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#HOW TO GET ABLETON SUITE 8 FOR FREE HOW TO#
#HOW TO GET ABLETON SUITE 8 FOR FREE WINDOWS 10#
#HOW TO GET ABLETON SUITE 8 FOR FREE SOFTWARE#

#HOW TO GET ABLETON SUITE 8 FOR FREE HOW TO#

How to Download and Install Ableton Live 9.5

DVD drive or broadband internet connection for installation.

#HOW TO GET ABLETON SUITE 8 FOR FREE WINDOWS 10#

PC with Windows 7 (with SP 1), Windows 8 or Windows 10.

Follow these steps while referring to a mixed track of your own. There’s no example Live set for you this time. Mastering with Ableton Live: Step-by-stepġ. This is something you should master yourself. There are many online ‘automated’ mastering services but forget those. Once in a while there will be some troubleshooting but, with a well-prepared mix, it’s more a matter of adding a final polish. The before and after differences aren’t always dramatic – but they don’t need to be.

#HOW TO GET ABLETON SUITE 8 FOR FREE SOFTWARE#

Remember to routinely bounce final stems and mixes as stereo files that can be opened in other software or future versions, just in case. You’ve just put in the work optimising the volume levels of each track, and normalisation might undo that as it seeks to maximise the level of each waveform to just below the point of distortion. It’s best to avoid normalisation when exporting a mastered file though. With Live, you can use racks, EQs and Multiband Dynamics to split the frequencies for more precise treatments – sometimes going as far as using transient shapers on certain ranges to handle booming low-end or room ambience. Racks are invaluable with problematic mastering jobs, especially sonically messy mixes such as live recordings where there’s no chance of retrieving individual tracks.

Multiband Dynamics can help you avoid this, and give you better-regulated mixes. Live’s multi-band dynamics device comes into its own with busy mixes, where more dominant sounds will trigger the compressor and override the rest of the mix. At the other end, Utility can enhance the stereo width of the high frequencies by up to 400 per cent. Being able to mono the lower part of a mix with the turn of a knob is satisfying, and is something that’s easy to hear and understand. As you switch between them, you’ll see them overlaid in the frequency display. Use EQ Eight’s Mode switch to select M/S, then use the Edit switch below it to select either mid or side mode. Should a deeper level of repairs be required, make use of EQ Eight’s mid/side processing – separating the common mono elements present in both channels from the unique stereo sounds present in the left/right channels, so you can EQ them separately. You’ll most likely be trying to bring a set of songs into line, rather than overly cutting or boosting frequencies, though that’s part of it too. Remember, however, to rely on your ears, as every track is different. Apart from limiting, mastering usually involves equalisation, stereo imaging and compression, usually in that order.ĮQ can be visualised by looking at Live’s EQ Eight Frequency Display, which pops out into a convenient full-screen view. That’s where working with reference tracks can come in handy you can see and hear how your tunes are matching up. Mastering modern rock and dance music typically involves squashing – losing some dynamics but increasing overall loudness. It definitely helps to have a vision, an opinion about how much you aim to compress or limit your audio. The technique of mixing and processing group tracks earlier in the process helps minimise the work required at the mastering stage. It’s how we like to do things if working on self-created material. After that, the most important thing is to remember to turn off warping. It is possible to master your tracks in Live using nothing but the Utility device, as described in the following tutorial. The final mixdownĪs a technical process, mastering needn’t be difficult. Mastering is especially important if the product in question is an album, EP or any collection of songs that might have to be brought into line so that they flow smoothly and without any unpleasant surprises or changes along the way. Mastering gives you a clean slate and more or less removes the temptation to keep tinkering with the individual elements of the mix. Mastering should take place in a separate project from the clips, plug-ins and other material that comprise the song. Mastering comes after the mix is finished and exported as a stereo file, and provides a producer’s last chance to process and optimise the overall mix. Surely with everything set, that’s enough? Not quite. You might wonder why there’s a separate stage after the mixing. Mixing is the process of finishing individual tracks and then adjusting equalisation, effects and levels to make the final product sound as good as possible.

Having covered mixing songs in Ableton Live in last month’s tutorial, we’re now moving onto mastering.