- Instrument processing
- Sound design
- Live performance…
Checkout the Full Contents in the accordions below!
Bussification is an Ableton Live pack created by the genius of PerforModule, it consists of a series of channel strips designed to be placed on groups of tracks, auxiliary busses, and the master channel, each with its own specific set of parameter ranges.
Each one is installed directly into the Live Browser within the Packs Section so can be dropped into your set with the Ableton Push without touching the mouse!
We’ll list the details of whats in the pack below, but it’s best to hear the impact so click on the walkthrough video below from Josh Casper…
By grouping similar instruments in a mix and placing different Bussification racks onto them, each is given a distinct frequency character “home”, leading to a clearer and more vibrant overall mix when applied carefully. For each buss, decide upon a frequency to enhance, in particular, to help it stand out. You can sculpt the brightness and darkness to fine-tune the resultant tone, remove unnecessary frequencies with “tauten”, and infuse parallel saturation. There is a “juice” control which determines overall intensity of various parameters, parallel saturation calibrated uniquely for each buss type, and finally a knob for natural-sounding, sophisticated level automation which works by balancing various internal parameters.
GroupBuss Bass – For bass guitars, synths, and low-frequency sound effects.
GroupBuss Bowed -For string instruments.
GroupBuss Horn – For brass instruments.
GroupBuss Keys – For full-range pianos & keyboards.
GroupBuss Larynxical – For vocals.
GroupBuss MeLeady – For melodic lead lines.
GroupBuss Plucked – For plucked acoustic instruments.
GroupBuss Strummed – For strummed acoustic instruments.
GroupBuss Wind – For woodwind instruments.
These do what they say on the tin, add range, warmth, dirt…
GroupBuss Kit Core – For a full drum kit.
GroupBuss Kit Perc – For percussion layers.
Set up two return channels (CMD/CTRL-ALT-T), one for “Dirt” and one for “Space”. Solo them and send just enough of each channel in the mix to it to be able to barely hear. Use “Dirt” to add a bit of edgy presence for a less muddy mix. Use “Space” to emulate a nice room tone, helping to glue all elements together and cohesify punchiness. After balancing all track sends, unsolo the return tracks, reduce their levels to minimum, and slowly introduce them into the overall mix for added vibe and color. A next-level trick is to automate those levels to introduce more dirt and space during different song sections.
AuxBuss Dirt – Add dirt, crisp, and grit for increasing perceptible acuteness of raw lucidity in a mix.
AuxBuss Space – Pull up, enhance, and glue together the background spaciousness in a mix, without loss of punch.
Place one of these on the master buss to subtly alter the overall character from digital neutrality to match the media of choice. These each have different controls. “CD” is for general-purpose, modern pre-mastering with an emphasis on the solidity of bass and the clarity of high frequencies. “Vinyl Record” adds in custom emulations of turntable rumble, stylus quality, and surface grime, also with RIAA pre- or post-equalization. “Cassette Tape” is equipped with a very nifty tape hiss generator which creates the hiss based on the original material as well as nonlinear subtle sub and air contour distortion.
MasterBuss Cassette Tape – Gives the nuances and character of being printed and played back on a cassette tape, including fidelity simulation, generative hiss, and source-reactive sub and air distortion.
MasterBuss CD – A pre-mastering channel strip to help prepare for replication via web and CD. Different macro controls are tied to the “Fundamental” parameter, which can be set to the root key of the song for ideal results.
MasterBuss Vinyl Record – Gives the nuances and character of being printed and played back on a vinyl record. Also includes an RIAA filter which could be useful for importing tracks directly from a turntable which is not routed through an RIAA preamp (i.e. if you plug your turntable directly into your audio interface).
NOTE: AVAILABLE SEPARATELY – CLICK HERE
Remember that you can unfold drum racks in the session view to be able to have a track for each pad. If necessary, you can then group similar types of drum hits to be able to apply processing to them (for example, grouping all of the tom drums from a kit together to drop “Enhance Toms” onto).
