Autotalent by Oli Larkin is a great real-time pitch correction auto-tune Vst plugin. The Autotalent plugin ensures that only the specified notes are hit. Also, use this auto-tune Vst plugin to make Cher-like vocal effects, or use it as a simple pitch shifting / pitch correction audio effect. Aug 20, 2017 How to Autotune your voice for a professional vocal processing sound. Vocal Production and Tuning singing can be done quickly with the auto tune plugin by UAD and Antares. This plug-in gets used. Autotune for Ableton Live. We’ve modded Cycling 74 Autotuna which is included in Max 7 Pitch and Time Machine pack. Now you can easily select which scale you want to pitch correct.

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Autotune and pitch correction has a variety of uses, from fixing subtle imperfections in a vocalist’s performance to extreme effects such as the famous sound popularized by T-Pain and utilized by Daft Punk, Black Eyed Peas, Cher, and many more.
Furthermore, you can even record organic instruments and give them a natural, flowing, and gliding sound!
As a result, there are tons of possible uses to consider with an autotune VST.
However, many of the popular autotune plugins will burn hundreds of dollars out of your wallet, and with the wealth of available autotune and pitch tuning plugins, finding the right one for your specific needs can be overwhelming.
So to help you out, we’ve compiled a list of seven completely free autotune VST’s that still have incredible functionality!
To get started, let’s briefly go over what to consider when searching for these crucial plugins.

Things To Consider When Searching for a Free Autotune VST


There are a few points to go over before deciding on which autotune and pitch-correction plugins are the right ones for you.
Most importantly, what do you need these tools for?
If you produce a genre outside of EDM that might call for more organic sounds, you’ll want an autotune plugin that’s designed for smoother and more subtle pitch-correction.
This way, you’re simply making minor corrections that likely won’t be heard by your audience and will still sound natural.
Thus, to keep the organic feel of your sound, you should search for a pitch correction plugin with a transparent audio engine that won’t color your sound too much, so that it guarantees a seamless, smooth, and untouched sound for your acoustic needs.
On the other hand, if you produce hip-hop, trap, or certain electronic genres, you’ll have to consider an autotune plugin that allows you to draw in the notes you want the singer or instrument to hit.
Additionally, you might need effects that allow you to further customize the voice, such as formant control, MIDI input, and others. That way, you can jump up and down in volume and pitch as you please!
So, there are a lot of things to consider before choosing which plugin is right for you.
Now that you have a better idea of what to look out for, let’s jump right into the 7 best and completely free autotune plugins available in 2018!

1. MAuto Pitch


MeldaProduction, a renowned audio plugin company used and promoted by Deadmau5, was kind enough to create a completely free and fully functioning autotune plugin!
This plugin give you options such as depth, detune, and speed, which are standard on most pitch correctors.
Depth controls how much effect the VST has on the entire sound. Detune will push the pitch of the sound up or down by cents for sharp fine-tuning purposes.
The speed knob will control how fast MAutoPitch will respond to out-of-tune notes. If you’re looking for a smoother sound, using a low speed value will ensure that transitions between notes aren’t jumpy and fake-sounding.
Otherwise, if you want something closer to the T-Pain effect, you’ll want to turn the speed up very high so that it skips quickly from one note to the next.
What’s great about this plugin is that, like a lot of Melda’s works, there are a wealth of bonus features that come along with it!
For example, MAutoPitch includes an effects rack. With this, you can control how heavy the effects work on the sound with the dry-wet knob, spread the stereo image with the width function, and even shift the formants.
Shifting formants will make your sound deeper and more “masculine” sounding or higher and more “feminine” sounding, but you need to be careful with this. If you alter the formant way too much you might also alter its pitch.
This is achieved trying to imitate how the human vocal tract works and even the shape of the singer’s mouth while singing, through complex filters. Formant shifting will also have a huge influence on vowel sounds and certain consonants, and if you are interested in this topic, we really recommend you reading this article. This subject is too complex and outside of the scope of this article.
A visual detector displays what notes are being detected by the plugin, and a scale function enables you to select what scale of music you’re on. This way, MAutoPitch only shifts pitch to the perfect notes according to the key your track is in!
Also included is a limiter, which helps keep your sound below the 0 db threshold so it doesn’t clip.
The wealth of features available on MAutoPitch, along with the high functionality and easy interface, makes this free VST something you’ll want in your autotuning arsenal.
Download it here.

