Build a com­plex chan­nel strip with ded­i­cated con­trols

Let’s look at some of the ba­sics of Live’s Au­dio Ef­fect Rack for cre­ative pro­cess­ing

Future Music - - PRODUCER’S GUIDE TO -

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Here’s a track fea­tur­ing a wide­band patch from iZo­tope’s Iris 2 synth. We could just start stack­ing ef­fects on here, but in­stead we’re go­ing to drop Able­ton Live’s Au­dio Ef­fect Rack de­vice, which we’ll use as a shell to host mul­ti­ple plug­ins.

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We can load a cou­ple of ef­fects in­side the rack to save and re­call for later use. EQ and com­pres­sion, for ex­am­ple. The rack will save the set­tings of the loaded ef­fects as well. Nice and use­ful, but it’s noth­ing to write home about.

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Open up the rack’s Chain Se­lec­tor (three hor­i­zon­tal lines icon), and we see the cur­rent ‘chain’ setup. Right-click and Duplicate the chain, and we end up with two par­al­lel copies of our com­pres­sor and EQ. Let’s de­ac­ti­vate one com­pres­sor, push the set­tings on the other, and then make use of the chains’ Gain con­trols to blend in some par­al­lel com­pres­sion.

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Go­ing fur­ther, we can cre­ate yet an­other chain by right-click­ing in the blank area. Turn all the chains down to com­pen­sate for the added loud­ness. This third chain can act as what­ever we want it to. We’ll dial in some pitchshift­ing with Sound­toys’ Mi­croShift and treat that with Oek­sound’s Spiff tran­sient shaper.

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Time to use the rack’s best fea­ture: Macros. Open the Macro edi­tor with the top-left ‘knob icon’. Now right-click any pa­ram­e­ter on any rack de­vice to map it to a macro. We’ll map both EQs’ Band 3 Gain con­trols to one macro, and Mi­croshift’s Mix and De­lay too (ac­cessed by ex­pand­ing the plugin de­vice in the dock).

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Each of th­ese con­trols is now com­manded by our one macro. Turn the macro and all the con­trols turn with it… but it’s a bit ex­treme. Click Map to ac­cess the map­ping edi­tor, where we can set where each con­trol will lie when the Macro is at its min­i­mum and its max­i­mum ex­tent.

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