Drum Enhancerz Contents:
Enhance Cymbals – good for hi-hats as well as crashes
Enhance Kicks – also useful for subsonic, shuddering sounds)
Enhance Overheads – formulated specifically for processing either mono or stereo overhead microphone recordings
Enhance Snares – also good for claps, etc
Enhance Toms – well-suited for a variety of timpani, hand drums, and other boomy, resonant drum types
NOTE: AVAILABLE SEPARATELY – CLICK HERE
[accordion title="Guitaritis" opened="no" animation_delay="0" class_icon_closed="plus" class_icon_opened="minus" border="true" animate="" ]
Guitaritis is a deluxe suite of combo amp racks for electric guitar and electric bass guitar making the utmost of Live’s built-in Amp and Cabinet devices, plus “Stomper” effects designed like guitar pedals and guitar Chord presets.
Combamps – Combo amp racks designed for placing on a direct guitar input. They are set up with careful gainstaging so that you can tweak the parameters with freedom without having to worry about constantly adjusting level as well, making it much easier and faster to dial in the exact amount of dirt you are looking for. The combamps are each outfitted with a “preamp” module which can be used to help fine-tune the final timbre. Optimal input signal is around -16dB (though it’s pretty flexible). If the signal is too quiet and you can’t increase physical input gain more, try a “Stomper Booster” pedal just before the combamp rack. Combamps will tend to increase an input’s RMS level by about 6dB, and its peak level by about 10dB (generally leading to an increase in transient dynamics). Each Combamp has an “FX Loop” area to drop Stomper pedals which simulates plugging into a loop output between the pre and power amp sections.
Signal path: Preamp -> Loop FX drop section -> Gain Stage -> Dual, Single, or Triple Power Amp -> Cabinet -> Gain Stage.
Drive – Preamp drive.
Bias – Soften tone & alter distortion response.
Gain Stage – Left decreases distortion; right increases it (roughly LU gainstaged). Has a much greater effect over the character than Drive or Bias due to the dual amp interativity, so experiment and set carefully.
Width – For single combamps, merely switches between mono or stereo processing. For the dual amps, it sets the left-right spread of the two amps. The left/right levels may differ depending on your instrument’s character and the “gain stage” setting. If you have Gain Stage and Width set where you want them for tone & grit but the stereo field ends up a little off-balance, use any panner in the FX Loop area to rebalance.
*Bass, Middle, Treble, Presence* Tone Stack for combined power amps.
Bass Single, Bass Blues, Bass Boost, Bass Clean, Bass Heavy, Bass Lead, Bass Rock, Blues Single, Blues Boost, Blues Clean, Blues Heavy, Blues Lead, Blues Rock, Boost Single, Clean Single, Clean Boost, Heavy Single, Heavy Boost, Heavy Clean, Lead Single, Lead Boost, Lead Clean, Lead Heavy, Rock Single, Rock Boost, Rock Clean, Rock Heavy, Rock Lead, Triple Crunch, Triple Power.
Stompers – These are your virtual footpedals. For analog legitimacy place them either before or in the loop section of your selected combamp. Since we’re in the digital world, you could even place them after the combamp. Why not?
- Stomper Booster – level booster
- Stomper Dister – sexy distortion pedal
- Stomper Toner – basic EQ pedal
- Stomper Whamper – wah wah for footpedal mapping
- Stomper Somber – contemplative hall reverb
- Stomper Comper – density compressor
- Stomper Smevel* – volume pedal which falls slowly & rises quickly
- Stomper Gater – go-to guitar gate to quell that background hum
- Stomper Dualay – unique-pattern dual delay
- Stomper PitchDownDelay – delay with pitch tracking shift
- Stomper PitchUpDelay – delay with pitch tracking shift
- Stomper Swamper – lo-fi digital delay
- Stomper Glitcher – grab-n-glitch effect
- Stomper Sproing – spring-esque resonant reverb
- Stomper Chomper – crunchy chorus
- Stomper Flonger – guitar flanger
- Stomper Phozzer – guitar phaser
- Stomper Tremotary – tremolo which can morph to ‘3D’ rotary effect
*NOTE: The “Stomper Smevel” effect requires the free Live pack “Max for Live Essentials” installed to properly function.
