PerforModule’s entire curated collection of audio effect racks designed for mixing, including all devices from the previous packs DynaMixing One through Five, Ionic FX, and continuing brand-new racks. Many of the devices feature signal-reactivity to enhance their capabilities.
In All there’s well over 70 themed Ableton Live racks within this pack, we’ve divided them in to their use case below and you’ll see a full description of each within the accordions. Each device is fully annoyed as well so you can simply drop it into a track and then open Lives help view to get further insight on how to use it.
[av_toggle_container initial=’0′ mode=’accordion’ sort=”]
[av_toggle title=’Distortion Effects’ tags=”]
A “jittery saturator”. It bounces around to different frequencies, faux-emulating the fluctuation of some really poor analog gear. Useful for adding tone glint to otherwise boring parts, or to subtly “humanize” stiff programmed drums. Another idea is to place an instance of jitterator on every channel in a mix with subtly altered settings on each to set up a “faux analog console”.
A rack with multiple methods to “retro-ify” sound. You can go for a “retro videogame chipset” effect, for a “broken up old-time radio speaker” feel, or a combination of both. Parameters are interconnected, so changing one will alter how the others respond.
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 (without having to worry about the level going crazy).
[av_toggle title=’Filter Effects’ tags=”]
Balance out-of-whack audio spectra. If a static EQ will not suffice to correct unpredictable tonal changes on a source file, this can be a natural-sounding solution. It listens to 16 bands of the audio (in a bypassed parallel channel) and automatically, dynamically adjusts 16 corresponding EQ bands. Since it’s not splitting the source file itself, there’s no worry about crossover issues common to multiband dynamic processors.
ADJECTIVE EQ (HIBANDS) / ADJECTIVE EQ (LOBANDS) /ADJECTIVE EQ (6BAND)
EQS meant for intuitive tone-shaping of the human hearing range by feel, based on emotion rather than rationale. They include an “auto-dynamics” control which will desensitize the overall EQ in reaction to the input level during more intense moments, helpful for allowing strong cuts or boosts while avoiding overt harshness.
A unique way to highlight a focus frequency of choice. The select frequency will be enhanced and also offset-widened, drawing attention to itself while leaving the remainder of the signal intact. You can set the L and R offset milliseconds, allowing for precise pyschoacoustic “virtual surround” placement. In addition, it has envelope and LFO functions for wacky modulation if desired.
Microphones recordings don’t quite reproduce bass the way we actually hear it in a physical space at a live show. Designed with live musical act recordings in mind, Bass Shuffer increases the width of bass on stereo recorded material in a specific manner to achieve a more lifelike reproduction on speakers or headphones, increasing the sensation of listening to the performance live in a physical space.
EQ 8 TONEEXPLORER / EQ 8 TONEEXPLORER MS
Designed to add and sculpt color and character to audio with a MIDI controller rather than a mouse. Play with the “explore point” to modify specific frequencies, cut the highs or lows smoothly, and add mud or sparkle. The MS version provides smooth built-in differentiation between the mid and side channels for suave width enhancement.
Applies an “ideal” EQ curve (compared to white noise) based on the average frequency contour energy of a huge archive of songs over a vast range of eras and styles. It may help in tastefully sculpting stems or mixes whose spectra are flat, thin, or bright.
A multiband denoiser which organically reacts to the input signal in an attempt to remove background noise whilst carefully preserving the original tone. Use the “deNoise” knobs to set the thresholds, lock them once set, then fine-tune their intensities. Or, for extremely dynamic material, leave the thresholds unlocked.
A low-cut filter coupled with a high-shelf filter which organically react to the input signal and to each other, designed to preserve and enhance punch. By adjusting the macros carefully, you can shave off unneeded murk and sizzle while boosting solidity with cutoff resonance and transient enhancement.
LO_HI FILTER (L-R DNA) / LO_HI FILTER (M-S DNA)
Low- and high-cut filters with easily-adjustible slopes and a “DNA” parameter which adds separation to channels with inverse tone-shaping curves (similar to certain throwback analog consumer “stereo wideners”). The L-R version can be used with mono or stereo files, but the M-S version is only meant for stereo.
