Create with new devices Meet Wavetable, Echo, Drum Buss and Pedal: new devices that mean colorful new sounds are possible with Live’s instruments and effects. Wavetable Immediately playable, infinitely capable, Wavetable is a new synthesizer built by Ableton. Shape, stretch and morph sounds using wavetables derived from magesy download analog.
With Ableton's latest update to Live 10, you now have an all in one solution for drum mixing needs as there is now a dedicated Drum Buss audio effect to make mixing drums easier than ever. In this screencast, I'll show you how to mix drums using Ableton 10 's drum buss audio effects plugin to create a punchy, fat, in your face drum mix.

Ableton Live, one of the most popular and powerful programs you will find in the ongoing “DAW Wars” that producers have been waging since we started recording on computers.But we’re not here to debate what DAW is the best, because at the end of the day the only thing that matters is the producer behind the DAW. And the samples they have at their disposal.If you’re an ableton live.

“It was kind of a fluke” admits software developer, Marc Résibois, about the conception of Live 10’s new Drum Buss device. “I had this code for a filter that I’d been playing with for a while; I really liked the way it sounded. I was just messing about with it and inverted the filter from high to low pass – it suddenly started booming in a really satisfying way. I was pretty sure it was something worth exploring.”

The happy accident that helped create the Drum Buss prototype sounds much like the kind of creative spark that leads music makers to a new track. But surely serendipity isn’t the only force behind Live’s new creative tools? In the following article, a few members of the Live development team recount the inspiration and perspiration that went into creating three characterful new audio effects for Live. The team also passed on some insider’s tips on how to use the effects in your music.

Sparks and sprints

Following the unforeseen invention of Drum Buss, an early version of the device was soon on show at one of the development team’s regular hack sprints – a kind of internal show-and-tell used for Live experiments – where it picked up admiration from fellow engineers. “People are encouraged to explore whatever they want,” says device designer Matt Jackson, who had a hand in the production of Drum Buss, Wavetable (Live 10’s new synth), and Pedal – a device that took off from the same hack platform. “With Pedal, there wasn’t a formal decision by a project owner to develop it. The early form of the device we saw at a Sprint was so convincing that everyone quickly got behind the idea.”

The origins of Echo, Live’s third new audio effect, were a little more predetermined. “We felt a slight dissatisfaction that we didn’t have any modulated delays in Live” reveals the Sound Team’s Christian Kleine. “Our existing delay effects are quite clinical – we wanted something that could drift a little more. And delays in themselves are so powerful. A lot of effects are based on them: flanger, chorus, even reverb to a degree.” Christian saw a chance to create new effects that would broaden Live’s palette: “They distort sound in a way that is usually only known in analog gear. Precise effects have their own charm, but Live’s new ones mean you create more sounds that just don’t sound like computer music.”

Ableton Drum Buss Download Plugin

Inspiration over emulation

Christian led the research into the world of classic hardware delay units that guided Echo’s initial design.“We made a kind of playlist of songs with delay sounds we found interesting; ones that would have been hard to achieve with what we had in Live. Then we recorded a whole bunch of old delay and echo units – like the Roland Space Echo, WEM Copicat and Morley Oil Can – and asked ourselves, What gives them their character? What are the quirks and imperfections that make them interesting, and how might we go about recreating these?”

With the idiosyncrasies of these devices in mind, software engineer Marco Fink worked under the hood of both Echo and Pedal: “To emulate the repitch behaviour [that results when changing the delay time] of many hardware delay units, for example, you have to think about the physics of what's happening in the hardware. And then you reproduce it digitally with a mathematical model.” But aside from Echo’s analog-modeled filters – which Marco mentions “distort, compress and saturate” – the effect is no copycat. “It was never our intention to model anything real” explains Christian. “It was more about capturing the spirit of these things; covering similar sonic space.”

The behavior of tape components brings distinctive sonic characteristics

While Drum Buss wasn’t directly influenced by specific pieces of gear, its conceptor Marc always imagined it as “A hardware device that never existed” on account of its immediate, limited control set. With Echo and Pedal, however, it was a case of concrete inspiration from hardware. Matt echoes Christian’s words about character and spirit: “I think what’s interesting is that we actually didn’t emulate a specific pedal. We listened to a variety of classic stomp boxes and tried to combine the different characteristics and elements in a way that worked harmoniously. We tried to get the essence of the pedals.”

But how do you go about capturing this hardware spirit? What’s the ghost in the machine? Christian uses the example of Echo: “Its LFO behaves perfectly; digitally. But as soon as you introduce something imperfect, that behaves randomly in a listenable way, you perceive it as more alive. More analog. Sometimes it’s fairly simple to introduce artificial randomness, but in other cases it’s very challenging. We spent a lot of time experimenting with how to best achieve nice-sounding noise and wobble, for example.”

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Finding the balance

Pedal was also inspired by the characterful way hardware components process sound. “But we also wanted it to be efficient”, Marco points out. Herein lies a new challenge. Engineers often face the question of how deep to go when emulating analog behaviour. Especially when processing in real-time, replicating the finer details demands more and more CPU. “You have to choose between simple and more sophisticated models for every part of the device”, adds Marco.

A different usability issue informed the development of Echo. Christian explains how original designs were for a simpler device: “In the beginning we wanted to create something with very few parameters – we always think about how to avoid adding more features. But many early user-testers wanted access to what's behind those controls, so we decided to expose quite a few of them, like the noisy elements for example.'

Noise and wobble parameters in Echo offer control over pitch inconsistencies and noisy artefacts

'This makes Echo a little more complicated at first use, but also better for creating unique sounds. You’re always walking a line between usability and breadth of options. We still have tons of ideas for what we could add to Echo, but if we put them all in, the thing would explode! Prioritizing which functions to include needs testing with others, listening and making music with it.”

There were other balances to get right. The handful of parameters in the Drum Buss device, Marc explains, needed careful calibration: “We had the Boom section in place, then after some initial user testing we added crunch and later transient shaping, compression and other elements. We wanted a device with few parameters that would all play really nicely together, so they sound like something desirable no matter what you do. S