2. GSnap


One of the original free pitch correction plugins, Graham Yeadon’s GSnap, still is among the elite.
That’s partially because of its unique ability to adjust notes according to MIDI that you can feed into it!
For example, if you want to correct a vocalist’s notes, you can play their part on a piano, feed the MIDI notes from the piano into the plugin, and GSnap will use those notes as a guide to where it will correct.
Not many other plugins can do this, and it’s an incredibly powerful and advantageous tool to use!
An easy visual interface on the left of the VST shows exactly how GSnap is fixing the sounds.
The original sound is in red, and the adjusted notes are highlighted in green. This is perfect for figuring out exactly how to fine-tune the sound and to know what’s going on. Twelve fully adjustable knobs allow for precise editing of the effect.
Furthermore, this plugin enables you to add vibrato and adjust the speed of it! This is something not seen in other plugins like MAuto Pitch, for example.
Vibrato is an up-and-down pitch and volume effect that essentially makes the singer sound a lot more organic and talented, and it works across multiple genres when used correctly.
Also included in the detection section is a gate, which is a unique way of controlling how much GSnap has an effect on the sound. It can be adjusted so that GSnap only has an effect on the loud or quiet parts, if needed.
As GSnap is well-known among experienced producers for its versatility, MIDI feed options, and easy interface, it’s easy to see why this free plugin is worth a grab!
Get it here.

3. Graillon 2


No list of autotune plugins, free or otherwise, would be complete without the recently released free version of Auburn Sounds’ Graillon 2!
From first glance, you’ll notice a beautiful vintage-looking interface with large fonts and a standout color scheme that makes it easy to navigate. An easy central waveform display shows where the current note of your sound is, as well as exactly where Graillon 2 is correcting it.
Behind the eye-catching and functional design is a well-programmed plugin that can perform both heavy autotune and fine pitch correction functions flawlessly!
For easy and quick use, simply adding it as an insert on your desired channel and turning on the correction will suffice in most cases. To adjust, use the critical “inertia” knob as a “speed” knob mentioned previously. It reduces pitch correction jumps by helping notes “stick”.
You should be careful with this function, however, as some notes may “stick” for too long, hence altering the melody altogether.
If you’re looking for a robotic sound, adjust the “smooth” knob in the correction module, which controls how slow or fast your sound will jump from one note to the other.
Yet another feature available on Graillon 2 is the “bitcrusher” area on the left side. Even more, it can make a voice “growl” as well as reinforce the bass portion of monophonic pitched sounds, a function unique to Graillon 2.
With proper adjustment of the quantize and reduction knobs, you can get sounds that are highly distorted, “bitcrushed”, or a robotic growl sound by reducing the reduction knob.
Graillon 2 can also double as a pitch-shifting plugin with a pitch wheel on the bottom left. There’s also an option to keep the formants of the track along with it, which changes the singer’s perceived vocal tract shape and the shape of the singer’s mouth while singing. If you’re looking for a smoother effect, it’s often best to change both the pitch and the formants at the same rate.
Also included are convenient knobs such as dry/wet for overall effect adjustment, a low cut filter, and an adjustable output gain meter.
As Graillon 2 is a proverbial swiss army knife in the autotune realm, capable of most features, with an included bitcrusher, growl sound capabilities, and with a beautiful interface, there aren’t many negatives to this one.
If you need flawless all-around functionality with a few bonus features thrown in, Graillon 2 is your best bet.
Get it here.

4. KeroVee


The Japan-based, g200kg company created KeroVee back in 2010, and it’s still used for deep pitch correction adjustment today.
What KeroVee lacks in extreme robotic effects, it makes up for with ultra-precise pitch adjustment capabilities that are far better than most free autotune plugins!
Similar to GSnap, there’s an easy scaled interface on the left side so you can see exactly what KeroVee is doing and respond accordingly.
Just to the right of this block, you can click which notes of the scale you want KeroVee to adjust to. Selected notes will have a green block next to them, while deselected notes will be black.
Also similar to GSnap, you can route MIDI notes to KeroVee for the plugin to use as a guide. This is a crucial function that lets you tell KeroVee exactly what notes the singer should be on, with a large set of knobs to customize further.
Unique to KeroVee is a “nuance” parameter that allows you to keep or ignore subtle pitch changes, such as natural vibrato from the singer.
Typical on most autotune plugins, you get a “TuneSpeed” knob which controls how fast the VST will fix the incoming audio.
The calib function controls the overall pitch of the sound, and on the bottom are important functions such as pitch and formant shifting, fine tuning for precision work, and panning and volume knobs.
If you’re looking for an autotune plugin that is tailor-made specifically for fine adjustment of vocals, rather than a harsh and noticeable effect, KeroVee will be a good place to start.
The free download can be found here.

