Animus Invidious of Performodule has been at it again delivering a massive premium pack of effects and tools for mastering and shaping your sound in Ableton Live. Unlike his previous packs these use MaforLive to provide dynamic feedback to the controls in each rack so you can dial in your favourite settings, sit back and relax safe in the knowledge that what ever audio you feed them you’ll get the desired result.
Details of the individual elements are below so have a read then watch the walkthrough video and check out the sound examples, we think you’ll agree it’s Performodules most comprehensive pack to date, what are you waiting for? BUY NOW!
A low-cut filter coupled with a high-shelf filter, which dynamically react to the input characteristics and to each other for organic attenuation.
- Ionic Lo-Cut is used to set the low-cut filter’s intensity. The filter cutoff will be shown by the moving “Lo ( ~)” knob
- Ionic Hi-Shelf is used to set the high-shelf filter’s intensity. The shelf’s cutoff will be determined by the low filter’s cutoff, and its attenuation will be shown by the moving “Hi ( ~)” knob.
- Cutoff Bump adds resonance around the cutoff point
- Transient Tickler enhances transients post-filter.
- Low, High Fader use the faders to fine-tune the tonal balance, or automate for sweep effects.
A multiband denoiser which reacts to the input signal in an attempt to carefully preserve the original tone. To operate: First, set up your signal. If noise-cleaning a live input, make sure the track is set to “in” (or “auto” whilst armed) and make sure playback is stopped. If noise-cleaning a recorded audio clip, loop playback during a section where only the background noise is audible. Next, select a band’s chain (“low”, “mid” or “high”) to see its level meter. Use the corresponding “DeNoise” knob until you see and hear it reduce to your liking (but be careful not to overdo it). Repeat this process with each of the three bands. If the background noise remains relatively consistent over time, you can lock the thresholds, then fine-tune each band’s intensity. If, however, you are noise-cleaning background noise which is unpredictable in level and/or timbre (such as at a live venue), you may wish to leave “lock” off so that the thresholds continue to react to changing input.
- Respond, reactive processing quick vs smooth.
- Low-Mid & Mid-High – Cutoff frequency point between bands.
- Low, Mid & High DeNoise – intensity of the individual bands’ noise reduction amounts. When thresholds are unlocked, also dynamically sets noise reduction thresholds.
- Hard Gate – optional to more fully snip attenuated noise.
- Lock Threshs? – flip this after setting all three “DeNoise” controls to be able to fine-tune their intensities without affecting their now-established thresholds.
AI BUSS GLUE
Go-to buss compressor with parameters reacting to both input and output signals in realtime, in order to maximize its usefulness moment-to-moment in response to dynamic material. Equally at home juicing up any grouping of instruments or the master channel of your mix sessions.
- Intensity, the main knob, sets the overall compression amount.
- Punch allows you to select from a range between buttery to slamming. Also increases LF sidechain.
- Attack controls how soon compression reacts to peaks. Slower = punchier.
- Release defines how soon compression returns. Max value = automatic. Faster releases can lead to a punchier sound.
- SoftClip Limit? you can decide whether to prevent peak overloads.
- Alien &Intuition, both of these knobs will move on their own in response to the pre- and post-compression levels, altering various parameters on the fly.
AI TRACK COMP
Well-behaved channel compressor with parameters reacting to both input and output signals in realtime, enhancing makeup gain automatically while setting the dynamic threshold intelligently. If you push it past a certain point, it starts saying “no” more emphatically… ensuring that it does not over-compress.
- Intensity is the main knob, sets the overall compression amount.
- Out Trim set at maximum, which is default (0.00dB) automatic makeup gain is enabled. If you don’t want to boost gain, reduce this value and it will instead set the output level statically.
- Butter vs Poke gives overall response from a range of more optical-style to more fet-style.
- Attack defines how soon compression reacts. Quicker = squishier.
- Release sets how soon compression returns. Max value = automatic. Slower releases can lead to a more sluggish sound.
- Alien & Intuition, leave these alone as these knobs will move on their own in response to the pre- and post-compression levels, altering various parameters on the fly.
An old-school vibe channel strip, meant for adding impact and color. Simply by placing this effect, it will have a sonic effect. Tweak the knobs to further sculpt the sound.
- Tone Tilt – phasey “tilt” eq with underlap resonance bump.
- Press – one-knob fat compression.
- Tape Curve – 15-ips tape EQ curve estimation. 63.5=default.
- Snap – affects various parameters for overall bite.
- Bass Tighten – powers up the center channel of bass.