Guitaritis Chords – Chords based on shapes formed with four fingers on a six-string neck. The name of the chord does not determine its pitch, but rather the shape according to the fingered form. So for example, a second position Bm barre chord would be identically fingered as an Am Open chord. The actual root (key) will be whichever note is played while the chord is active.
Includes chords for A, C, D, E, and G shapes, in positions ranging from 0pen (zero) to X (tenth).
Guitaritis Compressor – Guitaritis also comes with a bonus *Post Amp Compressor* which is calibrated for placing after a combo amp to help tame the increased dynamics. Works well for any guitar amp which tends to hype up transients. It has 2 controls: *Target* to set the threshold, and *Aggression* to determine how much peaks are curtailed.
NOTE: AVAILABLE SEPARATELY – CLICK HERE
One Knob Wonders
Animus Invidious brings the latest set of 64 single-knob effects racks each designed for a specific purpose, ranging from performance effects to mixing tools One Knob Wonders is the Ableton Live Pack that just keeps giving!
Each One-Knob Wonder effect rack has just a single macro control. Simply twist the knob to find the ideal position for the desired purpose, and always feel free to automate for added suave and precision. Generally, the effects are disabled (100% dry) at their default position.
Grouped into folders which give a clue as to their purpose you can group and rack each effect for a go to set of audio effects per track or on returns, don’t just take our word for it though, check out the Soundcloud demos!
The names of the racks in this pack each begin with “okw”, so you can easily find any of them by searching for the term “okw” in Live’s browser. Remember that you can hover over parameters on any placed device with your mouse to see useful data in the info box.
One Knob Wonders Contents:
BiLoFicate – dual-band degradation, applying bit- & samplerate reduction differently to the lows and highs.
Growler – a distortion calibrated for use specifically on basslines.
Noisify – brings in reactive background noise while also wave-morphing the source noisily.
ThumpMuncher – adds a thumpy crunch to the low end, ranging from around 50 to 150 Hz.
TubeCruncher – go-to implementation of “dynamic tube” for use as a preamp.
DownFilter Clean – performance sweep filter heading downwards.
DownFilter Dirty – performance sweep filter with added grit.
FonePhilter – retro filter & overdrive effect, based on vintage telephone frequency ranges.
UpDown Filter – performance filter, starts in the middle, can sweep up or down.
UpFilter Clean – performance sweep filter heading upwards.
UpFilter Dirty – performance sweep filter with added grit.
BuzzTracker – a cyborg insect which follows along with a monophonic pitch source.
Exterminator – transform yourself into a nasty cyborg creature hunting down a time traveler.
GrainPitch Down – crude yet fun pitch shifter going downwards.
GrainPitch Up – crude yet fun pitch shifter going upwards.
HigherSelf – shimmery formant shifter which pulls out an ethereal version of the audio fed into it.
Diffusify F – reverb-type effect implemented with filtered delays.
Diffusify G – reverb-type effect implemented with grainy delays.
Diffusify P – reverb-type effect implemented with panned delays.
OrchSpace Brass – go-to hall reverb calibrated for brass sections.
OrchSpace Strings – go-to hall reverb calibrated for string sections.
OrchSpace Winds – go-to hall reverb calibrated for woodwind sections.
Pianosator – a rich, moody reverb-type effect reminiscent of adjacent chromatic strings in a piano body resonating with each other.
Puff – gated, compressed parallel reverb with a “bloomy” quality.
BassCream – go-to velvety bassline process based on a classic high-end pro workflow.
CrispyCrunch – go-to guitar combo which switches between a nice clean tone to dirty and crunchy.
Shredder – go-to distorted lead guitar combo with a range of selectable tones and ramping aggressiveness.
