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Chase & Status Ableton Live 12 subweight roller blueprint with DJ-friendly structure (Beginner · Mastering · tutorial)

An AI-generated beginner Ableton lesson focused on Chase & Status Ableton Live 12 subweight roller blueprint with DJ-friendly structure in the Mastering area of drum and bass production.

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1. Lesson Overview

This beginner mastering lesson walks you through a practical, Ableton Live 12 stock-device workflow to make a club-ready Drum & Bass master: the "Chase & Status Ableton Live 12 subweight roller blueprint with DJ-friendly structure". You will build a master-chain Audio Effect Rack that preserves punch and dynamics while adding a subtle, tempo-synced “roller” to the sub band so the low end breathes and moves like the sub patterns heard on Chase & Status releases — and you’ll prepare the file so DJs can mix it easily (mono-safe lows, stable level, clean intro/outro behavior).

2. What You Will Build

A Master Audio Effect Rack on the Master channel with two main chains:

- Main Master Chain: corrective EQ, multiband glue, gentle saturation, limiting and loudness control.

- Sub-Roller Chain: low-frequency isolated chain with a tempo-synced filter/LFO-style movement (roller) blended back into the main mix via a Rack Macro.

A finalized mastering checklist tuned for DJ-friendly distribution: mono low-end settings, LUFS/TP targets, recommended fades and intro/outro considerations.

All devices used are Ableton Live 12 stock devices: Audio Effect Rack, EQ Eight, Multiband Dynamics, Glue Compressor, Saturator, Auto Filter, Compressor, Utility, Limiter, Spectrum/Meter (Loudness meter if available).

3. Step-by-Step Walkthrough

Note: Keep your project tempo set to the final track tempo (typically 170–175 BPM for DnB). Save a copy of your mix before you start mastering.

A. Prepare and audition

1. Create a fresh audio track and drag your final stereo mix into the project or set your master track to play the mix.

2. Insert Spectrum (or Meter) before the chain to observe frequency content while you work. Insert Ableton’s Loudness device (if present) or keep an eye on Meter for peaks; target integrated LUFS later.

B. Build the Master Rack

1. Create an Audio Effect Rack on the Master channel (Right-click → Create Audio Effect Rack).

2. Rename the first chain “Main Master.” This will hold the full-spectrum mastering processing.

3. Create a second chain and name it “Sub Roller.” This will contain the isolated sub processing and the rhythmic roller.

C. Main Master chain (chain order top-to-bottom inside the chain)

1. EQ Eight (corrective)

- High-pass at 18–25 Hz (24–48 dB/oct) to remove inaudible rumble.

- Slight gentle shelving/peak cuts: if troublesome build-ups at 200–400 Hz, apply small cuts (-1 to -3 dB).

2. Multiband Dynamics (glue low)

- Set band split so Band 1 covers approx. 20–120 Hz (adjust to taste), Band 2: 120–2.5 kHz, Band 3: above.

- Light compression on Band 1: Ratio 1.5–2:1, Attack ~10–30 ms, Release auto/fast, Threshold so gain reduction 1–3 dB on energetic parts — this stabilizes sub energy without squashing it.

3. Glue Compressor (mix glue)

- Slow attack ~10–30 ms, release auto, ratio 2:1, threshold for 1–2 dB gain reduction. This glues the overall mix.

4. Saturator (warmth)

- Soft Clip or Analog Clip, Drive very subtle (0.5–1.5 dB of added warmth). Use the Dry/Wet to taste; mapping to a macro is helpful for final tweaks.

5. Limiter

- Ceiling -1.0 dB (or -0.3 dB if you use external mastering chain later), lookahead OFF for punch (or low lookahead). Aim for an integrated LUFS of roughly -6 to -8 LUFS for club-ready DnB; use Loudness meter to measure and adjust gain staging prior to limiting.

D. Sub Roller chain (isolate and create roller)

1. Place EQ Eight at the top of the Sub Roller chain.

- Configure EQ Eight as a lowpass filter: set cutoff around 120–160 Hz (start at 150 Hz) with a steep slope (24–48 dB/oct). This isolates sub + deep bass without messing with mids.

2. Add a Compressor (optional) or Multiband Dynamics for taming

- Gentle compression: Ratio 2:1, Attack 10–20 ms, Release synced/100–200 ms. Threshold so the sub remains controlled.

