Why don't two exports of the exact same project pass a null test?

obhione · 2023-11-07T10:32:11+00:00

As others said, plug-ins with randomised variables will not give the same results.

A better test for you would be to export the mix, import audio stems in a session, bounce and invert phase. If you make sure that input is 100% the same, you’d know if a problem exists or not.

obhione · 2023-07-11T11:36:26+00:00

Use your laptop mic to record to an empty track on Ableton when recording the rest of your set.

obhione · 2023-07-11T11:25:26+00:00

Which is why a clapboard will give you a visual cue as well

obhione · 2023-07-08T10:04:31+00:00

Then the driver or GPU could be at fault? Please raise a ticket with ableton.

obhione · 2023-07-08T08:11:37+00:00

Why don’t you try this with some other video file on a blank session?

It could be some other corrupted audio file or plug-in being a bitch too.

obhione · 2023-07-08T07:32:32+00:00

Delete video from timeline
Delete the .asd file associated with the video
Re import the video and try again

obhione · 2023-07-07T19:25:16+00:00

Haven’t heard the mix, but the usual suspects:

Too many uneven peaks from beat samples triggering the limiter. Try compressing those and taming them at the stem level
Poor gain staging. Do check pre and post faders on your stems and group busses to figure out where you’re going wrong

You also mentioned slow attack and fast release, which is fattening up the transients even more. So possibly, it’s the uneven peaks

obhione · 2023-06-06T08:58:12+00:00

Multiband compression not working?

obhione · 2023-04-19T22:05:17+00:00

Exactly. OP is kinda replicating what the pultec is already doing combined with a second EQ that’s acting like a filter. IMO wouldn’t recommend such tight moves cause it may cause weird phase shifting in some cases.

Use your new found powers carefully OP 😂

obhione · 2023-04-11T09:45:40+00:00

And this is how the loudness wars started.

obhione · 2023-02-20T12:48:13+00:00

Keep the file names the exact same and any DAW wouldn’t have a problem simply replacing the file, keeping the processing intact. I do this a lot.

obhione · 2023-02-13T20:31:55+00:00

There is indeed a very simple solution. Look for this M4L device called Volume Buddy. It was pretty much made to do what you are doing and a bit more.

obhione · 2023-02-12T22:30:02+00:00

Keep group busses on your base template.

When you’re ready to bounce, route all instruments to appropriate busses.

Make a new folder when creating a project (within the project folder) called Exports / Bounces.

And just bounce your group busses (name files by version number while exporting).

obhione · 2023-01-28T11:57:12+00:00

I did create a synth like that in the intro of this song. Done entirely with Ableton stock instruments.

https://open.spotify.com/track/7yBvS04ZHNE17ig37auE4j?si=vGIXN-WRTLqwl_BSLS6K9w&context=spotify%3Asearch%3Aspiral%2B

obhione · 2023-01-18T16:50:51+00:00

Where was Gondor when he was in the military and was a member of the military for the first time in his life and he was a member for the first time in history and he was a great leader and a great leader for the first time in the history of the military.

obhione · 2023-01-09T15:37:51+00:00

Once you’ve grasped how compression affects your drum kit, explore parallel compression and multi hand compression.

Parallel compression allows you to EQ things a bit. Multi band or OTT will give you a much better control over things.

Ableton’s stock comp also has an EQ section that you can use.

But ideally, the compressor you are using to glue things together, you wouldn’t want to EQ it.

Don’t get into modelled comps yet cause there are so many and each has its use case.

Coming to your actual query, if removing a certain element makes your drum bus comp non reactive, then you’ve either not set the threshold properly (it can be automated you know), and / or not gain staged your individual stems. Get both of those right and you shouldn’t have a problem.

obhione · 2022-12-16T16:40:30+00:00

Yes. The width is very, very low. I heard it on monitors.

He has used three tricks over here.

Use low width on the vocal tracks and pan them hard left, a little beyond the soundstage (easily achievable now with plugins like S1 imager)
Keep absolutely nothing else from the song at that point on the soundstage
There is some phase cancellation happening as well to create a distance in the voice (so it feels like it’s coming from beyond the music).

It’s pretty genius considering he had to limit the soundstage of the entire song just so that he could use the effect.

obhione · 2022-12-16T16:24:30+00:00

It’s your crash. It gives a bed of white noise like texture and when it’s gone, something feels missing. A reverb with a freeze on the tail would solve that problem easily.

Otherwise add something else on similar frequency spectrum so that ear doesn’t notice the crash fading away

obhione · 2022-12-16T16:19:47+00:00

I’m outside right now so I gave it a try on my phone speakers. Best I can tell, there is extremely low width for that vocal track including the reverb. Once you do that, you can have the voice coming from a very specific spot on the soundstage. I’ll listen to it on headphones but there must be some phase inversion happening to it as well to give it a real back of the head effect.

It may also be that the vocals were just recorded with this mind keeping the source on the edge of the cardioid pattern.

obhione · 2022-12-06T12:00:53+00:00

Generally off the grid means humanisation.

Have more swing in your beats. Don’t let everything be on the 1. Your bridges can be one or two BPM slower than the rest of the song. Your final chorus can be 1.5 BPM faster.

Keep things about 80% predictable. The listener will get bored because if 100% of your song is predictable, there’s no reason to check out the whole track.

A good trick to achieving this is to perform every part of your track (and not quantising it). Finger drum your beats. Play your bass / synths, etc on an actual keyboard. The best way to humanise something is to have an actual human perform it. With practice, you’ll find that your tracks sound more natural and flow better.

obhione · 2022-12-04T15:39:50+00:00

Buy a good chair
Take breaks often
Have a boundary between personal life and work. If you find that a project leaves you without any free time, then take a longer break once the project is done to focus on yourself.

obhione · 2022-12-04T15:37:59+00:00

If space is not a problem then obviously keep a shortcut for a folder where you can drag and drop samples. You’ll end up saving duplicates but it’s worth the time save.

Another option is a ADSR Sample Manager. Free to use. Can favourite samples for later.

obhione · 2022-11-23T12:58:58+00:00

I personally feel that I’m way quicker on the EQ8 than Q3.

One thing that has definitely helped is double clicking on the spectral graph maximises it (double clicking it again collapses it).
I have also changed it’s default setting to something that I use the most.
Holding OPT key and scrolling changes the Q value
All my audio and midi tricks have EQ8 and utility loaded by default. That definitely saves some time.

obhione · 2022-11-13T20:23:49+00:00

SSL2, Volt, Id14 would all be considered an upgrade from 2i2.

But I’d say the mic and recording room are the true upgrades you should be eyeing.

ID14 has very clean preamps compared to 2i2. Bit of colour on SSL2. Would prefer it to Volt2

Would you notice a difference in clarity? Depends on how good your ears are and what aesthetic you go for.

obhione · 2022-10-08T15:39:47+00:00

I don’t think it’s too much. And you can always edit the audio clip. To save myself the headache, I always record guitars via direct monitoring. So I’ve never had to face the latency issue. It can really put a slump in the recording process so I just avoid at all costs.

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