How To Add Downloaded Audio Effect Chain Ableton
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- How To Add Downloaded Audio Effect Chain Ableton Software
Jan 21, 2016 Vocal Audio Effect Rack in Ableton Live. Power of Parallel Processing with Ableton Live Effect racks - Free Download - Duration. Mixing Vocals in Ableton Live - Creating a Great Vocal Chain. Sep 29, 2014 Multiplier music coaching/Skype lessons. Email multiplier@multipliermusic.com for info and pricing. 12GB, 5000 Samples, Presets, MIDI, Contacts: https://mult. Jul 27, 2012 As you can see making use of Ableton’s MIDI devices and Racks can really open up some new opportunities with Live. Adding to this, the abilities of the Chain Selector, and the assigned macros really opens up the world of MIDI with Ableton. In your next productions make use of the MIDI devices, Ableton’s Racks, and the Chain Selector features.
Sure Ableton is great for tempo syncing and warping audio files, but where it shines is with the manipulation of MIDI data. Ableton comes with a selection of MIDI tools which, when combined with Ableton’s Rack feature, makes it an unstoppable force with editing your MIDI data. I’m going to show you how you can create very useful and interesting devices with Ableton MIDI effects and Racks to implement into your song creation and live performances. I will be using the Chord MIDI effect combined with the macros in the Racks; through this I will be able to change the MIDI note and chord whilst the clip is playing.
Step 1 – Setting up The MIDI Chords
First I have inserted a Simpler on my MIDI track. I have opened the ‘Spectral 16’ Simpler preset from the Live 7 Legacy pack (which can be downloaded from www.ableton.com/livepacks).
I want to set up a MIDI Rack that allows me to change the notes of a single note, and in the Rack I want to be able to change my single note to a selection of chords.
First I have drawn in a C note that is half a bar long. I have then looped the one bar MIDI clip.
On the MIDI track I have inserted a Chord MIDI device. Shift 1 is set to +12st, and Shift 2 and Shift 3 to +7st and +5st respectively.
Select this MIDI plugin, right click on it and select Group (or Command-G). This will create a MIDI Rack. Create 4 chains and rename them as follows:
0st
+12st
+12st +7st
+12st +7st +5st
Now click on Chain to show the Chain Selector. Expand the Rack to show the Macro section, and click on Map Mode. Now click on the Chain Selector, then the 1st Macro. The Chain Selector will now be mapped to this macro. I have renamed the macro to CHORDS. Also in the Min and Max section of the Map Mode change them to 0 and 3 respectively. This will minimize the Chain to only navigating through the 4 chains, and no further.
Step 2 – The CHORDS Rack
On each Chain I want to insert a different Chord device.
On the +12st Chain insert a Chord device with a Shift of +12st.
On the +12st +7st Chain insert a Chord device with Shift1 of +12st and a Shift 2 of +7st.
On the +12st +7st +5st Chain insert a Chord device with Shift 1 of +12st and a Shift 2 of +7st and a Shift 3 of +5st.
The 0st Chain won’t have a Chord device, as I want this Chain to only represent the root note of C.
As you play the C looped MIDI clip and you tweak the CHORDS macro you will hear the root note change between the different chord creations.
Step 3 – The NOTES Rack
I want to do the similar process but now I want to create a MIDI Rack with different chains that will change the root note within the C major scale.
Select the CHORDS Rack and the right click and select Group again (or Command-G). This will create a new MIDI Rack with the CHORDS Rack nested within the new Rack. Rename this Rack to NOTES. Create 7 new chains and rename them C, D, E, F, G, A, B – in that order.
I have inserted a Chord device on each chain again, but this time each chain has the following Chord device settings:
C: No Chord device as represents the root note
D: a Shift 1 of +2st
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E: a Shift 1 of +4st
F: a Shift 1 of +5st
G: a Shift 1 of +7st
A: a Shift 1 of +9st
B: a Shift 1 of +10st
Now assign the Chain Selector to a Macro. I have renamed the Macro to NOTES. Limit the Max to 6, so that the chain only moves between the created chains, and no further.
How To Add Downloaded Audio Effect Chain Ableton Download
Step 4 – The MIDI Chain Selector
I am going to create one more Rack to nest these other Racks in. Again, select the NOTES Rack and right-click and choose Group to create a new Rack with the nested NOTES and CHORDS racks. I am going to Map the NOTES and CHORDS macros to a new macros in this Rack. I have renamed them to NOTES and CHORDS on this Rack.
What is also nice is to be able to limit the length of the MIDI notes. The Note Length device works quite well for this. I have inserted a Note Length MIDI device onto this Rack, and have mapped this to a Macro as well.
Make sure to set the Min and Max values again for the NOTES and CHORDS Macros.
Launch the C Note looped clip and start messing with these Macro buttons. You will see how you can alter the Notes, Chords and Note lengths of the clip. It is quite nice to have this available to you for a live performance so that you can create melodies on the fly, as long as the notes are in key and to a scale.
What I find works quite well is to add a Ping Pong delay after the Racks to get the sound to bounce around the stereo field and feel less static.
You can assign the CHORDS, NOTES, Note Length and the Ping Pong Delay Wet/Dry knob to knobs/faders on a MIDI controller for more control of this rack.