3. Auto Filter (the “roller” element)

- Set to Lowpass filter mode.

- Sync LFO to project tempo and set rate to 1/16 or 1/8 as a starting point (for typical DnB sub-rolls 1/16 or dotted 1/16 feels natural).

- LFO Shape: Sine or Triangle for smooth movement.

- Set Drive/Resonance low (Resonance 0–20%) — you want movement, not ringing.

- Set Filter Frequency so the LFO sweeps within the sub band (for example, center ~50–120 Hz; experiment).

- Set the LFO Amount so modulation is subtle — aim for perceptible groove without losing pitch or clarity (try 10–40%).

4. Utility (mono, level control)

- Insert Utility after Auto Filter.

- Set “Stereo Width” (Width) to 0% for frequencies below ~120 Hz — but we’re already in a sub-only chain, so set Width 0% to ensure mono bass. If you want a frequency-split mono below 120 Hz system-wide, ensure Main Master chain also has a Utility (covered below).

5. Map a Rack Macro to:

- Auto Filter Amount (roller intensity)

- Sub Roller chain volume (blend)

- Sub Roller EQ cutoff (fine-tune)

Label the macro “Sub Roller Intensity” so you can dial the effect up and down quickly.

E. Balancing the Rack chains

1. In the Rack, ensure the Sub Roller chain is blended with the Main Master chain — don’t boost overall level when you enable the Sub Roller; instead, use the Sub Roller chain gain/Utility to match level to “dry” for proper A/B.

2. Use the Rack’s Chain Selector or Macro to turn the roller on/off quickly and to audition the difference.

F. Final mastering and DJ-friendly checks

1. Mono below ~120 Hz:

- Place a final Utility on master after the Rack and map a Macro to “mono below 120 Hz” if you want switchable check. To do this inside the Rack: on the Main Master chain, place a Utility and set Width to 100%, then use an EQ Eight after it to HP above 120 for the stereo content. Or simply set the Sub Roller Utility width to 0% as above — the key is mono low end.

2. Loudness and limiting:

- Use Loudness device or Meter to check integrated LUFS. Target -6 to -8 LUFS integrated for club/DJ use. If you prefer safer wide distribution, aim -7 LUFS.

- Limit with a ceiling at -1 dBTP. Avoid heavy limiter gain reduction — try to keep peak gain reduction under 3–4 dB to preserve dynamics.

3. Check phase/mono compatibility:

- Toggle the final Utility Width to 0% momentarily to make sure the track still translates — kicks and bass should remain strong.

4. Export settings:

- Export at 24-bit or 32-bit float WAV, sample rate 44.1 or 48 kHz depending on platform. Include a DJ-friendly full-length master and a version with extended intro/outro (see DJ-friendly notes below).

G. DJ-Friendly Structure (mastering-level considerations)

While final arrangement is not changed in mastering, make these checks:

- Intro/Outro: the bass content should be consistent — if your mix intro lacks bass, create one at mix stage or in mastering avoid adding sudden bass bumps. If you want DJs to have immediate low-end at the start, ensure sub elements are present and steady in the intro.

- No long tails: use a transient gate or trim reverb tails that can interfere with mixing (mastering can’t re-edit parts, but you can check and request mix revisions).

- Tempo: ensure the exported file metadata or name includes BPM and key for DJs (e.g., “TrackName_174BPM_Am_ClubMaster.wav”).

Important: keep A/Bing through the process. Toggle the Sub Roller Macro on/off and listen across different systems (studio monitors, headphones, small laptop speakers, club subs).

4. Common Mistakes

Overdoing the Auto Filter LFO: a heavy sweep will make the bass sound wobbly, out-of-tune, or muddy. Keep roller intensity subtle (< 40% modulation depth) and always A/B with it off.

Applying the roller to the whole mix: don’t put an LFO on the full-band master — it will disturb mids and vocals. Always isolate the low-end first.
Making the master too loud: chasing LUFS aggressively kills punch and mix clarity. For DJ-ready DnB a target of around -6 to -8 LUFS is loud enough; prefer transient preservation.
Forgetting mono below ~120 Hz: wide sub bass causes phase issues on club systems and weakens the low end when tracks are summed to mono on club rigs.
Not matching levels when A/B testing: adding the sub roller can raise the apparent level — always match loudness when comparing to avoid bias.
Using EQ boosts instead of corrective cuts on the Main Master: boosts can quickly create masking and distortion under compression/limiting.

