Output level and Dry/Wet balance are supplied below.Įcho’s Character settings Building Character The default Stereo mode can be toggled over to Ping Pong, or the mind-melting Mid/Side mode, which can really open up the mix in unique ways – particularly with exaggerated width as governed by the Stereo amount dial in the upper right you can also minimize the Stereo value for fully mono output. This deceptively powerful routing feature is worth experimenting with, as it can yield definitively different textural results. First is the Reverb amount, which can be controlled by a mix amount and decay percentage and inserted before the delay, after the delay or strictly within the feedback loop via the dedicated drop-down menu.
Dubwise OutputĪlong the right are some key behavior settings. That said, automating the feedback and experimenting with above 100% settings allows for precisely the kind of saturated bucket brigade decimation so popular amongst dub aficionados. With intense feedback available up to 150% percent, you’ll want to exercise caution as extreme screeching tones can result – a welcome feature if that’s what you’re going for, but even then, you might be advised to place a Limiter device after the Echo to ensure speakers, headphones, and/or eardrums don’t get blown.
#SIMPLE DELAY EFFECT ABLETON PRO#
Pro tip: a cleaner Input “dub throw” can be arranged with Echo set all the way to wet on a secondary Audio Effect Rack Channel, with a new Utility placed before it use the Utility’s Gain, which now goes down to -Inf, to throw signal to Echo’s delay line – you can even assign it to a Macro dial and constrain it as needed. While unfortunately it only goes down to -40 db, the Input dial is great for insert automation, allowing for selective dub splashes that continue to decay without configuring a dedicated Return channel. Input can be boosted – along with the dry signal for a dirtier, clipped vintage feel via the D button – while the feedback signal can be inverted via the Ø toggle for wild modulation artifacts which is worth experimenting with at shorter decay times. Each line can then be swung forward or back in the same fashion as Live’s other delay effects if it isn’t sounding quite organic enough for you. In Sync mode, delay times can be set in Note, Triplet, or Dotted divisions if you want to create a more deviously polyrhythmic stereo delay, you can also choose 16 th divisions, then set each channel to clever intervals. But if you’re like me, the beauty of a virtual delay unit is tidy rhythmic synchronization – especially when all kinds of non-linear grit are available elsewhere. If your Left and Right delay lines are unlinked, you can configure their lengths independently: one in Time mode, measured in milliseconds, the other in Sync mode. The primary decisions you’ll make regarding delay properties involve the delay line parameters located at left in all three panel modes. While there are plenty of competitors in the third-party marketplace, many with their own unique selling points, Echo makes a strong case to be the number one option for classic dub delays, lush modulation, and just about everything in between. Simple Delay, Ping Pong, and even Filter Delay are sufficient for standard digital delay usage, but rather clinical by design and while Grain Delay is certainly unique, it’s simply not designed to deliver convincing vintage echo.
One of the most welcome additions to the native Live device family as of version 10 is Echo.
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