5. X42 Auto-Tune


X42 Auto-Tune is a simple autotuner based on the zita-at1 by Fons Adriaensen. It’s much better if you use it as a light tonal fixer over a full-on robotic autotuner.
It works by resampling the material fed into it and then looping the signal. It does not have any formant correction capabilities.
As a result, its uses don’t come from transposing a track, but from subtle adjustments to vocals.
Even though the X42 has a specific set of sounds it can perform on, when you use it correctly, it does a goob job!
As with the GSnap and KeroVee, it can be fed MIDI from which it adjusts the vocal notes to. Otherwise, you can input a fixed set of notes from any musical key for the program to respond to.
Although it shares similarities with other plugins, there are some unique features the X42 has that others don’t.
The “Bias” parameter lets the vocals to stay on their current note for a longer period of time instead of moving quickly to one of your selected notes, regardless of if they’re in tune or not. It allows for more off-tune and natural singing sounds.
Furthermore, it includes a unique “offset” parameter which adjusts how far the vocalist can venture from the predesigned notes.
Like the bias parameter, this will let you to keep some of the vocalist’s minor mistakes for a more organic sounding performance, if need be.
What this plugin lacks in formant features, sparkly design, and variability in sound adjustment, it makes up for with unique parameters and fine MIDI control of missed notes.
Try it out here.

6. Autotalent


Don’t be fooled by the simple interface!
Autotalent by Oli Larkin is a well designed, fully functioning autotune and pitch correction VST.
You can use it for light pitch correction and full-on robotic autotune, and it even contains chiptune effects!
It includes all of your typical parameters needed in an autotune plugin. It allows smoothing, subtle pitch shifting to scaled notes, and a full formant editing function.
With Autotalent, you set notes on the piano scale to “-1” for notes you want to exclude, and “0” if you do want the singer or instrument on that note.
Autotalent, unlike any other free autotune VST, offers an extensive LFO and vibrato section. Use this section to add vibrato, skill, and confidence into a vocalist’s performance.
The LFO can also be used to add a unique chiptune effect to the vocal or instrument! Chiptune describes a sound that appears to have come from early gaming consoles.
So despite a relatively lacking interface, Autotalent offers a wealth of both robotic and smooth autotune options, as well as unique LFO section. If you’re looking for this type of versatility and want to try the plugin-specific LFO module, give Autotalent a try.
Listen to a demo of the plugin in action here.
Download it here.

7. AAS Autotune


Last, but certainly not least, we’re going to include an interface-less plugin, the AAS Autotune by Arguru.
Obviously, without any user interface, you’re only going to have one specific set of parameters working at one time!
Use AAS Autotune to get the classic and harsh “T-Pain” effect on vocals.
It’s a robotic and fast-moving sound that’s only useful in certain situations, but it works well when it’s needed, such as hip-hop songs that use purposefully autotuned vocals as an effect.
It’s ultra simple, but incredibly useful!
You can directly download it here.

Conclusion


Because of the overwhelming amount of music that includes some sort of vocal or tuned instruments, autotune and pitch correction plugins are an absolute necessity!
Hopefully we’ve been able to help you figure out what you want from this class of free plugins.
You should be thinking about whether you want the heavy, unnatural, and robotic sound, or a light and seamless touch that the listener’s won’t hear, most often used to put small touch-ups on a vocal performance.
Furthermore, we’ve gone through all of the advantages and disadvantages to the 7 free plugins we listed above as it pertains to those needs.
All of them have special features unique to the situations they’re used in, and there should be many in this list that fit your autotune needs!
Have you used any of these plugins before?
Did we miss a free autotune plugin that you love to use?
Let us know in the comment section below!

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Ableton comes equipped with 36 stock AbletonAudio Effects. Did you know that 9 of them are expandable for extra features?
In this article, you’ll learn about the 9 expandable Ableton Audio Effects, and how you can use them. For more interesting production techniques in Ableton, check out our Ableton Projects Collection. This is an Intermediate/Advanced guide, so if you are new to Ableton, this might be difficult to understand.

