BRINGING ARTIFICIAL INTELLIGENCE TO ABLETON LIVE
“DynaMixing Three” was developed by Animus Invidious of PerforModule in association with Isotonik Studios and comprises of an advanced set of audio effect racks formulated for sophisticated and snazzy mixing capabilities, including artificially-intelligent reactive parameters.
UPDATED WITH NEW RACKS FOR LIVE 9.7
A rack providing 5 different methods to soften harsh high frequencies, each with its own charactereistic subtlety.
Experiment with different amounts set to each macro control and use this to very quickly make things sound “smoother”, “warmer”, “duller” or more “rounded”.
This is an effect rack which can be inserted anywhere in an fx chain to “auto-ride” the volume level. At null input, it will do nothing. Quiet inputs will be boosted dynamically, and louder inputs will be attenuated.
Push into an adjustable proportion between analog clipper and digital limiter, with a fine-tuneable “stereo unlink” capability which allows you to choose what percentage of the L and R signals compress only themselves rather than both sides. It is now easy to implement L-R clipping. Useful for quickly deciding whether you prefer to use a clipper or a limiter to curtail peaks on a particular source, or to use a hybrid of both, which often minimizes the problems of each (distortion for clipper and pumping for compression).
Use to fade between fine-tunable delay and reverb. The delay is “Ping Pong Plus” type with adjustable width, custom grit and chorus modulation, which setting custom combinations of can help lead to more analogesque sounds. Automate the “Delay vs Verb” macro control for extra fun.
Tip: set the “space size” by ear to a nice rhythmic interval during playback with “delay vs
NOT FORGETTING THE ORIGINAL RACKS…
Adds in a tasty, smooth sub-frequency thud to the affected audio, focused anywhere from 30 to 90Hz. An easy, quick, and nice way to enhance subs.
This rack is meant specifically for cutting the frequencies generated by AC power and their harmonics, which tries to be natural by reactively reducing its effect during louder sections. Can be set to 50 or 60Hz base depending on geographic region.
This effect rack pulls the left and the right halves’ material to the center, to be able to accurately gauge mono compatibility phase issues.
An EQ which simultaneously cuts and boosts identical frequencies, but with sharper Q’s on the cuts than on the boosts, leading to extremely subtle tone enhancement. It also includes an integrated “analog vibe” saturator.
Allows for properly gain-staged implementation of 7 different types of distortion, plus a tone knob. Use this as a go-to device to add subtle touches of dirt to perfectly saturate a signal… or use it to completely obliterate audio beyond all recognition.
Adjective EQ (6Band)
This is an EQ meant for high-quality tone-shaping the full range of human hearing by feel. There are six adjective bands which each have a knob to cut or boost and a knob to place the frequency spot. The spectrum analyzers are disabled by default to encourage using the ear only. You can change the overall slopes from “devil’s peaks” to “nipple” shapes.
There are also unique “Auto-Dynamics” controls for either the low or high bands which will automatically attenuate boosts which are being fed too-intense material, and prevent cuts from sounding too unnatural. If you unfold the main rack, you can also access the low-to-high cutoff as well as a volume knob to gainstage the output.
A unique channel strip designed for adding analog taste to material. Each element has one primary focus parameter, but all of the parameters interact with each element in a cohesive manner (so, adjusting one parameter will affect the others).
“Reactive Tube” adds in preamp drive which alters in character according to the other parameters. Set “Add Punch”, “Add Class”, and “Add Grit” to taste. “Chorus” adds in an analog-style chorus which has a delightfully retro creamy vibe.
The “flux” parameter adds randomness to the tube and chorus.
Use this to automatically “gain-ride” audio material. This can be particularly helpful for material with an unpredictable level such as a live audio feed. The gain’s movement response alters dynamically according to the input signal so you don’t have to get a headache about attack or relase settings. Just set the target volume and flux intensity and watch it work.
The flagship device of this set, this beast uses a custom LRMS balanced chain-split to divide the signal into 5 parallel chains, each of which are individually sculpted by auto-dynamic 2-band shelving equalization. As you increase the “Sculpt” knobs for the center channel, halves channels, or sides channels, the sculpting begins, increasing in maximum possible intensity (both upward and downward) as they are pushed.
Audio will be delicately massaged to make use of extra headroom, cleanly attenuating too-loud frequencies while boosting places where there is extra headroom available, all in an extremely transparent manner due to the smooth filters. Use the “Respond” knob to make the dynamics react more quickly (left) or more slowly (right). Use the “Output <> Input” knob to alter the level of the signal fed into the detection system, with compensated output. The LRMS AutoSculptor is excellent for mastering if used carefully.
You can also use this to apply other effects to just the center, halves, or sides. Unfold the chains and drop fx where desired.
A one-knob sidechain compressor based upon the old compressor design (notable for it’s “punchy” quality). Use this to duck audio based upon a different audio source. This particular device is ideal for ducking basslines with a kick drum.
To use it, make sure you set the sidechain source in the compressor’s “Audio From” menu (unfold the rack if you don’t see it). Then you simply turn up the “Pump” knob to implement sidechain ducking.
Note: Make sure you don’t hit the “upgrade” button on the compressor.
This is a go-to “maximizer”. Use this instead of many “maximizer” vst plugins, for example. It is designed to be used as the last stage in an fx chain (or second to last, just prior to a limiter). This can be used for individual tracks, busses, or the master track. When using on the master track, it is advisable to disable the “Output Limit?” knob and use your favorite limiter instead.
When using for tracks or busses, feel free to use the built-in limiter. There is only one main parameter, “Maximize” which applies a careful series of processes including “pre-conditioning”, upward compression, low-level saturation and waveshaping. The result is OOMPH.
You can also switch to “multiband” mode, which uses more cpu but can often provide an even more oomphy sound. Try both and see which is preferable for a given application.