yep
seems that a few well chosen plugins on the master is the way to go
some high quality EQ and comp, and maybe a limiter...
but a lot of sound systems in clubs or fests already have limiting and comp in the chain, so i bet you have to adapt
take Gaiser, Paul Ritch or Marc Houle, they always have a very good sound quality when playing live
Livesets and mastering
I'm sure it's not just their magical plugins mastering chain...Cheaper wrote: take Gaiser, Paul Ritch or Marc Houle, they always have a very good sound quality when playing live
Dubby music & free samples http://leocavallo.bandcamp.com
good EQuing of your samples is the key, for me.
it depends also on what you call "live":
a prepared set where you play your tunes is imo not 100% live, but in this case you can work on the final sound before your gig.
if you just improvise from a pool of samples and presets stored on your computer, drum machines and synths (hardware), in no particular order, you have to make the mix on the fly. in this case there is more risk = more fun, but bad surprises can possibly wait for you at the corner.
if you have this workflow, an option is to make "categories" of sounds that go on certain channels where you cut certain frequencies: e.g. the hihats and percussions go thru a HP, synths get a cut at 120-200 and so on... so that the final balance is more or less balanced. in this case it is important to be precise and logic when choosing what goes where...
it depends also on what you call "live":
a prepared set where you play your tunes is imo not 100% live, but in this case you can work on the final sound before your gig.
if you just improvise from a pool of samples and presets stored on your computer, drum machines and synths (hardware), in no particular order, you have to make the mix on the fly. in this case there is more risk = more fun, but bad surprises can possibly wait for you at the corner.
if you have this workflow, an option is to make "categories" of sounds that go on certain channels where you cut certain frequencies: e.g. the hihats and percussions go thru a HP, synths get a cut at 120-200 and so on... so that the final balance is more or less balanced. in this case it is important to be precise and logic when choosing what goes where...
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damagedgoods
- mnml mmbr
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- Joined: Tue Feb 12, 2008 1:38 am
IMHO, this is 0% live. In fact it's not even 50% DJing if all the performer is doing is triggering full tracks in Ableton.4am wrote:it depends also on what you call "live":
a prepared set where you play your tunes is imo not 100% live, but in this case you can work on the final sound before your gig.
The day when live sets stopped being like this - by definition and necessity - was a sad day for electronic music.if you just improvise from a pool of samples and presets stored on your computer, drum machines and synths (hardware), in no particular order, you have to make the mix on the fly. in this case there is more risk = more fun, but bad surprises can possibly wait for you at the corner.
Mmmmm, canned worms.
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erdbeerschnitzel
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- Joined: Tue Jan 22, 2008 5:28 pm
- Location: Mainz
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My liveset atm has 7 channels + a channel for individual sound which are triggered on a mpd24. for the 7 channels (2xdrums, 1xsubbass, 1xsynth, 1xvox/fx, 1xBD, 1xCymbalstuff) i export the single sounds out of my arrangements with mastering plugins activated on the master (eq+comp+limiter) but with sidechaning on single sounds mostly deactivated. -> thus, the exported loops are already a bit compressed.
-> The bd-channel in my liveset is used for a sidechain source for the other channels.
-> Every Channel has a slight compression + eq + limiter (just in case)
-> eq, compressor and limiter on the master channel
-> every single clip (450 or so at the moment) has its own loudness level, it just depends on which kind of sound it is. I obviously do the loudness setting of every clip at home, where I can check if it sounds properly with the rest of the sounds. For example, the samples I have on the subbass-channel always tend to get a setting within -6 to -9db, depending on the kind of sound it is.
I end up with a result that is good enough to make everything sound alike in a sense of same loudness and same amount of compression. To get the right setting of the individual compressors, eqs and loudness levels took me some time, since every track sounds different in a way.
Despite the fact that all the sounds are quasi-double/tripple-compressed, it still sounds quite clear. As I said, take your time to find the right setting.
And stop calling a set with finished stereo mixes a liveset, that's for boobies.
Hope I could help.
-> The bd-channel in my liveset is used for a sidechain source for the other channels.
-> Every Channel has a slight compression + eq + limiter (just in case)
-> eq, compressor and limiter on the master channel
-> every single clip (450 or so at the moment) has its own loudness level, it just depends on which kind of sound it is. I obviously do the loudness setting of every clip at home, where I can check if it sounds properly with the rest of the sounds. For example, the samples I have on the subbass-channel always tend to get a setting within -6 to -9db, depending on the kind of sound it is.
I end up with a result that is good enough to make everything sound alike in a sense of same loudness and same amount of compression. To get the right setting of the individual compressors, eqs and loudness levels took me some time, since every track sounds different in a way.
Despite the fact that all the sounds are quasi-double/tripple-compressed, it still sounds quite clear. As I said, take your time to find the right setting.
And stop calling a set with finished stereo mixes a liveset, that's for boobies.
Hope I could help.
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thomasjaldemark
- mnml maxi
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