LO_HI FILTER (SIMPLE)
Go-to low and high cut filtering, allowing you to dial in the desired shape as quickly as possible. The “cut” knobs turn on the filters and set their frequencies. The “slope” knobs will morph from super-gentle shelves to super-steep cuts.
LO_HI FILTER (BREATHING)
Low-cut and a high-cut filters with envelope followers which can be used to enhance or de-emphasize resonance around the cutoff points and add tremolo-like spin. The envelope-following action can also be keyed to be partially or completely triggered by two other tracks via sidechain input.
LOUDNESS CONTOUR ENFORCER
Applies a scalable approximation of modern equal loudness curvature, according to a target decibel level. Applying it to quiet playback material will make the tone contour sound more like it physically does to human ears at higher volumes (rough interpretation: you’ll lose less perception of bass and treble).
You never know what the venue’s gonna sound like, so this EQ is for quick, safe, on-the-fly tone sculpting, optimized for live performance. Place it pre-final limiter on your DJ or FOH setup and adjust as needed. There are very wide and obvious “lo mid” and “hi mid” boosts, prime for adding weight (if thin) or clarity (if dark), lo and hi cuts for reducing rumble and shriek, and very subtle “sub” and “presence” lifts to enhance definition. The EQ bands are calibrated to lead to an extremely smooth, natural contour on any possible combination of settings.
Multiband smooth downward expander to reduce hiss, hum, noise, and rumble. Use it when a gate is too abrupt. Directions: Loop a section of background noise. For each of the 3 bands, turn “clean” up until the ambience suddenly disappears. Then turn “spot” down until it starts to come back. Fine-tune while audio is playing and you’re done!
[When to use “nose cleaner” and when to use “ionic denoise”? For precise studio surgery, try “nose cleaner” first. On very dynamic material or in a live context, “ionic denoise” may work better.]
Mellows out audio with a muted analog softness, exploiting the “cab” effect coupled with tube bias and a width reducer. Dial it anywhere from subtle to suffocating.
Straightforward low- and high-cut filtering with a tasty analog curvature, plus an optional surgical band for slicing out noise or resonance. Use it when you want to clean up a sound file in a quick and tasty manner.
[When to use “resocut filter” and when to use “lo_hi filter (simple)”? For a transparent digital sound, use “lo_hi filter (simple)”. For a rounded, analog sound with a bit of character, use “resocut filter”.]
A rack providing 5 different methods to soften harsh high frequencies, each with its own characteristic flavor.
Experiment with different amounts of each macro control to very delicately and precisely soften the frequency contour.
[When to use “pillow” and when to use “sophten+”? For a muffled sort of effect in sound design, use “pillow”. For a carefully-sculpted top end during mixing, use “sophten+”.]
TILTBAND EQ / TILTBAND EQ (L-R) / TILTBAND EQ (M-S)
A single go-to EQ band (two in the L-R or M-S versions) which can be tilted. Nice for when you want to do a boost or cut and alter the symmetry of its slope. With the “frequency”, “tilt”, and “Q” macros, you can manipulate the tone contour. Use multiple instances for additional bands when needed.
Sculpts tone with attenuation only, using a morphable cut filter. Directions: set “duction” to full and adjust “freq” and “morph” until frequencies which sound ugly are removed and tasty frequencies remain. Turn “duction” to zero, then ramp it up to determine how much tone sculpting to apply.
[av_toggle title=’Instrument Effects’ tags=”]
CHANNEL STRIPES – BLUE / GREEN / INDIGO / ORANGE / RED / VIOLET / YELLOW
Colorful channels, each loaded with different effects fulfilling roles, leading to similar worklows but individualized character for each. Placing differently colored channel stripes onto different intruments inside a mix can help them stand apart from each other, for a clearer totality. The modules included within each channel stripe are: De-Noise, Filters, Preamp, Dynamics, EQ, and Imagery.
The rack macros will give you necessary control of all of the modules – except for the EQs, which you can unfold to reveal and adjust frequency bands of when desired.
A general-purpose, useful channel strip which includes noise reduction, lo & hi cut, preamp, comp, EQ, respond, imagery, and finalize controls. It is built according to the “channel stripper” template, using a complex mapped set of ableton effects for versatile, tasty results.