Conclusion
As you can see making use of Ableton’s MIDI devices and Racks can really open up some new opportunities with Live. Adding to this, the abilities of the Chain Selector, and the assigned macros really opens up the world of MIDI with Ableton. In your next productions make use of the MIDI devices, Ableton’s Racks, and the Chain Selector features. You might surprise yourself with interesting note creations and patterns.
Download my MIDI Chain Rack if you wish to explore this further.
For further Ableton tips make sure you look at these tutorials:
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It’s always tempting to go crazy with inserts in Ableton Live. After all, there is no limit, if you’re using the full version, and you can really sculpt the sound that you want. What blows me away is that no one seems to ever save their hard work, prior to a session, and really catalog those cool effects chains that were made during the project! In this tutorial, I’d like to go over my method for saving effects chains, and how to make them really worthy for reuse later!
Step 1. Inventory
At the end of a project, it’s really nice to go back and listen to some of your work and really catalog effects that you like. Personally, I tend to go into my Live sessions, and actually solo different tracks, just to really hear what’s going on.
While I’m doing this, I tend to keep a spreadsheet open, so that I can write down which chains are interesting enough for reuse. Ideally, you’ll have a database (which can be just a spreadsheet) open that has all of your custom patches and effects chains.
Tip: Why You Want a Database!
Cultivating such a system can really assist you in not only developing your own sounds (because you’re always using original patches) as well as save you some time engineering that same effect, or patch over and over again. And, if you think this sounds nerdy, think again! All of the true pros always have extensive databases of audio files, patches, settings, even snapshots of modular rig. Organization is the key to taking your career to the next level!
Step 2. Discern
Once you’ve found an effects chain that you really want to add to the old Rolodex, it’s time to collect and group! This part is easy, and kind of fun, as you’re really going back and turning your work into a useable piece of gear of your own with parameters in place that you set up.
The only thing you want to watch out for are redundancies, like devices that are not doing anything within the chain. For example: in this chain below, I have a chain of effects that I used for a lead synth in a session I had a few weeks go. You’ll notice that there is one Amp that is not even on, and there’s no automation assigned to any part of it! Why keep it around?! I’ll select this Amp, and push the Delete button on my keyboard. Now, it’s gone!
Step 3. Collect
Now that our chain is trimmed and prepped for collection, let’s put the whole thing together. Depending on the size of the chain, it’s usually a good idea to minimize each module, so that you aren’t having to scroll to each module that doesn’t appear on the screen, etc. To minimize, simply double-click each module near its heading so that it folds down.
Once all of the modules are within reach, I’ll click the last devices in my chain, in my case, Auto Pan. Then, hold down the Shift button, and select the first, that being Compressor. Now, all of the modules are selected, and the tops are lit up orange.. Based on my Ableton Live color scheme..
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Now, I can either use the Command-G shortcut to group all of the devices together. Or I can go up to the Edit menu, and select Group. This will merge all of my effects, intuitively, into an Effects Rack! And, in doing so, give me a method of showing myself the sweet spot of the effects assortment (meaning: the knobs and levers that really make the most impact, out of all of these particular effects), at a later time, when I definitely might not remember it!
Step 4. Refinement
Now that we have a Rack that mostly exemplifies the sound and hard work that we once put in, let’s narrow down what’s so cool about it, and set up some controls that really make the most difference for future use. You’ll notice that there is now a new field within our stacked devices called Audio Effects Rack. Actually, this is the container device! If you press the small Ableton logo looking button, you’ll open the Macro Controls.
One parameter that I know that I want to be an option in this setting is the Amount of AutoPan that is currently taking place. I’d rather it be an option, in case that I decide to automate panning on my own, later, when this effect chain is being used. I’ll press the Map button, at the top of the Audio Effect Rack, as it’s now called..
Then, I’ll click the Amount Knob, so that small, dark, brackets appear around it. This means that the knob is now targeted.
Next, I’ll press the Map button on the Macro Knob in which I would prefer for the AutoPan Amount knob be assigned to, in this case Macro 1.
Because I want full access to how much AutoPan I can bring in, I won’t use the Chain List to edit how much AutoPan Amount I can use. But I will with Trash. In iZotope’s Trash Ableton container, I’ll enable Configure Mode. This button automatically opens up Trash’s interface, and whatever I touch will be made a toggle on the Ableton container, below.
Now, I’ll click the Global Mix slider, as it appears in Live, for Trash, and then press the Map button. See, even third-party effects can be accounted for, within Live’s own Racks!
Finally, I’ll rename these two Macro knobs so that their descriptions mean something to me, and possibly others that use this Rack, if ever, in the future. This can be done by simply selecting the Macro you would rename, and then using the Command-R shortcut to rename this macro. I’ll name the AutoPan Amount as Space, the way panning things way out makes Space, right? And, then name the iZotope Trash Global Mix Macro as Distortion. Then, I’ll clear all of the other macros of titles, by Command-R and then pressing delete, to clear the existing titles, and then drop a dash in each square. This will tell the future me what is assigned and what doesn’t matter!
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The final step is simply saving the Rack, by pressing the small save button on the title bar. This saves it within your User Library, and then allows you to name it, from within the Browser. I’ll name it, Lead Love, as that is what it gave.. Love to my lead.
Conclusion
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Of course, I can always go back and assign more macros and make this rack more elaborate. But, if I only used it in one way, within a certain song, who says I’ll use it any differently in another? Sometimes, just getting it in the directory is enough. The sound is right, after all!