5. Pro Tips

Map “Sub Roller Intensity” and “Master Saturation” to two macros so you can automate or quickly dial for previews (e.g., different DJ contexts need slightly different groove).
For a Chase & Status-inspired feel: set the Auto Filter LFO to straight 1/16 for tight rolls, and try dotted 1/16 or 1/32 for more syncopated motion.
Check on a subwoofer and on club-style small monitors; some headphones and laptop speakers won’t reproduce sub movement — trust your reference monitors for sub decisions.
Use the Sub Roller chain only where it helps: in sections with steady rhythm (drops, main grooves). If your arrangement has long breakdowns, render a version with the roller bypassed for those sections or automate the Rack macro in Arrangement view.
If you have stems: isolate bass/kick in a bus and create the roller there rather than on the stereo master — this preserves midrange and vocals perfectly.
Save the Rack as a preset for future tracks: you’ll iterate faster using the blueprint.

6. Mini Practice Exercise

Goal: Build the Master Rack and create a subtle sub roller on your mix.

1. Load your final stereo mix into an Ableton project at 174 BPM.

2. Follow the walkthrough to create the Audio Effect Rack with Main Master and Sub Roller chains.

3. For Sub Roller: set Auto Filter LFO to 1/16, Auto Filter cutoff around 150 Hz, LFO amount ~20%, and Utility width 0%.

4. With roller off, measure integrated LUFS and peak. Then enable roller and match loudness (use the Utility gain to compensate).

5. Export two versions: “ClubMaster_withRoller.wav” and “ClubMaster_flat.wav”.

6. Listen to both in your car/phones/monitors and note which maintains punch and clarity while adding groove. Adjust Auto Filter amount or Multiband Dynamics threshold based on results.

7. Recap

You just built a Chase & Status Ableton Live 12 subweight roller blueprint with DJ-friendly structure: a two-chain Master Rack that isolates the sub band, applies a tempo-synced gentle roller, and combines a conservative mastering chain that preserves dynamics, enforces mono lows, and targets DJ-appropriate loudness. Key takeaways: always isolate and mono your low end, use subtle tempo-synced movement for a “roller” effect (avoid modulating the whole mix), measure loudness rather than only trusting ears, and prepare DJ-friendly exports with stable low end and labeled BPM. Use the Rack’s macros to quickly switch the roller on/off and to tweak intensity for different DJ contexts.

Extra coach notes

Extra Coach Notes

Quick practical context

The “roller” is a subtle rhythmic motion applied only to the sub band — think of it as adding life and groove to the low end without changing the mix’s harmonic or vocal content. On Chase & Status records this is often audible as a pulsing/subtle filter move that makes the sub “breathe” with the beat. Your goal is musical movement, not wobble or pitch modulation.
Mastering is about small, reversible changes. Use the Rack’s macros and gain-matching to ensure you’re making real improvements, not just louder-sounding ones.

Workflow refinements (fast wins)

Save early and save often. Duplicate your project version before you start mastering and save the completed Rack as a preset (Right-click Rack → Save Preset). You’ll reuse and tweak it per track.
Set up a quick A/B switch: map a Macro to bypass the Sub Roller chain (or use the Rack on/off) and another Macro to trim overall gain (Utility) so you can loudness-match quickly whenever you compare.
Automate the Sub Roller macro in Arrangement: Engage it only where it helps (drops/grooves), and bypass it in sparse breakdowns. This avoids bass wobble in sections that need clarity.

Practical device/parameter tips

Auto Filter (roller)

- Use smooth LFO shapes (sine/triangle) for musical rolling; square or stepped shapes can be rhythmic but risk abruptness.

- Try slight phase offsets if you want the roll to start on a particular beat — start the track at bar 1 with the roller engaged and nudge the LFO Phase until it lands musically.

- Keep resonance low. If you want character, use tiny resonance increases that are audible but not ringing.

EQ Eight

- High-pass at 18–25 Hz is essential. Anything below that is inaudible and wastes headroom.

