To add a bit of unexpected excitement and interest to your tracks, messing with the automation on unusual parameters is a useful creative tool. Here, we explore a few options you could try in your own mixes.
Step 1: We start with a track featuring five parts – it features some digital percussion sounds, a separate hi-hat part, a low and resonant moody loop, a repeating bar-long sequence from Signal and a bassline which joins halfway through. A few effects are set up, but nothing’s automated just yet.
Step 2: We start by choosing to automate the decay time to the digital hi-hat part. This is most easily done by control-clicking this parameter and choosing a MIDI controller assignment. Next it’s time for you to draw the automation line you want, which causes variations in the length of each hat.
Step 3: The loop contains a resonant low frequency. This is fine until the bass enters and that’s when a conflict here leaves the mix feeling bloated. We add a high-pass filter to the loop part, with cutoff set at 110Hz. We only ‘jump’ to this automation point when the bass enters.
Step 4: There’s a tape saturation effect set up on the main bassline. We choose to automate the mix depth for this next, which provides more rasp when the mix depth is high. This is a nice alternative to more common filter variation techniques often heard on sounds like this.
Step 5: A tremolo effect is providing auto-panning on the Signal part. At the start, a modest depth level keeps the sound gently moving from mid-left to mid-right. When the bass arrives to dominate the middle ground, we increase depth to make the auto-panning wider. There’s real presence as a result.
Step 6: Lastly, we automate the depth parameter on the SoundToys’ Tremolator plugin assigned to the same sound. This produces a chopped, gated 16ths effect and by increasing the depth amount, the effect becomes more pronounced. This kind of small detail adds interest within the mix.