A blank template rack for you to use to quickly design your own awesome channel strips, using your favorite VST or AU plugins. Drop plugins into modules, map relevant parameter ranges to the pre-arranged macros, and build your own collection of unique channel strips saved inside your user library.
IONIC BASS STRIP
A channel strip specially calibrated for use on bass guitar and bass synth instruments, including organically-reacting self-leveling tone pot stacks and custom waveshape growl.
IONIC MELODY STRIP
A channel strip specially calibrated for use on virtually any non-bass instrument, with organically-reacting multiband compander to mould dynamics, sensual tone-shaping, and sleek width enhancement.
Meant for placing on the headphone channel of a recording musician for a more pleasureable experience, featuring the “satu-rider” which helps lines punch through with consistent perceptibility, noise reduction, low-cut, slapback, and reverb. You could map the macros onto a MIDI controller next to the performer so they can adjust their own controls on-the-fly.
[av_toggle title=’Mixing & Mastering Effects’ tags=”]
Go-to triple compression combo which works on just about any audio material and is ideal for that with variant dynamic ranges (having sections with widely differing densities). First, it gently levels the overall gain and sets the stage for the following modules. Next, it curtails errant fast peaks. Thirdly, you can apply groove compression, setting the rhythm to pulse with the groove of the music flavorfully.
AI BUSS GLUE / AI TRACK COMP
Go-to buss compressors with parameters which organically react to both the input (pre) and output (post) signals to maximize their moment-to-moment dynamic response to sources.
“AI Buss Glue” is optimized for groups or the master channel, designed to handle complex sources with elegance.
“AI Track Comp” is optimized for individual tracks, designed to tastefully compress while avoiding overcompression.
A channel strip designed for adding analog-style taste to material. All parameters interact with each element in a cohesive manner (so, adjusting one parameter will affect the others).
Add in “preamp drive”, “punch”, “class”, “grit”, a flavorful “chorus”, and add deviation to them all with “flux”.
A channel strip with an old-school vibe, meant for adding impact and color. Simply placing it has an effect on the sound; tweak the knobs to further tilt, press, snap, smash, tighten, widen, or add 15ips tape curve estimation.
[When to use “analog pressure” and when to use “anionic console”? Try “anionic console” as a starting point for a raw stem you want to sound more characterful, whereas “analog pressure” is suitable for giving extra character to things which are already processed.]
Does the opposite of what compression normally does, enhancing natural dynamics rather than flattening them. May help to add some life to “sausage stems”. Note: it’s a fairly light effect; much less extreme than “dynamify” can be.
Divides an audio input source into 23 body parts, altering the overall tone and perception of the source with a complex assortment of subtle effects, injecting 3-dimensionality, mojo, and silk. It adds stereo width to mono sources or increases L-R cohesion for layered stereo sources. Additional nested macros are included for “Head”, “Appendages” and “Torso”.
BRAINLESS HYBRID COMPRESSOR
Easy compression with only 2 parameters. “Digi vs Ana” chooses the type of compression (one, the other, or a blend of both), and “Push” sets the amount of compression happening. They are gain-staged as closely as possible so you can push into and flip back and forth to hear the differences between them.
BRIGHT VALLEY COMPRESSOR
The performodule twist on the topology of a very famous mastering compressor which utilizes dual serial M/S optical + vca compression (including source-reactive “lumen” circuit). It’s easy to use and beautiful for adding majestic density and polish during mastering.
Push into an adjustable proportion between analog clipper and digital limiter, with a fine-tuneable “stereo unlink” capability which applies to both. It is now easy to blend between the aggressive dirt of a clipper and the smooth pumping of a limiter instead of choosing between one or the other.
COMPIFY / GLUEIFY
One-knob easy compressors which adjust multiple internal parameters to work with almost any material. Just dial in the sweet spot!
De-esser style compression triggered by high-frequency sibilance. The difference between this and a normal de-esser is that this squishes the whole signal when triggered, which means it won’t cause a “lisp” side-effect, but can be easy to cause pumping. So use it carefully. The upper half of the focus frequency can be used to hone in on a resonant peak; the lower half is more generalized.
