If something is technically crappy but still sounds great, to me that’s wonderful! But not for an engineer… you still have to make it usable. An engineer might not have the same vision, but a better technical perspective. Coming from a musician's background, I had a clear idea of what I wanted things to sound like. “But what I found interesting about the process for Echo is the different perspectives. “Typically there’s one lead person who has an idea or vision, then a few others doing development and design”, says Christian. Though the teams behind the three effects were small, they nonetheless fostered divergent points of view. Then we recorded a whole bunch of old delay and echo units – like the Roland Space Echo, WEM Copicat and Morley Oil Can – and asked ourselves, What gives them their character? What are the quirks and imperfections that make them interesting, and how might we go about recreating these?” Precise effects have their own charm, but Live’s new ones mean you create more sounds that just don’t sound like computer music.” Inspiration over emulationĬhristian led the research into the world of classic hardware delay units that guided Echo’s initial design.“We made a kind of playlist of songs with delay sounds we found interesting ones that would have been hard to achieve with what we had in Live.
And delays in themselves are so powerful. A lot of effects are based on them: flanger, chorus, even reverb to a degree.” Christian saw a chance to create new effects that would broaden Live’s palette: “They distort sound in a way that is usually only known in analog gear. “Our existing delay effects are quite clinical – we wanted something that could drift a little more. “We felt a slight dissatisfaction that we didn’t have any modulated delays in Live” reveals the Sound Team’s Christian Kleine. The origins of Echo, Live’s third new audio effect, were a little more predetermined. The early form of the device we saw at a Sprint was so convincing that everyone quickly got behind the idea.” “With Pedal, there wasn’t a formal decision by a project owner to develop it. “People are encouraged to explore whatever they want,” says device designer Matt Jackson, who had a hand in the production of Drum Buss, Wavetable (Live 10’s new synth), and Pedal – a device that took off from the same hack platform. Sparks and sprintsįollowing the unforeseen invention of Drum Buss, an early version of the device was soon on show at one of the development team’s regular hack sprints – a kind of internal show-and-tell used for Live experiments – where it picked up admiration from fellow engineers.
Into the echo side how to#
The team also passed on some insider’s tips on how to use the effects in your music. But surely serendipity isn’t the only force behind Live’s new creative tools? In the following article, a few members of the Live development team recount the inspiration and perspiration that went into creating three characterful new audio effects for Live.
The happy accident that helped create the Drum Buss prototype sounds much like the kind of creative spark that leads music makers to a new track. I was pretty sure it was something worth exploring.” I was just messing about with it and inverted the filter from high to low pass – it suddenly started booming in a really satisfying way.
Into the echo side code#
“I had this code for a filter that I’d been playing with for a while I really liked the way it sounded.
Into the echo side software#
“It was kind of a fluke” admits software developer, Marc Résibois, about the conception of Live 10’s new Drum Buss device.
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