by Craig Anderton
About four years ago, I did a tip on multiband gating. Although it was a cool effect, it was guitar-centric, cumbersome to edit, and time-consuming to put together. But that was before Track Presets—this improved version requires only a single Track Preset, and works well with synths, guitars, and other instruments. Furthermore, a Macro Controls panel provides flexible, versatile editing. (There’s a download link at the end, along with an audio example.)
The overall design is somewhat like a vocoder. It uses a Modulator to generate control signals, and these process a Carrier. The mixer channel layout in fig. 1 may look daunting, but loading the Track Preset does almost all the work for you.
Setup
1. Load the Groove Hacking Track Preset.
2. Open the Mix view. When you load the Track Preset, the Output assignments for the Modulator’s Lo, Mid, and Hi FX Channels default to Main.
3. Assign these outputs (circled in orange in fig. 1) to the sidechains in the Carrier’s Gates:
Figure 1: The blue channels are the Carrier, the violet channels are the Modulator. The Modulator bus outputs with the orange outline have been assigned to Gate sidechains in the Carrier.
4. Choose audio for the Audio In and Modulator tracks, and you’re ready to do some groove hacking. To get a feel for how this works, try a synth pad or power chord for the Carrier, and a drum loop for the Modulator.
5. The Macro Controls panel’s default settings will likely not work well with the Audio In and Modulator tracks you’re using, because the Groove Hacking effect is sensitive to levels. So, once you have the setup in place, use the Macro Controls panel to optimize the effect.
How to Use the Carrier Bus Macro Controls
Fig. 2 shows the Macro Controls for the Carrier’s FX Chain.
Figure 2: Controls that relate to a specific Gate have the same color. The yellow macro controls, and the LookAhead and Send Note Trig buttons, are global.
The following are per-band Gate controls:
The following are global controls:
Under the Hood: How It Works
The Carrier Section (blue channels in fig. 1) has an Audio Input channel and a bus. The Audio Input’s pre-fader Send feeds audio to the Carrier bus. The bus splits the audio into three bands, followed by gates. Triggering the gates from control signals generated by the Modulator Section (violet channels in fig. 1) processes the Carrier audio.
The Modulator Section derives the control signals:
The Carrier Section processes the audio it receives from the Audio In track’s pre-fader Send with the Carrier’s Extended FX Chain. Fig. 3 shows the FX Chain’s Routing Window. The splits are frequency-based, with split points at 250 Hz and 1.50 kHz. Each band goes to a series connection of a Gate, Dual Pan, and Mixtool.
Figure 3: Incoming Carrier audio feeds a frequency-based Splitter, which splits into three bands. Each of the three bands goes to a dedicated Gate, Dual Pan, and Mixtool.
Optimizing the Frequency Splits
You may need to optimize the Carrier’s Splitter frequencies, as well as the Modulator’s EQ frequencies, for the audio you want to process. In most cases, the Carrier’s Splitter bands and Modular EQ bands should be the same, and the Modulator’s frequency bands shouldn’t overlap. To do this:
The stages mentioned above are the only ones used in the Pro EQ3 processors. For the best separation between the bands, choose a 24 dB/octave slope. However, there are no rules! The bands can overlap, have different slopes, use a peak response for some bands, or whatever sounds best.
How to GetTips for Getting the Most Out of This Tip
In the audio example, the Modulator is a drum loop from the MVP Loops – Afro Pop loop library. The Carrier is a Mai Tai preset. In the second half, a bit of the dry modulator sound fades in.
Download the Groove Hacking Track Preset here!