And he will be sharing his setting that "works nine out of ten times" - which is great! Under the hood: understanding analog processing, A different usability issue informed the development of Echo. Sometimes it’s fairly simple to introduce artificial randomness, but in other cases it’s very challenging. “But what I found interesting about the process for Echo is the different perspectives. Alternatively, use Glue Compressor in front of Drum Buss, for more detailed compression settings. With Echo and Pedal, however, it was a case of concrete inspiration from hardware. Then we recorded a whole bunch of old delay and echo units – like the Roland Space Echo, WEM Copicat and Morley Oil Can – and asked ourselves, What gives them their character? So in this video, Guido from CatandBeats will show you how to compress your drums with Ableton Glue Compressor. Track 2 contains a ‘real’ bass-guitar track. 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. “I had this code for a filter that I’d been playing with for a while; I really liked the way it sounded. Newer Post →, Mastering with Ableton stock effects (Free Download), 12 Best VST Plugins for Professional Vocal Mixing, Top 7 Vocal Recording Techniques – Secrets For Killer Vocals, Making a Track from Start to Finish (in Session View), Boris Brejcha Style Track from Start To Finish, Anjunadeep Style Track from Start To Finish, PML Premium Bundle FAQ: Your Questions Answered. ", 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. For more news, blog posts and videos, sign up for the Ableton Newsletter. But not for an engineer… you still have to make it usable. 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. Some people even use this type of effect on vocals to add a bit of brilliance; like an exciter. 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. Watch Talks, Performances and Features from Ableton's Summit for Music Makers. And delays in themselves are so powerful. Marco adds, “I like the weird robotic sounds you can get by setting small delay times, adding lots of feedback and modulating the time with a Random LFO setting.". "It’s also really good to use with a guitar, especially if you’re into ambient or drone music. “Shoegazing made simple!”, adds Christian. “Our existing delay effects are quite clinical – we wanted something that could drift a little more. I usually end up with code that has 'spirit' but doesn't behave very elegantly – I often make mistakes. 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. Following user testing, Pedal’s Fuzz mode got some not-so-nice tone-tweaking. “I think it’s nice when something like this is built by a small team. 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. “You have to choose between simple and more sophisticated models for every part of the device”, adds Marco. NewsLive 10, Share this: Using a guitar, the amplitude of the note can be used as modulator for the delay line. And he will be sharing his setting that "works nine out of ten times" - which is great! “It also has an envelope follower," continues Christian, "which responds to the amplitude of the input signal. Matt echoes Christian’s words about character and spirit: “I think what’s interesting is that we actually didn’t emulate a specific pedal. Especially when processing in real-time, replicating the finer details demands more and more CPU. We spent a lot of time experimenting with how to best achieve nice-sounding noise and wobble, for example.”. But many early user-testers wanted access to what's behind those controls, so we decided to expose quite a few of them, like the noisy elements for example. Using on synths will also deliver extreme results. They stack a second distorted voice on top of the clean one.”, So aside from tape delays and the psychedelic stereo panorama of Mid/Side mode, what sounds are possible with Echo? Ableton have filled us in on the device’s under-the-hood signal flow and operation, so let’s dive deeper into this multiband processor… Step 2: The input signal first comes in and hits the fixed compressor section, engaged via the bottom Comp button. Get started with synthesis using a web-based synth and accompanying lessons. Ableton on FacebookAbleton on Twitter. Item added to cart. Just set the reverb to Feedback mode with a long decay time”. “So yeah, it was made for buses, but like with a good hardware unit, you should feel free to abuse it on anything!”. An engineer might not have the same vision, but a better technical perspective. 4. The early form of the device we saw at a Sprint was so convincing that everyone quickly got behind the idea.”, The origins of Echo, Live’s third new audio effect, were a little more predetermined. 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. “It was never our intention to model anything real” explains Christian. It makes sounds the way I like them!”. We wanted a device with few parameters that would all play really nicely together, so they sound like something desirable no matter what you do. And don’t worry about the resonance – just go completely nuts!”, Some EQ Eight sweeps before Pedal in Fuzz mode (plus beat processed with Drum Buss), “It can certainly do more heavy-handed distortion sounds,” Marco adds, “but with the Wet/Dry control you can of course be subtle too.