Nice Video showing Kirk Degiorgio in the Studio

[Lost to the Void]

I think you`re all deluded, clearly it is MED by Teijo Kinnunen that has the best sound, not octaMED, no sir, but MED v1.0.......

But seriously....


Whenever pweebs go on about the ableton audio engine, I just point them to the diary of the Monolake Ghosts Album.

Henke (who also happens to be professor of sound design at the Berlin University of the Arts), mixed Ghosts entirely in ableton and then took his album on his laptop to Idee und Klang mastering in Basel, where they tweaked the mix (within ableton) on the beautiful Strauss custom monitors there, and mastered pretty much from there. Strangely enough neither Daniel (the very good mastering engineer at I&K), nor Mr Henke, noticed any problems with sound quality on those brutally transparent monitors.
If you take a listen to the Ghosts album, whether or not you like the music, it is pretty damn hard to find any faults in the audio, that album is amazing, in pure audio terms. Stick it on anything and it sounds great.
Essentially if you are having problems getting quality audio from ableton, it is not the software that is the weak link, it is you....

So, ignore the bullshit, find a DAW that suits your workflow, and get on with making music.

[Mono-xID]

I think you`re all deluded, clearly it is MED by Teijo Kinnunen that has the best sound, not octaMED, no sir, but MED v1.0.......

But seriously....


Whenever pweebs go on about the ableton audio engine, I just point them to the diary of the Monolake Ghosts Album.

Henke (who also happens to be professor of sound design at the Berlin University of the Arts), mixed Ghosts entirely in ableton and then took his album on his laptop to Idee und Klang mastering in Basel, where they tweaked the mix (within ableton) on the beautiful Strauss custom monitors there, and mastered pretty much from there. Strangely enough neither Daniel (the very good mastering engineer at I&K), nor Mr Henke, noticed any problems with sound quality on those brutally transparent monitors.
If you take a listen to the Ghosts album, whether or not you like the music, it is pretty damn hard to find any faults in the audio, that album is amazing, in pure audio terms. Stick it on anything and it sounds great.
Essentially if you are having problems getting quality audio from ableton, it is not the software that is the weak link, it is you....

So, ignore the bullshit, find a DAW that suits your workflow, and get on with making music.

Case closed !!!

[boris_miniutti]

So, ignore the bullshit, find a DAW that suits your workflow, and get on with making music.

Word

[Mattias]

Aye, for me it's amazing people still discuss sound qualities in DAW year 2014.

[Críoch]

In 10 years time there will be a shit minimal resurgence. People will be going mad for the shit sound of Ableton 6 & 7. Someone will design a plugin that faithfully recreates this sound. Can't wait to buy it.

[Mono-xID]

In 10 years time there will be a shit minimal resurgence. People will be going mad for the shit sound of Ableton 6 & 7. Someone will design a plugin that faithfully recreates this sound. Can't wait to buy it.

Brilliant !!!!

[rein]

well... if you read what i said, you see the things i mentioned are creating the illusions that somethings wrong with the audio engine in live. however, if you're unaware of some errors (which are really there in live 8), you might wonder why some things sound off.

to put things in perspective, i m a live user as well. some tracks are 100% outboard gear / analog mixed, some tracks are 100% inside ableton... most are somewhere in between. i just use what i feel like.

o well did i just reply again hehe

[Críoch]

Just jokes Reinier. No serious stuff man

[Lost to the Void]

My bum has the best audio quality

[Críoch]

Back DAW?

[ashley BORG]

Back rack crack

[Planar]

Back DAW?

Nearly spat out my shreddies.

[skim]

I really like what Henke said about this himself:

The biggest problem these days is not the quality of the tools anymore, it is the way people expect them to work. And this is certainly also a result of marketing. For quality one needs training and experience. As numerous people pointed out before, if something lacks 'clarity', the first thing I would check is the mix, not in a technical sense but from an artistic point of view. Maybe it is a wrong idea to have a compressor and five EQis in each track and a mastering plugin in the master channel whilst composing. The first thing a lot of pro's do when getting a mix from other people: bypass, bypass, bypass,... and then see what's there. And suddenly there is definition, there is air, there is music. No software can help you here. In the old days of hardware, people thought twice before putting the one single compressor they had into a signal chain, and they learned how to operate it. I bet you can ask any 1980s producer about what a compressor does and you'll get a precise and experienced answer. Ask a random producer who uses 20 instance of 10 different brands in his or her Live set about what exactly the definition of threshold or ratio is... These are the sound issues in 2012 if you ask me. After all, we are talking about the final product called mp3 or overdriven club PA at 3:00 am or iPhone headphones. Or what difference does UV22 versus truncate at 12 bit make for a (instert name) US dubpstep producer who sells millions? Nothing at all. The people listen to it via Youtube and the dynamic range is probably 6dB if that. And I am not judging the artistic value here, just put it into relation with the sound quality discussion. I personally do concerts as Robert Henke where i have a dynamic range of say 60dB or more. So, MIDI fader resolution becomes a real issue and i found workarounds using a dedicated master volume fader plus channel faders plus faders at other gain stages to achieve such high dynamic in a live situation. But still, this would work perfectly fine with 16 bit, CD resolution. Any DAW is far superior here. It is not the problem!