VocalCream – go-to velvety vocal process based on a classic high-end pro workflow.
Brightifier – brings out the crispiness of the high end.
Characterizer – brings in source-reactive midrange parallel warmth.
De–Essify – implement and fine-tune sibilance attenuation.
Fump – serial compressor which can be smashed for a “smacky” sound.
JuiceSnapper – designed for placement at the end of an auxiliary fx buss to “juice it up” with snappiness.
PanFlipper – smoothly rotate left and right channels with each other.
Percussifier – attack tightener which enhances transients and attenuates decay, designed for percussion stems.
SatuHighs – tasty saturation from around 3.5k to 7kHz.
SatuLows – tasty saturation from around 87.5 to 175Hz.
SatuMids – tasty saturation from around 450 to 900Hz.
SuperUltraMega – designed to do one thing and to do it well: to make stuff louder!
Chube – makes audio sound like it’s flowing through a cylindrical tube.
Duber – single tape-style dub delay.
Dubber – double tape-style dub delay.
Dubbber – triple tape-style dub delay.
Flanjaser – nasally-sounding flanger phaser.
Phlazanger – warbly-sounding phaser flanger.
BeamDrop – wild performance sweep filter heading downwards.
Breepitate – beat repeater which gets glitchier as it’s turned up.
Breepzer – beat repeat which freezes the moment you turn it above zero, then you can mess with the frozen slice.
BrownLoop – one of my favourite One Knob Wonders pitches down and fades in a sliced loop of the source. As you turn it down, the loop gets slower and lower until at minimum, you are playing the source at half speed and half pitch.
Fade to Green – an amphibian take on the classic “fade to grey” effect.
Grackler – gate chopper with added crackle and spray.
Jutter – a jittery stutter effect which gets more intense yet less frequent as the knob is increased.
PongFreez – ping pong delay which is frozen partway up and then you can manipulate the timing.
SeaShore – crazy effect which transforms any source into soothing ocean waves.
Stereatch – weird “scratch” effect which pulls left and right stereo channels in different directions.
Stitter – a jittery stutter effect which gets both more intense and more frequent as the knob is increased.
Tickler – adds randomly glitchy echoes to only a portion of the audio based on transient content.
TubeGator – creates a distorted gating effect by pushing tube bias hard.
WaterFill – effect sounding like filling or draining a container of water.
Airallel – minimal touch of room ambience.
Chorolo – stereo-widening tremolo-vibrato effect.
TapeFlange – simulating the source being split into an auxilliary tape feed.
Thorus – One Knob Wonders concludes with a metallic, wet chorusing effect.
NOTE: AVAILABLE SEPARATELY – CLICK HERE
Now unveiling Planetary Convolution – a pack of Reverb Impulse Responses, each based on a planet (including dwarf planets!) of our Solar System.
Each of the examples were created using different custom settings of Ableton’s built-in Reverb Algorithm, re-sculpted into Impulse Responses, and then further enhanced. Each is presented as a “Convolution Reverb Pro” preset for Ableton Live 9 ( MaxForLive) with individual IRs, tone control parameters and a special 1-knob extra effect for each.
Using Ableton Live, the presets will open with their corresponding impulse files automatically.
PLANETARY CONVOLUTION PRESETS
Mercury Reverb – Has a sizzling, bright tone, like you’re getting fried by the sun. Xtra FX: “Liquid” – adds a creamy movement; molten.
Venus Reverb – Sandy-sounding with a smooth high end. Xtra FX: “Scorch” – adds a subtle fuzz which is affected by the tone control. Also has an enhanced “Thick Chorus” control.
Earth Reverb – Our good ol’ home planet, you know? This has a medium room sound, good for hip hop drums. The overall tone is (you guessed it) earthy. Xtra FX: “Gravel” – this adds a nice gritty, chalky color to the reverb.
Mars Reverb – This reverb has a punchy, forthright quality. It is well-suited for march-style drum patterns, brass, or other high-energy instruments. Xtra FX: “Anger” – dials in some burning bite to the sound.