- Prefer surgical cuts for problem mids (200–400 Hz) rather than boosts in highs. Boosts will interact poorly with saturation and limiting.

Multiband Dynamics (sub glue)

- Listen to the band soloed while adjusting attack/release so you don’t inadvertently squash transient punch. Fast attack + heavy ratio on the sub will flatten kick punch.

Saturator

- Use Soft Clip or Analog Clip modes to tame transient peaks before limiting. When saturating, dial back the drive, then use the device’s Dry/Wet to taste.

- Note: saturation can create inter-sample peaks when limiting — watch True Peak (TP) if your limiter/device shows it; keep ceiling conservative (-1 dBTP or lower).

Limiter

- Aim for conservative gain reduction. For club masters keep limiting under ~3–4 dB on busy sections to preserve impact.

- If you must push louder, consider a light clipper before the limiter rather than cranking the limiter hard.

Advanced-but-still-beginner-friendly variations

Sidechain-style ducking vs filter roller

- For a different “groove” you can create rhythmic ducking of the sub using Compressor’s sidechain input keyed by a transient (kick or group). This is more about making space for the kick than rolling the sub; use this in combination with or instead of the roller if your kick-accent relationship needs tightening.

Step/sequencer style roller

- Instead of a smooth LFO, automate the Sub Roller chain gain or use clip-envelope automation in Arrangement to create stepped/patterned sub movement (useful for more “staccato” DnB basslines).

Stems workflow

- If you have bass/kick stems, place the Sub Roller on the bass stem (or a bass bus) rather than the master — this gives cleaner results and avoids any unintended effect on mid/high content.

Two-version export

- Create both a “Club Master” (-6 to -8 LUFS) and a “DJ Preview” or “Extended Intro/Outro” with extra headroom/longer intro (less limiting/longer tails). DJs appreciate an extended intro with steady bass for mixing.

Monitoring and translation checks

Always check the roller on multiple systems: full-range monitors with sub, small monitors, headphones, car. If a headphone set doesn’t reproduce sub well, judge movement on monitors or subwoofer.
Mono-check and phase test:

- Switch Utility Width to 0% to test mono compatibility. If the bass collapses, mute left/right alternately or invert phase on one channel to identify problematic elements.

- If cancellation appears, look for stereo bass content in mix stage (synths, reverb tails, layered bass detuned stereo synths) and address those in the stems/mix.

Correlation insight

- If available, use your Meter or Spectrum to inspect correlation. If you see phase issues at low frequencies, re-examine parts that have stereo spread.

Level matching and critical listening rules

Loudness bias: always match levels when toggling roller on/off. Use a Utility’s gain to compensate — never judge by loudness advantage.
Listen for the difference in context and isolated: toggle the roller and A/B on full mix and then solo the sub chain to make micro-adjustments.
Check transient integrity: if the kick or snare loses snap when you enable the Rack, reduce saturation, reduce limiter gain reduction, or relax Multiband Dynamics attack settings.

DJ-friendly delivery specifics

Mono low-end: ensure below-120 Hz content is mono (Utility Width 0% on sub chain). DJs mix in clubs that may sum to mono; wide sub content causes phase cancellation and weak low-end.
Extended intro/outro: masters should ideally include a DJ-friendly version with at least 30–60 seconds of DJ-useful intro/outro (steady beat, consistent bass, minimal vocals).
Metadata and filenames: include BPM and key in the filename and/or metadata tag (e.g., TrackName_174BPM_Am_ClubMaster.wav). DJs rely on this for quick selection.
File format: deliver 24-bit WAV or 32-bit float for best dynamic range; dither only if you reduce to 16-bit for a specific deliverable.

Troubleshooting quick fixes

Sub sounds thin with roller on: raise the Auto Filter cutoff slightly, reduce modulation depth, reduce Multiband Dynamics threshold on Band 1, or add a touch of harmonic saturation on the sub (very subtle).
Subgets boomy/muddy when roller on: shorten Auto Filter LFO range (don’t sweep too low), reduce resonance, or add a mild cut in the 100–250 Hz region on the Main Master EQ to remove competing low-mids.
Roller makes bass feel out of pitch: reduce modulation depth and ensure the lowpass cutoff doesn’t sweep into the fundamental of bass notes (that creates perceived pitch shifts).

