F-6 - Protosurge Ableton File (Uplift/Tech Trance) Bryan Kearney Style

Details Comments (13)

The following is an original project file for Protosurge. It is meant for learning purposes only. Melodies and beats featured are copyrighted property.

 

SPECIFICATIONS

Software: Ableton Live 9.6.1

Duration: 06:15 (full track)

Used 3rd party software:

  • Native Instruments Massive
  • LennarDigital Sylenth1
  • XFer Records Serum
  • FabFilter Pro-Q
  • FabFilter Pro-Q 2
  • FabFilter Pro-C
  • FabFilter Timeless 2
  • FabFilter Simplon
  • FabFilter Pro-L
  • Native Instruments Transient Master
  • Native Instruments Supercharger GT
  • SoundToys PhaseMistress
  • Izotope Ozone 7 Advanced
  • Waves RBass / Renaissance Bass
  • Eiosis AirEQ
  • Sausage Fattener
  • LXP Native Reverb Plug-in Bundle
  • ArtsAcoustic Reverb
  • Slate Digital Everything Bundle


Slate Digital Everything Bundle (it's $15, arguably the best deal in digital production software - http://slatedigital.com/everything-bundle/)

This, along with FabFitler EQs is arguably the most important part. So much tone and character was added using these plugins that this sound would simply not be possible using any other (except maybe UAD) or native Ableton plugins (not even nearly). 

There's a Virtual Mix Rack on almost every track, those that were processed externally for quality that I couldn't achieve in the box. It's mainly used for Channel Emulation, in this project's case the SSL4000 E Console. Tape was not used per-channel in this project, but I would highly advise it

There are a lot of other tidbits about using Slate Digital plugins to simulate an analog environment, and you can find out the best chain for you, and get other answers here: https://www.gearslutz.com/board/music-computers/943456-unofficial-slate-digital-frequently-asked-questions.html

If not, feel free to ask me.

There was a lot of Kontakt usage in the Effects region, as well for some interesting textures in buildups and the main drop - huge mumbo jumbo of sounds that was then processed through an external compressor in order to sound glued and solid.

Some of the samples are from Kontakt libraries that cannot be obtained through alternative methods and are upwards of $400 each, so I didn't find much logic in leaving the Kontakt in the project as not everyone has these (like pads from Gravity, etc.) I froze the source Kontakt audio and left the processing with effects in the project, so that you can see how that particular one was processed. 

I should warn you that upon launch, the project is incredibly CPU-demanding, especially on the Drop. This is mainly due to iZotope Ozone 7 Maximizer running in IRC IV Transient mode on several tracks that are listed below. 

I would also suggest to setting your audio interface to maximum available samples in order to reduce CPU load.

During work I would set it to IRC I, and when the track was finished, I would set it back to IRC IV, because IRC IV in Transient mode offers UNPARALLELED maximization and transient preservation, and I know of no other software capable of such tremendous preservation of audio while squeezing out as much juice as it possibly can. Some sounds would be crushed if anything else was used. Tracks it's used on:
 

  • 31 Main Acids
  • 33 Second Part Loop
  • 34 Climax Wide
  • Master


Even a single instance of Maximizer using the IRC IV Transient setting induces a 16000 sample delay, so make sure to switch it to IRC I before pressing play, unless you have the power to play it live. This was done on an Intel i5 4690.

I would highly suggest switching back to IRC IV before rendering.

 

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Ableton Template

by jamesoleander

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You can use this Item: to create your own music track, for sound effects only, to reproduce in public, to use in your sets ... Details
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Rating


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Length

06:15

OS Compatibility

Windows Mac OS

Used Plug-ins

Sylenth1
Massive
FabFilter Pro-Q
FabFilter Pro-C
ArtsAcoustic Reverb
FabFilter Simplon
FabFilter Timeless
FabFilter Pro-L
FabFilter Pro-Q 2


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