- Mids Widen – enhances midrange stereo width.
- Treble Widen – enhances top-end stereo width.
- Smash – one-knob parallel distortion & limiting.
BRIGHT VALLEY COMPRESSOR
A “mid-side serial mastering compressor” taking its routing configuration inspiration from a famous hardware mastering compressor but having its own distinct sound, this is actually 4 compressors: 2 in series each on the center and side channels. The first compressors are based on optical compression and are controlled with a single knob each with automatic reactivity; the latter are based on vca compression and have more fine-tunable response.
- Optical/Center, Optical/Sides – sets optical threshold & makeup for the respective channel.
- Discrete/Center, Discrete/Sides – sets vca threshold & makeup for the respective channel.
- Discrete Attack – how quickly the vca presses.
- Discrete Release – how quickly the vca recovers.
- Discrete Ratio – how deep the vca compression is.
- Lumen – watch it move on its own in reaction to the input signal… modulates certain parameter to react more like a true physical optical sensor with nonlinear release behaviour.
A super-useful, supremely easy to use tool to add a specific color to an audio source while otherwise leaving it intact. It’s a “parallel bandpass expander-saturator”.
- Exbandurate – amount of exbanduration happening
- Freq – target frequency for enhancement
IONIC BASS STRIP
A channel strip specially calibrated for use on bass guitar and bass synth instruments, with ai-reactive self-levelling tone stack pots, parallel routing, and custom waveshape growl.
- A I – reactively automates the dynamic amp EQ control.
- Amp Feed – % of signal through amp.
- Cabinet Feed – % of signal through cabinet.
- Mono or Stereo? – to save cpu with mono sources.
- Respond – sets overall response character.
- Growl – invokes bass-optimized waveshaping.
- Band Cutoffs – alters dynamic EQ reaction character.
- ( ~ ) Amp EQ – determines dynamic EQ intensity. If AI>0, this will move by itself, otherwise you can set it.
IONIC MELODY STRIP
A channel strip specially calibrated for use on virtually any instrument besides bass, with ai-reactive compander to mold dynamics, sensual tone-shaping controls, and sleek width enhancement.
- A I – reactively automates the dynamic compander control.
- Card Board – cut or boost “boxy” lo-mid resonance.
- Smooth High Boost – increases brightness with a ramped shelf.
- Width Increase – increases sides channel level.
- Respond – sets overall response character.
- Smooth Low Cut – slopes off bass frequencies.
- Band Cutoffs – alters compander bands’ input reaction ranges.
- ( ~ ) Compand/ determines automatic companding intensity. If AI>0, this will move by itself, otherwise you can set it.
Mid-side reverb + delay which reacts dynamically to bloom during softer moments, curtailing itself during transients to preserve natural clarity.
- Space Control – the main knob, which determines how powerful the maximum spaciousness is and also affects the dynamic reactivity.
- Centre Rate & Sides Rate – sets the delay rates for the L+R or L&R bands. It is tempo-synced, but at the uppemost end of the range, it morphs from the fastest tempo designation to short unsynced milliseconds.
- Tail – fades between a close-room amp air ambience to a larger reverb with longer decay and delay feedback.
- Flux – adds in subtle random grains and glitching.
- M-S Tone – alters filters, varying overall toneshape greatly.
- L-R Separate – alters the delay filters on the L and R channels for a subtle stereo difference.
- ( ~ )/ watch this meter to see when the space is held back, and filled out, in reaction to the input or lack thereof.
Place on an input channel during tracking to assist with the performer’s monitoring. This allows for fine-tuning the sound in their ear for a more pleasurable recording experience. Let them set the parameters how they like it the best. You could macro-map the parameters to a midi controller within the performer’s reach for them to be able to tweak at will. After recording, you can simply remove the rack to access the raw recording, or, if you like how it sounds, modify it with automation and use the processing for the mix.
- Input Level – set the gain before it hits the fx chain.
- Noise Reduce – singleband smooth noise reduction amount.
- Spectrum Freeze-Active – turn off the analyzer to save cpu.
- Satu-Rider – “rides” the gain by using saturation for a touch of grit and more consistent input levels. The higher this is set, the more intense the satu-riding.
- Low Cut – sets filter point to remove unneeded low frequencies.
- SlapBack – adds in optional slapback echo.
- Reverb – adds in optional cpu-efficient reverb. Use low values for subtle room ambience, high values if you want to imagine you’re singing in a cathedral
- ( ~ ) – moves on its own, showing “satu-rider” fluctuation.