Jupiter Reverb – This reverb has a ridiculously long and smooth tail (25.6 seconds to be precise). Use this for extreme spaciousness and super fade-outs. Xtra FX: “Storm Swirl” – adds movement to the sound as you get carried along the current.
Saturn Reverb – Very large and with a resonant, ringy quality. Xtra FX: “Rings Twirl” – take a trip along the concentric circles.
Uranus Reverb – Has a billowy texture, as if enveloped in thick fog. Xtra FX: “Vapor” – adds a smokey layer of reverbish decay.
Neptune Reverb – Has an icy, chilly spaciousness. Xtra FX: “Frost” – dial in some crystalline crunch.
Pluto Reverb – Very small, very cold. Just listening to it will drop your body temperature by a few degrees. Xtra FX: “Interior” – fade into the interior cavity of the sphere. It must be hollow?
Eris Reverb – Planetary Convolution concludes with a lesser-known dwarf planet, Eris is known as the Goddess of Chaos, having a bizarre orbit. It has a short, foreboding sound, like the feeling of someone watching over your shoulder. Xtra FX: “Dirt” – adds a muted, broken darkness.
Reverbs By Style
Booth Type (very small) Pluto / Eris
Room Type (small) Mercury / Venus / Earth / Mars
Hall Type (large) /Uranus / Neptune /Saturn
Epic Type (vast) Jupiter
Planetary Convolution Racks Macro Controls
Dry/Wet: Convolution Reverbs tend to be quite lush, and often are audible at even 1% wet. These start at 23% as a default starting position — make sure to adjust this carefully to not over-use reverb.
Tone: Starts in the middle by default. Each planetary reverb has its own unique band interactive filtration which will occur upon moving the “Tone” control up or down. If you have the EQ pane open, you can see a visualizer of the audio input spectrum and the EQ curves. After adjusting with the “Tone” dial, you can grab any of the 3 individual EQ nodes and adjust them by hand to fine-tune (they are not “locked” to the control). However once you move the tone knob again, that planet’s custom filter curve will take over again.
Distance: This begins at the default (normal) setting. Turning it down will make the object sound closer; turning it up will make it sound further away. Use this to alter the spatial depth of elements in a mix.
Special Effect: This Macro is named differently for each planet, and has a different sonic effect on each.
Predelay: The time before the reverb first begins. Can be useful for preserving your original transients or adding a stuttered rhythmic feel.
Chorus: Adds a subtle creamy stereo movement. The planet Venus has a more extreme “Thick Chorus”.
Stereo Width: Lower settings place the reverb at the middle of the stereo field; greater setting lead to more spread up til the maximum possible.
You Can Also: Using controls on the Convolution Pro device (which aren’t mappable to the audio effect rack), one is able to lengthen or shorten the decay, shorten or lengthen the size, combine 2 different planet IRs attack and decay sections, alter the shape of the early reflections and length, cause “cascade” overlapping of decay curve, implement reverb fade-in or fade-out, adjust the Damping Curve (basically the EQ for the decay), or even flip the reverb into a reverse reverb.
Uno Plus Series
The Uno PLUS Series is made up of five distinct packs of Ableton Live Racks and Devices designed to get even more out of your audio the full details of which you’ll find below. In total there are 33 One Knob racks in the Uno PLUS series. As a bonus, you will also get EVERY free PerforModule One-Knob effect so far released. That results in a nifty total of 77 effect racks
PerforModule Uno Series effects are delicately programmed for balanced levels. You will never have any crazy runaway feedback problems or sudden painful volume bursts. They are designed so that any setting of the Single Macro has a theoretically beneficial result.
To help with the use of the effects information (such as the default knob position) will appear on mouseover of the title bar and macros. Unless noted in their descriptions, the Uno effects will not cause any clicks or zipper noises when adjusting values in a live performance setting or with automation, nor will they cause your significant other to spontaneously admonish you.
