So, if you put a compressor or a limiter like Izotope’s Ozone on your master bus to get a nice master level and not clip, you have to group all your tracks and lower them so that you’re not hitting the limiter too hard. One of the biggest problems I have with Ableton Live is that the master bus fader comes after your plugins and not before. That’s crazy cool!īut here’s the catch: it isn’t as smooth and powerful as Pro Tools for mixing. You can use quantize on an actual drummer or guitar player or bass player, and you can preview how different swings and groove templates will work in real-time over your MIDI and your audio without committing. Live blurs the line between MIDI and audio production. You don’t have to cut your audio anymore instead, you can create a warp marker in front of any transient, drum hit, vocal, anything, and then move it either forward or back on your timeline, and it will be dragging or rushing. Live’s warp markers are another incredible feature that makes it possible to preview your loops based on tempo. It was time-consuming, and sometimes there would be little pops that weren’t cross-faded. It’s like magic!īefore Live, you could only do this in Reason using a feature called ReCYCLE, which sliced up all the transients in your loop and saved it as a REX file. Then, Live will play a preview of any loop at the new tempo of your song, flawlessly and in a loop. You can organize all of your loops, regardless of tempo, in one folder. However, they were wrong! Live’s browser clips preview feature is a game-changer. In today’s world, updates should be free, shouldn’t they? AbletonĪbleton Live made its debut in 2001, and at first, many people dismissed it as a mere toy for hobbyists, similar to Reason. Avid’s pricing and subscription model are not that great, which is why some younger producers switch to Ableton. This frees up resources.Ĭompared to Ableton and Logic, Pro Tools’ MIDI programming environment is weaker, although it is getting better. It bounces down your track with automation, plug-ins, panning, and everything instantly to a new track and then deactivates the old track automatically. Pro Tools Ultimate has added many improvements, including the commit track function. The comp lead vocals feature is incredible as it lets you combine different takes through playlists. Pro Tools’ reliability also shines when it comes to tracking vocalists. This is especially important for big track sessions like film scores and pop songs with many harmonies and lead doubles, where your CPU can limit your creativity when using virtual instruments. The mixing engine, the master bus, the interface, and the ability to use an HDX system with hundreds of tracks and plug-ins without overtaxing your CPU are all great features. Now, I am not saying Pro Tools is perfect, but it is still very reliable. Even if you opt for a more basic version to save money, it’s incredibly smooth to edit and use. It takes the processing load off your CPU, which means you can mix with more plug-ins and tracks. One thing that makes Pro Tools so easy to work with is its HD system. Basically, it was the first professional recording software that had a dedicated interface and high-quality A/D converters, and it has only gotten better since then. It has a simple mixing engine, excellent sound quality, and is very easy to use. Avid Pro Tools is still the go-to mixing software in the industry.
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