled on a popular vintage bus compressor from the 1980s, known for "gluing" the mix together. This is a little tricky to answer in detail as it is actually really technical. From my point of view they raved about them and focused on them way too much considering what they actually did for your sound - which for me was mostly make things sound worse. I was drawn into writing music software instead, mainly making tools to process audio in interesting ways that didn't currently exist, glitchy buffer delays other whacked out effects and granular synths. My first plugin didn't have anything to do with analog modeling, it was called VReOrder, and it was a delay plugin that had a 16 step sequencer that you could sequence which part of the delay buffer got played. Whenever there is a kick or snare hit the rest of the mix should be pulled down in volume to give room to them, and as a result movement and interest will be added, as well as the rest of the elements being glued together more coherently. Computers are only now just capable of solving parts of these complex systems in real time so traditional music DSP is now moving towards solving these more complex systems, and not just in Music, in all fields of DSP. Drag and drop Ableton’s Glue Compressor, found under the Audio Effects tab, onto the track you want to apply compression too. Learn the fundamentals of music making right in your browser. This way the audio will not peak above 0 dB. To make things easier to hear for this example adjust the Threshold till you get the needle peaking at around 10 dB compression, then adjust the Makeup till the limiter is just in action. After a very short play with both I bought the Jupiter, there was no competition. Tell us about the SVF filters you helped to design for EQ8 – what makes them sound better than the old filters? Start pulling back the Dry/Wet to introduce some of the original audio back into the track to get the '˜New York-style' parallel compression effect. With this technique, you can use a heavy compression setting to give the track energy without squashing any of the transients on it. Now 10 dB is a lot of compression on the main output, but it was good to exaggerate the effect, usually you want somewhere from 2 to 6 dB unless you are deliberately going for a lot of movement. It may shock you to learn that the initial applications for sidechain compression in the 1930s were not directed at making French filter house. One of the most used inserts that come with Ableton Live is the GLUE COMPRESSOR, which can be defined as a device that resembles the stereo compressors included on vintage analog boards that were typically used to “glue” the overall mixes coming out of the boards before getting printed to the master tape. 1. Of course you do! Use the same compression settings as in Step 2. Start increasing the Makeup and this will increase the overall volume of your song, but it won't clip. The Dry/Wet control allows you to choose how much of the compression to dial in which means parallel compression can be easily achieved. Modeling any analog system in digital always has challenges and tradeoffs. From the Audio From menu choose your kick track. Gary is a devoted Logic and Ableton user, but he al... Read More. I wasn't really happy with the sound quality of digital synths either, I remember going to a music store and they had an Access Virus placed next to a Roland Jupiter-6 for comparison, the aim was I think to show just how wonderful the Virus sounded. I like having different sized controls and also to space them geometrically to draw focus to what is most important. I started out writing my own plugins under the banner Vellocet while finishing off my honours. Some tips from 74 Creative Strategies for Electronic Producers. The new linear SVF EQ algorithm in EQ8 has astounding noise properties that give the lowest noise possible for any given finite precision numbers computers use, and since it is an analog model you can also smoothly change all the settings without getting horrible pops and clicks.

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