What exactly is an expandable Ableton audio effect?


Have you ever noticed this little triangle icon, next to the “On/Off” switch in the title bar of an Audio Effect?
Here’s what I’m talking about:
Here are the 9 expandable Ableton Audio Effect Racks, along with an in-depth guide, showing you how to use them.

Ableton Audio Effect 1: Auto Filter


Ableton’s Auto Filter can be quite powerful under the hood. I see most people just using it for regular filter automation, but there is so much more you can do with it.
Let’s start off by taking a look at Auto Filter’s expanded section.
To access the Sidechain parameters, unfold the Auto Filter window by toggling the triangle button in it’s title bar.
So you might ask, how does Auto Filter make use of a Sidechain?
Normally, the signal that is being filtered and the input signal that triggers the Auto Filters Envelope are the same signal. Having a sidechain feature makes it possible to filter a signal using the envelope/dynamics of an external signal.
Keep in mind that the Envelope section goes hand in hand with the Sidechain section.
Let’s take a closer look at the sidechain settings.
Here is a more in-depth description of all these settings and knobs.
  • Sidechain On/Off: When this is turned on, the “Sidechain” button will turn yellow to indicate that the Auto Filters sidechain input is now activated. In order for the sidechain to take affect, we need to set an audio source & tapping point.

  • Sidechain audio source & tapping point: This section lets us select where the sidechain signal is coming from. Clicking on the first box will open a list of all the tracks in your project. Let’s say you want the filter to react every time a “kick” sample is played. We can use the kick as a trigger to move the filter frequency cutoff according to the envelope of the kick sample. Simply select the kick track.

Tapping point:
Clicking on the second box will display a list of:
  • Pre FX: This will take the signal before it goes through the effects chain.

  • Post FX: This will take the signal after it has been processed by the effects chain.

  • Post Mixer: This will take the signal with after going through the channel's volume fader.

Note: If you want to use a signal from a specific drumpad on Ableton’s Drum Rack, select the drum rack as the signal source in the first box, and then you can select the specific drum pad you want from the second box (tapping point).
  • Audio source input gain: Controls the volume of the signal coming into the sidechain. Adjusting this knob does not affect to the main track signal. Adjusting this knob can however change the extent of the filter frequency cutoff movement.

  • External/Internal mix: Adjust the balance between external and internal signal used for triggering the device. Dry=Internal and Wet=External trigger.

Now on the the Envelope section!
  • Envelope amount: Controls how much the envelope affects the filter frequency.

  • Envelope attack: Controls how quickly the auto filter responds to rising input levels.

  • Envelope release: Controls how quickly the auto filter responds to falling input levels.

Here are a few examples of how you can use this in your productions:
The most common reason to use this is to sidechain the low-frequency of a sound to sweep out of the way of the kick or snare. The cool thing about using Auto Filter Sidechaining is that we can use the kick to trigger the filter to quickly high-pass. This will prevent any frequency clashing in the low-end of your synths/basses and your kick.
This is how it’s setup:
So what exactly is happening here?
The sidechain input signal comes from a Kick track. Every time the kick’s signal enters the sidechain, the filter frequency will be high-passed. This happens because the Envelope Amount is turned to it’s highest value, meaning the high-pass filter that is selected, will sweep all the way up to it’s maximum value while there is a signal coming in through the sidechain. The Attack time indicates that the filter will react immediately rising input signals. The Release is set to 16 ms which means that the filter will wait 16 ms after the incoming sidechain signal drops, to follow it’s envelope.
Here’s what that sounds like in context:
The kick track is muted but it’s signal is still being sent to the Auto Filter Sidechain. I used a basic 4x4 kick pattern to demonstrate the filter sidechaining.
Before Sidechain Filter:

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After Sidechain Filter:

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Here’s what it sounds like with a more exaggerated release time of 120 ms.

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It’s also possible to invert this effect, where the incoming signal triggers a low-pass filter to open up. This can be interesting when using percussion loops to trigger the sidechain.
Here are the settings I’m using to achieve that. The only thing I did was change the high-pass filter to a low-pass filter and increase the release time to 120 ms to let the filter frequency have some time to return back to it’s original position.
Here’s what it sounds like now with the same 4x4 kick pattern.

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As you could imagine, there are many possibilities when using the sidechain feature in Auto Filter. Try experimenting with some different filters and see what happens!