Practical listening checklist before export

A/B with roller on/off (level-matched)
Mono check below 120 Hz
Check kick and bass balance across full track and short looped sections
Check integrated LUFS and short-term LUFS for sections (drops) and ensure limiter gain reduction is conservative
Check for tails that might interfere with DJ mixing; trim or render alternate versions if necessary
Play alongside a Chase & Status reference to compare feel, low-end energy and overall tonal balance (not just loudness)

Mini production habits to adopt

Keep two master templates: “Club/DJ” and “Streaming.” Same Rack but different target LUFS and perhaps different limiter depth.
Label the Rack macros clearly (Sub Roll Intensity, Sub Blend, Glue Amount, Saturation) and create an on-screen checklist in the project notes so you don’t forget to mono-check and loudness-match before export.
When in doubt: back off. Subtle moves keep the track club-ready; heavy-handed mastering tends to create translation issues on club systems.

Final thought

The sub-roller is a subtle production/mastering ornament — it’s most effective when integrated with the arrangement and mix. If things still feel off after the Rack, return to your stems/mix to fix source issues rather than over-processing on the master.

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Narration script

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[Opening]
Welcome. In this lesson you’ll build a Chase & Status-inspired mastering blueprint in Ableton Live 12: a two-chain master Audio Effect Rack that preserves punch, creates a subtle tempo-synced “sub roller,” and prepares your track for DJ-friendly delivery. This is a beginner-friendly, stock-device workflow that focuses on dynamics, mono-safe lows, and practical export settings for club use.

[Lesson overview]
Before you start, set your project tempo to the final track tempo — typically 170 to 175 BPM for drum and bass — and save a copy of your mix. We’ll use only Live 12 stock devices: Audio Effect Rack, EQ Eight, Multiband Dynamics, Glue Compressor, Saturator, Auto Filter, Compressor, Utility, Limiter, and Spectrum or Meter. Keep a reference track handy and keep A/Bing as you make changes.

[What you will build]
You’ll create a Master Audio Effect Rack on the Master channel with two chains:
- Main Master chain: corrective EQ, multiband glue for the low band, gentle saturation, and limiting for loudness control.
- Sub Roller chain: an isolated low-frequency chain with a tempo-synced Auto Filter LFO that gives the sub band a rhythmic “roller” motion, blended back in via a Rack Macro. You’ll also prepare a DJ-friendly checklist for mono lows, LUFS targets, and export options.

[Prepare and audition]
Start by loading your final stereo mix into the project or routing playback through the Master. Insert Spectrum or Meter before the Rack so you can observe frequency content. If Live’s Loudness device is available, insert it too — we’ll target integrated LUFS later. Keep an eye on peaks and the overall balance as you work.

[Build the Master Rack]
Create an Audio Effect Rack on the Master channel. Rename the first chain “Main Master.” Create a second chain and name it “Sub Roller.” The Main Master will hold full-spectrum processing; the Sub Roller will host the isolated low-end processing and the tempo-synced movement.

[Main Master chain — step by step]
1. EQ Eight: apply a high-pass at roughly 18 to 25 Hz with a steep slope to remove inaudible rumble. Make gentle corrective cuts in the 200 to 400 Hz area if needed — small, surgical reductions, not boosts.
2. Multiband Dynamics: split Band 1 to cover about 20 to 120 Hz (adjust to taste). Apply light compression on this band — ratio around 1.5 to 2:1, attack 10 to 30 ms, release on auto or fast — aiming for 1 to 3 dB of gain reduction on energetic parts to stabilize sub energy without squashing it.
3. Glue Compressor: set a slow-ish attack, release on auto, ratio about 2:1, and threshold for very light gain reduction — around 1 to 2 dB — to glue the mix.
4. Saturator: choose Soft Clip or Analog Clip and add very subtle drive — just enough for warmth, perhaps 0.5 to 1.5 dB of perceived drive. Use the device’s Dry/Wet or map it to a macro for quick adjustment.
5. Limiter: set a ceiling at -1.0 dB or slightly lower if you have an external chain. Turn lookahead off or keep it minimal for punch. Aim for an integrated LUFS target around -6 to -8 LUFS for club-ready DnB, measuring with the Loudness device.

