External Effects in Ableton Live Made Easy!
Using Effects Pedals as Plugins in Live
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Why should I integrate external effects into Ableton Live? There are tons of plugins out there, and the devices that come with the DAW and Max for Live are just as good and sufficient! That’s a valid question and a valid point. But from my own experience, I can say that external devices, in addition to the feel, mean more creative use of the effects that are connected to your system. And that’s exactly what I want to show you in this GEARNEWS workshop, along with my workflow.
External Effects and Ableton Live – Our Tips
Workshop: Integrating External Effects Into Ableton Live
Since the beginning of the computer era in the music industry, there have been battles between the digital and analogue camps in various forums and communities. Nowadays, the ‘analogue fanatics’ have to admit that the digital world has caught up a lot in the field of audio and often offers advantages over both old and new hardware. Nevertheless, I always find it interesting and more creative to benefit from both sides. That’s why I like to use old analogue (and digital) synthesizers, sequencers, drum machines and especially external outboard effects in hardware form, in addition to my favourite plugins.
For me, a big advantage of using external effects is the minimalism that comes with using a hardware device. Compared to a plugin, there is usually no way to access countless presets and you only have to deal with that one device. The flood of plugins, on the other hand, tempts you to go patch-hunting. And it’s this that often inhibits workflow and creativity. When you play with the controls of a piece of hardware, it is usually through trial and error that you come up with interesting sounds or effects. And that’s what makes our songs/tracks unique – isn’t it? So my tip is: try external effects!
Effects are Important – Not Just for Electronic Music
A wide range of effects are important for professional music production. Without reverb and reverberation, the sound is too dry, there is no depth and distribution in the listener’s space. Without delay, many sounds sound static and monotonous, and mono sounds remain mono. Without distortion and/or overdrive, some audio and instrument tracks remain dull and too much in the background. In addition to plugins, there are external hardware effects that can be easily integrated into your studio. Either as a ‘plugin’ or as a ‘device’ in your DAW.
Of course, the choice is as vast as the number of plugin effects. I like to use guitar effect pedals, also known as stompboxes, because they are usually placed on the floor and operated by foot. The advantage here is certainly the price (although there are also expensive and therefore high-quality candidates in this area), but also the size, which plays an important role in many studios.
One ‘disadvantage’ that I must mention as a very important point is that you need a mono or stereo input AND output on your audio interface for each external effects unit, and your audio interface should have fairly good converters. And of course that’s a bit more expensive.
This is because the audio signal is routed from the DAW through the converter to the hardware, and from there through a converter back to the DAW. To hear the effect, it goes through another converter in the audio interface and into your monitors or headphones. That’s three conversions. If another effect unit is daisy-chained in Ableton Live, another two conversions are added (and so on…).
External Effects as Live Plugins
Integrating external effects into Live is as simple as grabbing an ‘External Audio Device’ and placing it on a track. The external effects device (or stomp box) you want to use should of course be connected to your audio interface in mono or stereo at both the input and output. Now all you need to do is select the correct inputs/outputs in the External Audio Device and you’re ready to go. To test your external effects, you can add a sample loop to the audio track, or have an instrument play a melody on an instrument track. You should now hear the external effect and all controller movements live on the track’s output.
If the stomp box is MIDI-equipped, or even has a USB port for incoming controller messages, you can even control the effect remotely via automation in your DAW. This way, your effect settings can be saved as ‘presets’ in the song (total recall). But the main draw (for me, at least) is the ability to tweak various parameters and functions of the effect at any time, and to record experimental and unexpected progressions live as an audio file. You also benefit from the unique sonic character of the hardware, which in my opinion is rarely achieved by software. Tip: For some external effects, devices for controlling the hardware are available at maxforlive.com. You should definitely look for these. It’s worth it!
Of course, you can also connect a MIDI controller with knobs to a plugin and record automations live into your DAW. You can also create special movements that would never be possible with a mouse. But the latencies that occur in computer systems when using controllers usually make ‘real’ hardware feel much more real and direct. Do you use a different DAW? It will definitely have external audio devices to integrate external effects. Check the manual or do an internet search.
Caution: Latency!
When an audio signal is sent through a converter, i.e. back and forth, there will always be some latency, sometimes even audible latency, which the system (PDC) usually cannot fully compensate for – because it is analogue. You should test this in advance to see if it bothers you or not. You won’t notice this with reverbs, distortions, phasers, choruses and similar sound-altering effects. But with delays and other effects that need to be in the groove and on point, you should plan for it.
My Favourite Creative Hardware Effects as an Electronic Music Producer
This list of creative external effects is definitely subjective, because every musician needs a different sound for their individually created songs/tracks. Or rather, every musician wants to create the sound that suits them and their music. Of course, I could go on and on with this list of stomp boxes and outboard gear, but I thought I’d give you a taste of my favourites.
Reverb:
- Chase Bliss CXM 1978 Automatone – a very nice and legendary Lexicon reverb sound as an external effects unit and interesting motorised control options.
- Empress Reverb – many different reverb algorithms and unique reverb tails.
- Strymon BigSky – already a stomp box legend for its sound and capabilities (also available as a great-sounding plugin).
- otomachines BAM – impresses with minimal but very effective options and of course the sound. (order here)
- Universal Audio Golden – this stompbox brings spring reverb and more to your studios in a small package.
Delay:
- Meris LVX – a modular, programmable multi-delay effect unit with an infinite number of delay variations.
- Erica Synths Zen Delay – fat analogue sound with a real tube.
- Echo Fix EF-X2 – a reproduction of the legendary Roland Space Echo Tape Delay and an insider’s tip despite its price.
- otomachines BIM – a nice delay for live performers and studio jammers. (order here)
Overdrive/Distortion:
- Elektron Analog Heat +FX – without an overbridge and connected in analog, it’s an absolute insider tip for mixing and mastering – but also for special FX!
- otomachines BOUM – live performers swear by the sound of this box as the “last effect in the chain”, quick and effective adjustment – phat sound. (order here)
- T-Rex Diva – I use this little pedal to fatten up signals from various mono synths (TB-303, 0-Coast, Lyra-8, SH-01a).
- When I want more drive and distortion (for my TD-3, for a fat acid sound, etc.) I use these stomp boxes:
Other External & Multi Effects:
- Endorphin.es Ghost – a multi-effects module that fits into a Eurorack case, but is a lot of fun.
- Mutable Instruments Clouds – a legendary Eurorack digital effect that can add great atmospheres to any audio track.
- Boss Super Chorus CH-1 – this pedal adds width to mono and stereo signals – very cool for my Fender Rhodes piano.
- Strymon Deco – if you like tape sound, you should try this effect.
External Mixing and Mastering Effects:
- API 2500+ – a compressor that is difficult to emulate in software.
- Mäag EQ4M – I like to use this external equalizer in mid/side mode to boost the sides with the legendary AirBand (to get more stereo width).
- SSL Bus+ – mixing, mastering, and sound design: all in one!
Here is an example of how I use external effects for my signature sound in my studio project “Guardner – Ambient Diaries”.
*Note: This article about the “External Effects in Ableton Live Made Easy!” workshop contains advertisements & affiliate links that help us pay for this site. Don’t worry: the price for you will always be the same! If you buy something through one of these links, we will receive a small commission. Thank you for your support!
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