Ableton Audio Effect 2 & 3: Compressor / Glue Compressor


Sidechaining is most commonly used with Ableton’s Compressor and Glue Compressor. They both have the same sidechain features, so I’ll explain the sidechain settings for the Compressor and you’ll be able to translate it to the Glue Compressor.
Here’s what they look like when they’re expanded.
Compressor:
Glue Compressor:
Unlike the Auto Filter, Ableton compressor changes the dynamics of a signal. When utilizing the compressor's sidechain, it’s possible to change the dynamics of a sound according to the envelope of the external sidechain input.
The easiest way to visualize this is by looking at Compressor’sActivity View.
Here’s what that sounds like:

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As we can hear, whenever the kick signal enters the sidechain, the signal of the bass ducks down.
The attack, release and ratio control the following:
  • Attack: Controls how quickly the compressor responds rising sidechain signals.

  • Release: Controls how quickly the compressor responds to falling sidechain signals.

  • Ratio: Sets the ratio of compression between the input and output level.

Note: With a ratio of inf : 1, for ANY number of dB that inputs the compressor above its threshold, the output will only increase by 1dB.
Let’s take a look at the EQ section.
This section will filter the sidechain input signal. This does not affect the original source signal. Any changes made in the EQ section will not make an audible difference except for change what frequencies of the sidechain input signal are being used.
Clicking on the “EQ” button will enable the sidechain input EQ Filter. This makes it possible to EQ the incoming sidechain signal. Using kicks or snares as sidechain signals often result in longer volume ducking because due to the long low end tail of the kick or snare signal. Using an EQ to filter out the low frequencies makes it possible to have a quicker sidechain because only the high frequencies are being used (which is usually the transient) to trigger the compressor.
As we see in the picture above, I high-passed the kick signal to 353 Hz. The low-end tail of the kick is filtered out and this results in a quicker response. Keep in mind that this only because the high frequency transient of the kick is shorter/quicker than the low end tail. Using sidechain EQ doesn’t make the sidechain ducking quicker. It only filters the incoming sidechain signal.
Here’s what it sounds like now:

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As we can hear, the sidechain ducking is very short.
You can use different filters to isolate certain frequencies of your sidechain signal.
It’s also possible to replicate this by just using a very short transient as a sidechain input signal. Just mute the track that the trigger is coming from s it’s not audible in your project.

Ableton Audio Effect 4: Multiband Dynamics


Multiband Dynamics sidechain feature can be a little intimidating to understand and utilize at first. I won’t fully go into how Ableton’s Multiband Dynamics works, but we’ll scrape the surface enough for you to start using it’s sidechain feature.
Let’s take a look at the expanded sidechain feature.
Essentially, Multiband Dynamics is 3 separate compressors+expanders for 3 separate frequency bands.
It’s possible to use an external signal to either compress or expand the signal which the Multiband Dynamic Effect is applied to.
This means that we can apply sidechaining to individual frequency bands. This is useful for ducking the low-end of a bass to a when a kick drum is played, so the low frequencies don’t clash.
For simplicity, I’ll disable the low and high bands of the Multiband Dynamic plugin, which results in the middle frequency band spanning the whole frequency spectrum. Essentially now it’s just a regular compressor/expander.
With the sidechain signal still coming from the kick, let’s setup a simple downward compression triggered by the kicks signal envelope.
In this case, we only want to focus on what happens to the signal

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above the threshold.
So what exactly is going on here?
Alright, let’s break it down. Here are the settings (they are quite drastic for demonstration purposes)
Threshold = - 50dB
Ratio = 1 : inf
When the sidechain signal enters the Multiband Dynamic, it will downward compres, causing the main signal to get quieter.The Ratioof 1 : infmeans that for ANY number of dB (inf) that passes the threshold of -50db, the output increases by only1dB.
Since the signal can’t be louder than infinite dB, the output will only ever be 1 dB above -50 dB(threshold), which in result is really quiet. This is what the “volume ducking” sidechain effect is.
We can create the inverse effect which is upward expansion. This means that when the sidechain signal exceeds the threshold. The main signal will increase in volume accordingly according to the threshold.
A ratio of 1:0.50 means that for every0.5 dB over the threshold, the output will increase by 1 dB.
Here’s what that looks like:

