![]() ![]() Fingers only work for zooming and scrolling. You need the Apple stylus to click buttons within the Mac app. ![]() Sidecar itself works without the Apple Pencil, but only as an extra display. The rack consists of a Dynamic Tube, a Saturator, a Glue Compressor, and an EQ 8-all native Live devices.To follow this tutorial, you’ll need the following: To do so, I've created an Audio Effect Rack titled Group Bus 2014 which I've saved to my User Library for easy reference and implementation. RackingĪt this point, Live 9 doesn't have a Default Group Track feature, but I still want an easy way to have my standard bus mixing chain readily available when Group tracks are created. To Group one or more tracks together, just select them by holding the Shift key to make a multi-selection, and then hit Command-G to combine them to a new Group track to un-group a Group track back to its component tracks, use Shift-Command-G. That way, for example, I can compress all of the percussion and drum bits together rather than applying multiple instances of compression to each track separately-though certain individual tracks may of course warrant their own processing even within the Group track context. The trick here is to group tracks together that will require similar processing for example, I'll group multiple percussion and drum tracks into a drum or percussion bus Group, mid-range synth parts to another, vocal parts to a third Group track and so on. When I finally get to the mixing stage, I'll often use Group tracks to bus existing tracks together so I don't need to unnecessarily double-up on compression and EQ devices. As a result, any time I add an EQ8 device to this or any future Live session, it will come equipped with these settings: the filters as configured, with Oversampling engaged. Finally, I'll right- or Control-click the device title bar again and click Save as Default Preset. Next, I'll right- or Control-click the title bar of the EQ8 device and click the bottom option, Oversampling, to get a higher quality sound. I'll add one to my Audio Track, set filter 1 to a steep 4x high-pass down at the minimum value of 30 Hz, create a steep notch at 250 Hz for filter 3 and deactivate it, set filter 7 to a high shelf, filter 8 to a deactivated low pass at the maximum value of 22 kHz, and leave filters 2, 4, 5 and 6 as unmodified bell curves. Live 9 saw a significant re-coding of their EQ8 device, with newly calibrated filters and full real-time analysis. PRO-TIP: Since default track settings don't apply when creating new tracks by dragging samples or instruments from the browser to the empty area of a set, you may want to create new tracks of the desired type before adding devices to take full advantage of this feature. Since I want this to apply to MIDI tracks as well, I'll repeat the same series of steps and select Save as Default MIDI Track from the corresponding context menu so that all MIDI tracks are set at -7 dB automatically as well. Newly introduced in Live 9, this allows us to specify default settings for new tracks as they're created once saving this default, all newly created Audio Tracks should have their Volume fader set to -7 dB automatically. Then, I'll right- or Control-click the Audio Track title and select the bottom option from the context menu that appears: Save as Default Audio Track. To do this, I'll take the empty Audio Track I have here in my set and bring the Volume fader down to -7 dB, the value of which should be displayed in the bottom status bar if the fader isn't expanded large enough to eyeball it. In fact, I'd love to make it so that every track in my set starts off well below 0 dB so I don't have to manually reduce levels later on in my mixing stage. ![]() Summing channels that are already clipping or close isn't going to give me the clarity and spaciousness I'm looking for at the mixing stage. In order to ensure I have the amount of headroom needed to generate a dynamic mix, I like to have all my track volume faders well below the default setting of 0 dB. However, thanks to some new Live 9 features-as well as a few handy hidden commands-the process of mixing your material can be accelerated significantly. Mixing is a rigorous process that requires your full sonic attention, and can often seem tedious and clinical compared to the creative work that comes beforehand. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |