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By checking the boxes you agree to receive the following from us via e-mail. © 2020 MusicTech is a member of the media division of BandLab Technologies. Any Dry/Wet control will inherently turn down the Dry level while turning up the Wet level (and vice versa). Lower the threshold all the way down to around -30dB and vitally, make sure that ‘Makeup’ button is switched off, otherwise Live will try compensate for any gain reduction automatically. You can use any plugin you like for this but we’re going to use Live’s Saturator. We can use these sliders to balance the volume levels of the Dry and Wet copies of the drum loop independently. Create another chain for the dry signal by right-clicking or Command-Clicking (Mac) anywhere in the Chain List and selecting ‘Create Chain’ from the context menu. Ableton Live’s Instrument, Drum, and Audio Effect Racks enable you to create multiple device chains that split the input signal into different channels. It also gives you more control over how much of the processed signal is being applied. This will help us keep track of things later. Parallel processing: step-by-step. Now right-click again and create another Chain. You can also assign Macro controls to a Push 2 or other MIDI controllers for intuitive hands-on control. Set the Ratio to a setting of 3.00:1 and over, set the attack time long – around 60ms – and set the release time short – around 100ms. One layer is affected by a 100% Wet Reverb, and the other is completely unaffected. Let’s try applying reverb to the drums again, but this time with an Audio Effect Rack and its parallel chains. One common approach is to feed audio to a chain of effects on a Return track using track Send controls. Bear in mind that you don’t always have to use Dry and Wet chains in your Racks. Then, this newly distorted version of the lead passes through the Reverb. Undecided, How would you prefer we contact you? It will be become clear why later. Load in a drum loop of your choice – anything will work but softer acoustic drums can demo the process best. Now it’s time to set up the Compressor device for extreme compression. Time to peer deep at the shifting sonic textures presented by the aptly-named Kaleidoscopes. Get the latest industry news, reviews, features and tutorials. I sometimes like to layer my bass sounds by passing them through two parallel Audio Effect Rack chains. Slate Digital's new exciter based on the Dolby-A trick is a quick way to add excitement to tracks and mixes. In fact, don’t be afraid to add multiple effects to the same Chain. Let’s take a look at some of the parallel processing techniques and sounds you can achieve in Ableton Live. Parallel processing within an Audio Effect Rack opens up several benefits. We find out why 10 Grammy Award-winning producers are endorsing a pair of wireless earbuds. Loading up a compressor into the new chain. Again, as it’s complimenting the signal and not overloading it, we’re free to go quite hard with our settings. Well, first of all you remove any potential phasing issues between plugins – not every DAW automatically compensates any buffer time on their return channels especially when sending one return channel to another. In fact, we can process the same sound multiple times and with Ableton Live, within the same channel. First off, Rack’s feature Macro controls. This technique is achieved by literally duplicating an audio track and then putting a different effect on the duplicated version. The Chain List displays parallel device chains that split the incoming signal as it enters a Rack. I can also add an EQ to this chain to clean out the low end if needed. In this example, I mapped the Chain Volumes to Macros 1 and 2 for quick access. Parallel processing is different from series processing. You can always unsubscribe (so you won't receive any more e-mails) by clicking on the unsubscribe link at the bottom of each e-mail. Icon Instructor Paul Laski takes you into Ableton Live and demonstrates how to create parallel processing racks to enhance your music. I often like to EQ out any low frequencies on reverb by simply dragging and dropping an EQ Eight directly onto the Wet chain. We head to South Fremantle, Australia, to check the vibe of the young indie-electronic producer's creative space. For example, Live’s Redux device does not feature a Dry/Wet control. I could place the reverb directly onto the drum loop track as an insert and then adjust the Dry/Wet control until it sounds good. Moreover, you can set minimum and maximum levels for these Macro controls by clicking the Macro Map Mode button on the Rack’s Title Bar. The other chain might have a wide Chorus or Reverb effect to add some stereo dimension to the bass. The image above shows an example of series processing. One chain contains a Utility device, which I’ll use to make the signal monaural by enabling the Mono button. 3. Something new this way comes. On your Audio or MIDI channel, drag in the Audio Effect Rack device from the Audio Effects menu in Live. Following up on our last tutorial about mastering in Live 10, it’s time to dig a bit deeper, and highlight two of the most important and most-used of Live’s mastering devices –  Multiband Dynamics and EQ Eight. Combining these two unassuming features can garner inspiring results. 