6 custom-calibrated compression circuits in sequence, each with pre-individualized settings resulting in highly complex attack and release responses, which “just work” on a wide variety of material. The entire density range is one big sweet spot of variable character: light amounts will delicately massage dynamics, heavy amounts will smash with refinement, and the ranges near the middle have an open, punchy, groove.
A multiband anti-compressor. Rather than squashing audio, it pulls the audio apart. Loud parts are expanded and quiet parts are lowered, leading to a wider crest value (higer transients compared to sustain). Fix too-compressed material. Add beefiness to the lows, bite to the mids or sizzly snap to the highs. Beware: extreme ranges can significantly boost & distort the signal.
Grumpy, rich compressor which combines two new-york style compression chains overlapping with added filtering and saturation, introducing an interesting phasey effect which can be altered by various parameters, highlighting certain harmonics in an odd manner.
Inspired by “spinal tap”, this rack consists of eleven devices in serial with interactive, complex macro-mapping for subtle and refined sculpting of overall tone and vibe. Each parameter affects how the others respond as well. Dial in enough mojo to push a part which “just needs something” over the cliff edge.
EXBANDURATOR / EXPANDURATOR
These two secret-sauce devices are “parallel bandpass expander-saturators”. They focus on a select frequency and enhance it with minimal disruption to the remainder of the signal. Use instances of them to add highlight to element in a mix, helping them to stand out perceptibly instead of being clouded in a mask.
The little brother, “Exbandurator”, is fast to apply when haste is of value and you just want to add pizzazz to something, right now, dammit.
The big brother, “Expandurator”, has extended control of the minimum and maximum range of the enhancement zone, resonance, and analog drive, for increased fine-sculpting surgical capabilities.
A volume fader with a slightly different curvature than by using “utility” or a rack volume control alone, which allows for concentrating more resolution in the quieter range. Useful for when you want a gradual fadeout to or from total silence.
A method to enhance bass by using a flanger affecting only the lowest frequencies. Yeah, it’s weird. But it works quite well. You can also add mono-compatible stereo width.
Tone-massaging auto-optical multi compressor. Four frequency-dependent curves sculpt the overall tone semi-automatically by pressing down on unbalanced frequencies more aggressively. It has a “tilt” function which is used to shift the balance of the four compressors and therefore the overall darkness or brightness in a unique “floating stacked-shelf” manner.
One-knob gate which adjusts multiple internal parameters to work with almost any material instantly. Simply turn the knob up until it gates what you need it to.
One-knob glue compressor. Just dial it in until it’s where you want it.
LOUDNESS CONTOUR FADER
A level fader for mix automation which, as it is lowered, increasingly applies “loudness contour” to the tone. This serves to smoothly “unhide” the frequencies our ears hear less well at lower volume intensities, making quiet passages more audibly perceptible.
A twist on the classic “low end trick”. Way easy to dial in. The idea is to set the focus frequency to a main fundamental hit (anywhere between 50 and 250Hz). When you boost, it enhances just above and below that frequency while not boosting that exact frequency point much. This adds fatness to the fundamental while preventing it from causing an imbalanced transient peak overshoot.
Divides the signal into 5 chains 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 increases in maximum possible intensity (both upward and downward). Audio will be delicately massaged to make use of extra headroom, attenuating too-loud frequencies while boosting where extra headroom is available, all in a very transparent manner due to the smooth filters. Use “respond” to make the dynamics react more quickly (left) or more slowly (right). Use “output <> input” to alter how strongly the engine reacts to the input signal. Can be great for mastering if used carefully.
RETRO VS MODERN
Fade between a retro sound and a modern sound. Under the hood it implements various processes and morphing EQ to achieve this. Use it to make something sound like it’s playing back through a retro or a modern hi-fi system. Try automating between the two during different song sections to add drama to your arrangement.
It isolates background space in an audio part, brings it forward, then “scrunches” it, adding massive coloration and character.
2-stage go-to compression following the “slow attack, fast release > fast attack, slow release” signal flow which sounds nice on almost any source without having to think about attack and release settings. The first compressor is used to gently massage the overall loudness and add character; the second is to precisely sculpt transients in a solid, reliable manner.