Ableton Audio Effect 5: Gate


If you aren’t sure what a Gate does, here’s a brief excerpt out of Live’s Manual
“The Gate effect passes only signals whose level exceeds a user-specified threshold.”
So by default, the gate let’s signals through which exceed it’s set threshold, the signal that determines this is also the same signal passing through the gate. But what if we want to use an external signal to trigger when the gate opens to let the main signal through?
For that, we can use the Gate’s extended sidechain feature.
Let’s take a look:
So with the same 4x4 kick pattern I’ve been using throughout this article, we can see the consistent peaks whenever the kick signal enters the sidechain. We can see that the Kick peaks at around -12 dB and the threshold is set to around -19 dB. Since the signal of the kick exceeds the threshold, the gate will open up, allowing the main signal to pass through.
Here’s what that sounds like:

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Similar to the compressor's sidechain, we also have an EQ filter section, to filter the incoming sidechain signal.

Ableton Audio Effect 6: EQ Eight


Ableton stock plugin’s have one little downside, they are so small! The extended toggle feature in EQ Eight makes it possible to change the display location and enlarge the EQ to a more workable size. This is simple yet very effective whenever you need to see an expanded display of Ableton's EQ. To adjust the height of the extended EQ display, simply drag it’s top bar up or down.

Ableton Audio Effect 7: Saturator


Let’s take a look at Saturators expanded features:
Upon toggling Saturators expanded features, we see 6 additional settings. Drive, Curve, Depth, Lin, Damp and Period. These features are only available when using the waveshaper curve type. These settings make it possible to create a custom saturation curve.
Here’s what they do:
Drive: This determines how much the input signal will be affected by the other five waveshaper parameters. Setting Drive to 0% will negate the effect entirely.
Curve: Adds mostly third-order harmonics to the input signal.
Depth: Superimposes a sine wave onto the Waveshaper curve and sets its amplitude.
Lin: Works together with the Curve and Depth parameters to alter the linear portion of the Waveshaper curve.
Damp: Flattens signals near the grids origin. This acts like a ultra-fast noise gate.
Period: Determines the number of ripples in the sine-wave created by the Depth parameter.
Note: Experiment with these settings and see what they do/how they can change the Waveshaping curve. Saturator gives visual feedback upon adjusting the settings.
This allows for many possibilities beyond the 6 default waveshaping curves.
Here’s what a Waveshaping curve looks like with some random settings:

Ableton Audio Effect 8: Corpus


Corpus is an effect that simulates the acoustic characteristics of seven types of resonant objects.
By default, it’s resonant pitch is determined by the Transpose

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and Fine knobs. Unless modulated, these stay at a static pitch.
It’s possible to use external midi information to control the resonant pitch by utilizing the Sidechain feature in Corpus.

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The frequency and/or decay rate of the resonance can be MIDI modulated, by enabling the
Frequency and/or Off Decay switches in the Sidechain section.
The “MIDI From” choosers allow you to select the MIDI track and tapping point from which to receive MIDI note information.
With Frequency enabled, the tuning of the resonance is determined by the incoming MIDI note.
If multiple notes are held simultaneously, the Last/Low switch determines whether the last or the lowest note will have priority.
The

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Transpose and Fine knobs allow for coarse and fine offset of the MIDI-modulated tuning. PB Range sets the range in semitones of pitch bend modulation.
With Frequency disabled, the Tune control adjusts the base frequency of the resonance in Hertz.
The corresponding MIDI note number and fine tuning offset in cents is displayed below.
Enabling Off Decay causes MIDI note off messages to mute the resonance. The slider below the switch determines the extent to which MIDI note off messages mute the resonance. At 0%, note offs are ignored, and the decay time is based only on the value of the Decay parameter, which is located under the Resonance Type selector.

Ableton Audio Effect 9: Spectrum


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Last but not least, Ableton’s spectrum can change it’s display location, similar to EQ Eight’s extended feature. This is very useful for taking a closer look at the frequency spectrum.
Simply click the triangle toggle in Spectrums title bar.
[x_line]

Conclusion


Ableton is a massive program with many features. I hope this article gave you some more insight on Ableton Audio Effect extensions. Some of these might be hard to understand at first but anything becomes easy with enough practice. The best thing you can do to get better is to experiment with all the settings and continue to study things you are unsure of! Thank you for reading this article!

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Keep your eyes peeled for part 2 of this series, coming soon.
Do you have any tips on Ableton audio effects you want to share? Comment Below and let us know!
If you liked this blog post then it’s safe to say you’re an Ableton user. Get some free Ableton project files here.
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