1. For example, let’s say I want to add some reverb to a drum loop to simulate the drums playing back in a room. So now that we have our snappy transients, let’s add more parallel processing to the mix. Right-click and create another new Chain and rename it ‘Distortion’. First, select the Reverb device and click Command+G (Mac) or Control+G (PC) to place the Reverb inside an Audio Effect Rack. Depending on the sound source, you may want to roll off the low end before the distortion hits as it can often, as new harmonics are created, the effect can cause muddiness in the low-mids. Right-click where it says Drop Audio Effects Here and select Create Chain. Mix with the entire Beatport catalogue on virtual decks. Audio Effect Racks are easily expandable. Parallel processing can be achieved in Live using a variety of techniques. These new cans, courtesy of German manufacturer HEDD, might just represent a more forensic way to monitor our mixes. Music Business Program Press play and slowly bring the volume of the ‘Compression’ chain up until the transients begin to be enhanced. This feature gives you access to Live’s Mapping Browser, which allows you to make level changes. The synth sound will get distorted by the Saturator first. This convenient feature allows us to apply an effect without completely changing the original sound source. etc. But alas, I must end this post for today. On the second Chain, rename it ‘Compression’. Furthermore, to avoid confusion, rename each chain using the Command+R (Mac) or Control+R (PC) key command to make edits. Again, this technique allows you to keep the punch and impact of the original. The process of duplicating a signal and heavily processing one while balancing back in with the other dates back to the days of disco, where producers out of New York would duplicate the drums and heavily compress them in order to create more smack and power. Alternatively you can shorten the attack time and turn the makeup gain back on to enhance the ‘tail’ of the sound over the initial transient. In both the hardware world and in most other days, we’d use an auxiliary channel to duplicate the signal and apply the parallel effect but in this case we’re going to use Chains. The benefit of using Chains is you can stack multiple instances of the same signal – up to 127 in fact – all within a single channel. An audio effect’s Dry/Wet control adjusts the balance between the processed and dry signals. Music theory isn’t the be-all and end-all of becoming a great producer, but a little knowledge can help. Another idea might be to add a sidechain compressor to the Wet chain. Parallel processing involves duplicating an audio signal one or more times and processing each copy of that signal differently. Mentorships with industry professionals let you access real-world insights and help you personalize your music education. Furthermore, Audio Effect Racks are extremely flexible. This technique works out OK, but there are potential issues. Before dragging in any effect device into the Rack, click the small button that shows three lines and dots. Our exploration of LiquidSonics’ oeuvre reaches its celestial summit, as we ascend to seventh heaven. Currently, there is only a single chain created being processed by reverb. While full-blown distortion on a mix buss can be overkill, the benefits of some types of distortion – natural compression and pleasant harmonics – can add a lot of character to your sound. Vocal Artist Program Another potential issue is that not every audio effect has a Dry/Wet control to begin with! You can add additional processing chains, route audio in creative ways, streamline your device chain by bringing together your most essential controls, and much more. Let’s take a look at some of the parallel processing techniques and sounds you can achieve in Ableton Live. For better or worse, there will always be some give and take with this approach. Using the sidechain routing on Live’s Compressor, select the Dry chain as the sidechain key input. One of my favorite things about electronic mixing and Ableton is the power of effects. As a side note, when processing in series, the order of the effects is quite important. This is particularly helpful when you want to process a sound but the plug-in doesn’t have a dry/wet knob or you want to be able to control the effected signal with additional effects, such as EQ, reverb etc. Now that you’re armed with this knowledge, it’s up to you to come up with your own ideas for parallel processing. The sky’s the limit! Parallel processing has become the technique de jour, be it compression, distortion or any other kind of sound colouration. Select the first chain and press Cmd+R and rename the Chain ‘Dry’. This technique makes the reverb duck in level whenever the Dry chain sounds. This technique is often referred to as parallel compression or New York compression. Sarah Schachner and Jesper Kyd on how they mixed modern techniques with ancient instruments for Assassin’s Creed Valhalla. Home » ICON Music Blog » Ableton Live: Parallel Processing Tips. Depending on the intensity of the effects in your insert chain, you can hear drastically different results when re-ordering them. Easily create layered sounds by affecting two or more parallel chains completely differently, causing each chain to sound either drastically varied or subtly nuanced. S Mapping Browser, which allows you to make level changes on your Audio MIDI... The processed and Dry signals can help have a wide Chorus or reverb to! Copies of the original Dry loop offers can also add an EQ Eight directly onto the chain... Access to Live ’ s also worth noting that each separate chain its! Your insert chain, you can use these sliders to balance the volume of lead. Use an Audio effects menu in Live using a variety of techniques drums again, but there are potential.... Parallel process track as an insert and then putting a different effect on the yellow speaker icon we our! Within an Audio effect Rack device from the Audio effect Rack opens up several benefits via e-mail, it. 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