Tasty Grit Rack Pack
Three carefully calibrated racks to add different types of flavorful dirt & chunk, from gentle & ear-pleasing to the neighbor banging on the wall begging you to please stop.
Cramp*: Feel your muscles tightening? Add a final touch of warmth, chunk and sizzle to an audio part, group or a full mix with this soft-clipping saturation / compression combo.
Gramp*: Amp & distortion channel to add “smack” to audio. You whippersnappers better get off my lawn!
Tramp*: Nasty Amp & distortion channel which devastates sound. Trashy, sleazy, slutty; lets it all out.
Wobification Rack Pack
Four devices for adding wobble to any audio source, ranging from liquidy smooth to uber naughty. Each device has a different overall character and behaviour as you twist its dial.
Wacky Creature Rack Pack
Sixteen One-Knob effect racks that create wacky & varied fantastical monster effects, calibrated for live performability. Get bestial! [we’ll leave the descriptions to your imagination on these ones]
Freak* / Insect / Taffee / Draggle / Bubbler / Flasagne / RoboTube / BrainLicker* / TripleQuack / SpeakyImp* / FrogScorch / ProtoSpasm / FlyingMaggots / Dopplebanger / SnuffleMuffigus* / Grump
Four “space” effects from the far reaches of the cosmos. Don’t forget to come back to earth eventually.
Directional Faders Rack Pack
A set of six special mixing fader gain knobs that fade the sound in a specific direction, adding dimension. During a section of a song when several parts fade-in or fade-out at the same time, try using a different Directional Fader on each to do the fades rather than using volume automation like you normally might (for example: have two instrument parts fade out, one fading to the left and one to the right, or have a drum clip fade in starting with the low frequencies and a percussion part from the center expanding outward to full).
NOTE: Uno Plus Series Effects marked * Require ownership of the “Amp” and/or “Collision” Live Packs
NOTE: AVAILABLE SEPARATELY – CLICK HERE
performoducussion A continually-expanding series of percussion instruments set up into interesting instrument racks. As more instruments are created, the pack will be updated for free. Each set of instruments is crafted with its own custom macro controls and routing leading to specialized functionalities. Miscellaneous other content is also included. When we release the tenth instrument we’ll start volume two!
Metallic click sounds of colliding spheres sampled at 96kHz through quality conversion with a 3-mic technique resulting in realistic stereo width and ambience. Successive hits of the metal spheres are utilized as velocity layers, resulting in organic responsivity (i.e. playing louder on your keys or pads will trigger louder samples). This results in a more natural feel than velocity being simply tied to level, as it includes nuances of tone, transient attack and stereo width when playing expressively. With the macro controls you can independently adjust the 3 microphone feeds as well as filters, width, drive, and level. It comes pre-loaded with the
MIDI Effect Rack which can be switched on to emulate the final acceleration of friction overcoming momentum in a Newton’s Cradle. Simply turn up the knob to the desired length, then hold down a note and it will trigger repeatedly, faster and quieter until it fades out. Neat fun!
THE PROCESSED LOOPS
Versions of the raw recorded microphone layers, processed with performodule’s “Elemental Channel Strips”, because why not? The bpm is set to the length between the first two hits (which go out-of-sync with the grid as they accelerate) happening to result in loops that are 15 measures long at 152.84bpm. Weird! They are saved along with analysis files so that they can be used in a project of any tempo (set to re-pitch mode for lack of digital degradation).
A MIDI clip with notes matched to the newton cradle rhythm and velocity, in case you’d like to use it for nerdy experimental purposes.
THE ABLETON TEMPLATE SET
This gives you a blank set with the tempo mapped to the Newton’s Cradle acceleration timing, looping in 16-bar sections.
In other words: instead of the metallic sphere clicks staying in natural time without conforming to the grid (like the audio and midi loops do) this conforms the grid TO the timing of the metallic sphere clicks. Thus you can compose a “normal” beat which aligns in time with the newton’s cradle timing, rather than a static tempo. Use it to compose a weird song which is built around this strangely appealing tempo fluctuation.
