Free EQ for Ableton Live: a dynamic EQ to sit next to EQ Eight

What Live already gives you

EQ Eight has up to eight filters per channel, Stereo, L/R and M/S modes, an Analyze view, Adaptive Q (the Q tightens as you boost or cut harder) and optional oversampling in its context menu. Channel EQ is the quick three-band version with an 80 Hz high-pass, and EQ Three is the DJ-style three-band with crossovers and gains that go all the way down.

All three are static: a cut stays a cut whether the problem is sounding or not. Live handles level-dependent jobs in its dynamics devices instead, such as a Compressor with sidechain EQ or Multiband Dynamics. That works, but it splits one idea ("cut 6 kHz, but only when it's harsh") across several devices. A dynamic EQ keeps the threshold on the band itself.

• EQ Eight: static shaping, M/S cleanup, audition a band.
• Channel EQ: fast tone on a channel that just needs a nudge.
• A dynamic EQ: sibilance, a note that booms, a bass that fights the kick.

Install AURORA in Live 12

Live 12 renamed Preferences to Settings: Live → Settings on a Mac, Options → Settings on Windows. Plug-in options are in the Plug-Ins tab. Live hosts VST2, VST3 and, on macOS only, Audio Units. It doesn't load CLAP, so it ignores AURORA's CLAP file.

• macOS: copy 13x Aurora.vst3 to ~/Library/Audio/Plug-Ins/VST3 and 13x Aurora.component to ~/Library/Audio/Plug-Ins/Components. Windows: run Install Aurora.cmd, which puts the VST3 in C:\Program Files\Common Files\VST3.
• In Settings → Plug-Ins, turn on Use VST3 Plug-In System Folders. On a Mac, also turn on Use Audio Units if you want the AU version.
• Click Rescan. AURORA appears in the browser under Plug-Ins.
• You don't need a custom folder for AURORA. If you use one for other plug-ins, don't point it at the system VST3 folder.

Recipe 1: de-ess a vocal in one device

Put AURORA after EQ Eight on the vocal track. In Smart Ops, choose De-ess and play the loudest, most sibilant section for at least two seconds. The suggested band appears dashed on the curve, marked as a preview, before it touches the sound. Apply it and you get a real dynamic band you can edit: nudge the threshold until only the 's' sounds trigger it, and narrow the range if the voice starts to lisp.

Two checks before you move on. Switch on Delta to hear only what AURORA removes: you should hear hiss and 's' sounds, not words. Then use the band's Listen to solo its region. If you change your mind, Revert takes back only what Smart Ops wrote, not your own edits. The full technique is in how to de-ess a vocal.

Recipe 2: duck the bass only where the kick lives

A sidechained Compressor pulls the whole bass down on every kick. Sometimes you want that pump; often you only want the low end to make room. In Live, plug-ins that accept a sidechain show their sidechain controls on the left side of the device, and the chooser can pick any of Live's internal routing points as the source.

• Put AURORA on the bass track and open the sidechain controls on the left of the plug-in device.
• Pick the kick track as the source. Its signal now drives AURORA's detector instead of the bass itself.
• In AURORA, place a bell where the kick's weight sits, make the band dynamic and set its detector to sidechain.
• Pull the threshold down until the band dips on each kick, and keep the range to a few dB. The rest of the bass stays untouched.
• Our sidechain guide for Live covers the Compressor route, and how to fix frequency masking explains why the band-only version sounds cleaner.

Recipe 3: linear phase and M/S on the master

Live's Device Delay Compensation is on by default (Options → Delay Compensation) and covers plug-ins on return tracks too. AURORA's Linear phase mode reports its latency, so Live keeps the master in time with everything else. Linear phase still adds delay, so for recording or playing an instrument through the set, switch AURORA to Zero latency or to Natural, which is analog-matched and adds no latency either.

For a quick master cleanup, set AURORA to Mid-Side and put a low cut on the Side only. Low end below it stays in the middle, and the mono kick and bass aren't touched. The analyzer splits into mid and side, so you can see what you're removing. Auto gain keeps the A/B fair at equal loudness.

Also mixing in another DAW? The same plug-in and settings carry over to Bitwig Studio, REAPER and FL Studio.