- #ABLETON HAAS SIMPLE DELAY ACTIVATOR#
- #ABLETON HAAS SIMPLE DELAY FULL#
- #ABLETON HAAS SIMPLE DELAY FREE#
The Haas technique mentioned earlier offers a quick and easy way to create a sense of stereo to a mono source but is limited by the fact it delays the full frequency spectrum of one channel. For this reason I habitually add an EQ Eight to cut a lot of these problem frequencies which I've done on my main drum buss. This tight reverb technique for stereoizing sounds can produce a bit of low-end muddiness in the side signal. Keep checking mono compatibility as this effect can produce strong comb-filtering in mono, so I tend to tweak between both stereo and mono playback to find a happy balance. You'll hear how the sound's location and space is affected as you increase the second setting.
With Dry/Wet set to 100%, set one channel to the lowest value of 1 ms for a minimal delay time and the right anywhere above up until around 40/50 ms.
The easiest way to create this effect is through Live's Simple Delay when you switch both Delay Modes from Sync to Time so you can use small measurements in milliseconds. The brain can't discern these two signals as separate events as the delay is so short, it instead assumes it's ambient, directional information and processes the sound as having space around it. Haas is a psycho-acoustic effect which tricks the brain into hearing a sense of space and directionality when one channel of a mono signal played in stereo is fractionally delayed behind the other. This technique of opposing phase on one side holds little location information so I don't use it for any constant, dominant sounds in my mixes, but it's great for sporadic SFX sounds. But it's a cool way to add sounds that are kept secret from mono listeners or add some additional stereo width when applied to one part of a layered up sound. The down side of this approach is that the sound disappears 100% when summed to mono which means it must be used sparingly. Just enable Phz-L on Live's Utility device to oppose the phase on the left channel. This effect is an absolute opposition in phase so is quite extreme. Stereo information requires information to be different in the left speaker to the right and always has some form of opposing phase information. One of the wildest effects for creating an out of the speakers or inside your head effect for speakers and headphones respectively is to reverse the phase of the left or right channel. Opposing Phase of Left and Right Channels On the track Break M/S EQ I've taken this technique a step further and EQ'd the mid and sides quite differently to give the breakbeat a unique placement in my mix for both mid and side elements.
#ABLETON HAAS SIMPLE DELAY ACTIVATOR#
Then use Key Map Mode to assign the Device Activator switch to a key for quick access from anywhere within the project.
This can be easily done by adding a Utility device to the Master Track and setting Width to 0%. When exploring the techniques below, it's important to switch to mono playback as you tweak to ensure the best compatibility where possible.
#ABLETON HAAS SIMPLE DELAY FREE#
I've applied all techniques covered to a short d&b intro and drop so feel free to play around with the ideas and I encourage you to save the devices I've used so these techniques are available in your own Live libraries when you next work. To make it as easy as possible to understand and explore these techniques in content I've created a Live project which everyone can access via the collaborative Splice platform. Almost all of the tips I'm sharing below are not part of Live's library as presets, so grab a brew and give this a good read to fully absorb some in-depth approaches to harness the stereo aspect of mixing in Live. From analyzing the stereo content of reference material to understanding the myriad of techniques available to stereoize your own work, understanding how essential a dynamic stereo mix is in today's world is critical.Ībleton Live has many different tools for creating and controlling the stereo dimension of your mix. Throughout my many years of teaching, I've observed that fully understanding the importance of stereo design in a mix is the hardest thing for my students to grasp.
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