The audio demo follows this tempo map with a 15-measure pattern using the raw recordings as a framework.
Created from an old, weathered, broken-down wurlitzer which was sitting in a yard against a fence of a house stayed at temporarily after a flood. The recording was done outside so the samples include a nice spaciousness to their ambience. Theres some samples left unused, so a future update might have another instrument or two as well.
BROKWURL CGHRG PERC
Making use of Live’s “Impulse” device, this instrument has 8 choice scrape and thwack samples which you can individually stretch and modify with the 8 macro controls. By automating them you can create trippy time-stretch special effects.
BROKWURL TAK PERC
A 16-pad drum rack playing 16 tasty wooden “tak” samples, arranged from lowest to highest. The rack gives you controls to implement low-cut filtering, apply and modify parallel reverb and delay, and alter the transposition. Use it to spice up a song which could an extra layer of attacky percussion.
A set of two ableton live simpler instruments crafted from a recording of a contraption of 27 interlocked spinning gears.
The samples were recorded by spinning the gears slowly at first and gradually ramping up the tempo, with 3 mics: L Dynamic R Condenser Ambient.
TOY GEARS ROTATOR
This pitched instrument is designed for playing a note and holding it to attain a spinning gear loop, useful for sound design purposes or for moody background latticework. By setting the intensity and loop length carefully you can emulate the sound of multiple spinning wheels scraping. For example, by holding a low tone with intensity set in the lower range, you could come up with a convincing emulation of the sound of carriage wheels on a cobblestone roadway. The 3 microphone layers will be naturally aligned in this instrument, with the ability to individually mix each.
TOY GEARS SLOTSHOT
this unpitched instrument is designed to play individual transient slices of the recording. Unlike the “toy gears rotator” instrument, it includes deliberately imprecise layering and randomness functionality for an organic feel. Playing different notes will trigger different samples. For sound design purposes, this is a nice resource of mechanical thwacks (68 to be precise, times 3 layers). By using MIDI patterns, you can create a variety of slushy textural rhythms.
164 strikes (x3 layers) of miscellaneous metal tubes and rods of different lengths & diameters. Each chime was suspended to allow ringing and struck with the next chime in the series. Each has between 5 and 15 strikes sampled, which trigger at random each time you play a note. The 3 layers trigger independently, meaning each note played results in a different random combination. This leads to an exponential possibility of unique results per note played (i.e. over 3,000 in the instruments with 15 strikes). In a less technical sense, what this means is that if you play the same note (or pattern of notes) over and over again, you will not get the “machine gun sample” effect, and it will sound much more natural instead.
- 22 tinkular chime instruments for ableton live; 492 samples total
- “random-robin” sample triggering for organic playback
- 32-bit files for high fidelity zero clipping
- every sample is loudness normalized to within 0.1LU of each other
- The tinkular chimes are pitched in key when played with any MIDI controller.
Each of the tinkular chime instruments has the same control layout. By carefully adjusting the mic balances, you can sculpt the tone nicely before even using any EQ.
Lo Lvl/Push, Hi Lvl/Push, Room Lvl/Push
Up to the midpoint on the dial these are simple level controls for the respective Hi, Lo, or ambient mic channels. Pushing above the midpoint smoothly boosts the perceptible loudness with morphing compression. Snazzy! Balance the 3 mics against each other to fine-tune an instrument’s tone and density.
Sets where to split between the condenser (lo) and dynamic (hi) mics. For these instruments, turning this to the left gives you more dynamic mic; to the right, more condenser.
Subtly enhances the chosen half of the frequency spectrum while softening its opposite for a little bit of extra tone control.
Affects the darkness or brightness of the room ambience reverb.
Applies reverb to the ambience mic layer. This is a really nice way to blend in naturally-responding reverb without touching the main solid transients.
Lower it for a more focused, mono quality in the ambience layer. Raise it above 50% for surround-sound style width.
NOTE: AVAILABLE SEPARATELY – CLICK HERE