_able master makes mixing and mastering in Ableton exquisitely easy. With 16 easy to dial in controls and 32 presets to start, go from super subtle like a pro, or super smashed like a bro.
 
Check out this tutorial and demo of _able master in action!
https://youtu.be/kxHeLsR7jlc
 
We’ve been developing the idea of more audio engineering-focused releases using stock Ableton plug-ins for a while now. We thought we would start with the hardest thing first: Mastering. We would have liked to make an Ableton Intro compatible device, but we found it wasn’t possible for us to deem it “mastering” worthy with its limited set of included audio effects.
 
We wanted to create a mastering device for Ableton that is:
 
Gentle, subtle, high-fidelity, and appropriate for mastering tasks.
Flexible enough for mixing tasks, or even single stereo tracks.
Easy to use and understand.
Quick to dial in when needed.
Hard to make sound bad.
Suited to all genres of music.
 
The Controls
 
input trim
Adjusts the input level into able master. 
The default is 0dB.
If you're not sure about level, we suggest using around -3dB peaks as a starting point.
If you let less signal into able master, its effects will be much more subtle.
If you push a lot more signal into able master, its effects will be more obvious.
Try turning down the level more than you think you should in order to get really polished and smooth effects, and then make up the lost level with the limiter control.
Try turning up the level more than you think you should in order to get really extreme  effects.
 
center focus
Bring the center image of your track, bus, or mix into focus. 
This easily reinforces the center of your mix dynamically, harmonically and spatially.
 
sides
Increase the weight of the sides of your mix. 
This applies various processes and reinforces the sound around the center of your mix, making the mix feel wider and bigger/louder. 
This process minimizes any potential out of phase byproducts that stereo widening may otherwise introduce.
 
tonal tilt
A powerful tone tilt EQ.
Center (64) is FLAT! 
Turn it left to darken the mix.
Turn it left to brighten the mix.
Use the tonal center control to adjust the center of this tilt.
 
tonal center
Adjust the center of the tonal tilt control. 
This has no effect with the tonal tilt control set to 64 (center).
Center is default.
Turn right to raise the tilt center frequency.
Use the tonal tilt control to adjust the tilt amount.
 
low define
Add more subtle control and definition to your sub-bass and low frequencies. 
Helps to define the lowest frequencies of your mix more.
 
fat
General fatness for the lows and low-mids in your mix.
It will add a little too much fatness when turned up all the way.
Not as subtle, and also different, when compared to the low define control.
 
mid refine
Focuses and enhances the midrange frequencies in your mix. 
Very useful in adding definition and extra energy in your upper mids.
 
clean
Removes the mud, generally speaking. 
It's a little fancier than a generic low mid cut. 
It also works spatially on the low mids to reduce clutter.
Values of more than 15-20 will also begin to noticeably widen the image near the low-mids. You can use the center focus control to counterbalance this effect if you wish.
Small amounts work best in most cases.
 
shine
Adds a crushed parallel version of your top end to the mix. 
Very little can go a long way!
Mixes that are bright enough may not benefit from this, but dull mixes may blossom. 
Can also be used like a high frequency saturator.
 
texture
Adds a relatively subtle, and sometimes VERY subtle texture to the mix. 
This adds the sense of more detail to the mix overall.
It is frequency dependent, so it reacts differently to different material.
 
cream
A “high-fidelity” saturator.. 
Subtle enough for most masters. 
It's been set up to minimize over-saturation, and won’t make the mix too heavy or muddy.
 
comp glue
Adds useful upwards bus compression to anything.
Going to 100% will most likely be a little too much. 
Most values below 90% should work well for most material without completely destroying the sound.
Use the comp feel control to expand or reduce the loudest parts more.
The compression settings are set up so that it is more of a wide program dependent control on the energy of the mix, as opposed to crushing the dynamics.
The clipper control is meant to take care of your peak transient duties, so use that for more aggressive dynamics control. 
 
comp feel
Used with the comp glue control. 
It uses ratios to adjust the feel of the compression.
Generally this control is best most of the time at center (1:1)
Turn left to crush/squash/flatten more. Use a small amount for very subtle changes.
Turn right to tighten, pump, or jump a bit more. Use a small amount for very subtle changes.
It's probably easier to hear this effect once you have clipped and limited your mix. 
Try adjusting this control last.
 
clipper
A peak clipper that doesn't add overall level gain. 
A value between 1-10 will control any useless peaks in your mix.
If you hear distortions with bass heavy material, decrease or set this control to minimum/off.
The clipper is meant to help the limiter and let it limit the more important stuff.
Increase for more of a classic clipped feel on harder beats.
Go all the way to 127 to start waveshaping and crushing.
 
limit
A brickwall limiter. It's last inside the device. It will stop your mix from going over 0dBFS.
Adjust to push more mix into the limiter and increase overall loudness.
Set your limiting last, and try to control the mix as much as possible with the other controls first.
The output is set to -1dBFS and the limiter mode is set to True Peak.
This limiter’s settings should avoid 99.9% of clipping that may happen when your masters are converted to lossy streaming formats
 
With great power comes great responsibility.
 
• Minimum requirements: Ableton 12.1+ Suite & the free Ableton “Creative Extensions” Pack.
• 1 Ableton Effects Rack Device (1 ADG files)
• 16 device macro controls.
• 32 Macro Variation Presets
• Designed in Vancouver, Canada by Subsocial Studios.