SIDEBUMP / SIDEHUMP / SIDEPUMP / SIDERUMP
Instant EDM pumping satisfaction. Drop one of these racks onto the thing you want to reactively duck, set the sidechain source within it to listen to the track which contains trigger, and bump, hump, pump, or rump it up!
Which one to use for what?
Try “sidepump” to duck a bassline with a kick drum.
Try “siderump” to duck a pad with a bass synth.
Try “sidebump” to duck a percussion part with another percussion part.
Try “sidehump” (a bit touchier to dial in than the others) on a supportive keyboard playing chords and set the trigger to whatever is playing the lead melody. The chords will duck when the lead is prominent, and swell when it backs off.
SQUASHIFY / SQUISHIFY
Squashers (one fullband, one multiband) which bring up the quiet parts and push down the loud parts of an audio source. Used subtly, can tame dynamics and add some headroom. At higher degrees, will heavily squash sound, pulling out the hidden background sustain. “Squishify” is a one-band, one-knob version which reacts to and affects the whole frequency spectrum equally. “Squashify” is a multiband version which has the ability to sculpt the lows, mids and highs individually.
STEREO GLUE (L-R) / STEREO GLUE (M-S)
You know you always wanted to have stereo and mid-side implementations of the glue compressor, right?
Designed to do one thing and to do it well: make stuff louder. Use it as the last stage in a channel fx chain. When using on the master channel, it is advisable to disable the “output limit?” knob and add your favorite limiter just after it. “Multiband” mode uses more cpu but can often provide an even more oomphy sound. Try both and see which is preferable for a given application.
[av_toggle title=’Space Effects’ tags=”]
AUTO WIDTH CURTAILER
A device which detects the stereo left-right difference and dynamically narrows the stereo width for increased cohesion – clarity – solidity. Useful for when you want to narrow something only when it strays too wide, and leave it alone otherwise. Mono sources will not be affected.
AUTO WIDTH TAKEOVER
Basically the opposite of the Auto Width Curtailer, this listens to the mono signal and reduces it when it hears side signal, making things sound “wider than life”. Sources with no similarity between the left and right channels will not be affected.
Applies source-reactive ambience with tasty M-S reverb, multiple types of delay, and a touch of randomness. It pulls back the ambience when it senses solid hits, letting you apply more space without the source turning to blurry mush. By messing with the macros you can come up with a huge range of spatial rhythms and timbres.
NEAR VS FAR
Hints of the source being either closer or further away from the listener (whilst not altering loudness) with various psychoacoustic processes, including high- and low-frequency width alteration, subtle reverb & delay, transient smoothing, and a doppler pitch twist when automated.
Use to fade between delay and reverb. The delay is “Ping Pong Plus” type with adjustable width, custom grit, and chorus modulation which can help lead to more analog-esque sounds. Automate the “delay vs verb” macro control for extra fun.
Pulls both sides (left and right) to both be in the center. Why? If you pull the stereo width of Utility to 0% on a track to check its mono compatibility, there is a problem: material panned hard left or right will be completely removed (which is not how most mono systems actually play back audio). To check your mono compatibility properly, or to force a stereo file into mono without loss of sides material, use this instead.
TIGHT VS DENSE
Combines various processes to implement a “tighter” or “denser” vibe with one knob. You can also add in pre-calibrated reverb, or use it as a standalone reverb module for a return channel. Push towards “tight” for a more focused sound; push towards “dense” for a more thick, full sound. Try automating it to different settings when song sections switch (chorus, verse, bridge, etc).
Quick easy rack for fixing phase issues with phase flip + microdelay. At 0, the effect is off. Above zero, the phase is flipped. The amount above zero is the amount of microdelay to offset the signal by(up to 9.99ms).
[av_toggle title=’Special Effects’ tags=”]
FREQUENCY HIGHLIGHTER / FREQUENCY HIGHLIGHTER (AUTO-SWEEP)
Scan an audio part’s spectral range with a steep bandpass filter to highlight frequencies which stand out (unpleasant resonances in particular). You also are provided with an “auto-sweep” version which has the capability to automatically scan so you can sit back, listen and take note of which frequencies are at issue.