[Sub Roller chain — step by step]
1. EQ Eight: configure as a lowpass to isolate the sub and deep bass. Start with a cutoff around 120 to 160 Hz — 150 Hz is a good starting point — and use a steep slope to keep mids out of this chain.
2. Compressor or Multiband Dynamics (optional): apply gentle compression on the isolated sub if it needs taming. Try 2:1 ratio, attack 10 to 20 ms, and a release of around 100 to 200 ms, keeping gain reduction subtle.
3. Auto Filter: set it to lowpass mode and sync the LFO to project tempo. Start with a rate of 1/16 or 1/8; for Chase & Status-style rolls 1/16 is a solid starting point. Use a smooth LFO shape like sine or triangle, keep resonance low, and set the LFO amount modestly — aim for 10 to 40% so movement is musical but not wobbly.
4. Utility: place a Utility after the Auto Filter and set Width to 0% to ensure mono low end. This keeps the sub DJ-friendly and phase-safe.
5. Macros: map Auto Filter amount, the Sub Roller chain volume, and the Sub Roller EQ cutoff to a single macro labeled “Sub Roller Intensity.” This gives you one control to dial the effect up or down quickly.

[Balancing and auditioning]
Blend the Sub Roller chain back into the Main Master without increasing overall loudness. When toggling the roller, match levels using Utility gain so you’re not fooled by loudness changes. Use the Rack’s Chain Selector or mapped macros to turn the roller on and off for quick A/B comparisons.

[Final mastering and DJ checks]
1. Mono below 120 Hz: make sure the low end is mono. The simplest approach is the Utility in the Sub Roller chain set to 0% width. You can also add a final Utility after the Rack for a switchable mono check if you prefer.
2. Loudness and limiting: use the Loudness device or Meter to measure integrated LUFS and target roughly -6 to -8 LUFS for club masters. Keep limiter gain reduction conservative — ideally under 3 to 4 dB on busy sections — and set the ceiling at -1 dBTP.
3. Phase and mono compatibility: momentarily switch Width to 0% and confirm kick and bass translate. If anything collapses, address stereo bass elements at mix stage.
4. Export settings: render at 24-bit or 32-bit float WAV, at 44.1 or 48 kHz as required. Deliver at least one full-length master and, if possible, a version with an extended intro/outro for DJ mixing. Include BPM and key in the filename or metadata.

[DJ-friendly structure notes]
Mastering can’t reliably change arrangement, so check that the intro/outro and bass content suit DJs. Ensure bass is present and stable in the intro if you want DJs to mix in immediately. Trim long tails that could interfere with mixing, and include metadata like BPM and key in your filenames.

[Common mistakes to avoid]
- Don’t overdo the Auto Filter LFO; heavy modulation makes bass wobble and can sound out of tune. Keep it subtle and always A/B.
- Never apply the roller to the full mix — isolate the low end first.
- Don’t chase LUFS aggressively; too much limiting kills punch.
- Always mono-check below about 120 Hz, and match levels when comparing the roller on and off.
- Prefer corrective cuts over unnecessary boosts on the Main Master EQ.

[Pro tips]
Map Sub Roller Intensity and Master Saturation to macros so you can automate or quickly switch contexts. For a Chase & Status feel, try a straight 1/16 LFO for tight rolls, or dotted values for syncopation. Use the Sub Roller only where it helps; automate it in Arrangement for drops and grooves. If you have stems, put the roller on a bass bus for cleaner results. Save the Rack as a preset to reuse this blueprint.

[Mini practice exercise]
1. Load your final stereo mix at 174 BPM.
2. Build the Audio Effect Rack with Main Master and Sub Roller chains following the walkthrough.
3. On the Sub Roller, set Auto Filter LFO to 1/16, cutoff near 150 Hz, LFO amount around 20%, and Utility width to 0%.
4. Measure integrated LUFS with the roller off, then enable it and loudness-match using Utility gain.
5. Export two versions: ClubMaster_withRoller.wav and ClubMaster_flat.wav. Listen on multiple systems and note which keeps punch while adding groove.

[Recap and final thought]
You’ve created a two-chain Master Rack that isolates the sub band, adds a subtle tempo-synced roller, preserves dynamics with conservative glue and limiting, enforces mono lows for DJ compatibility, and targets club-appropriate LUFS. Remember: isolate and mono your low end, keep the roller subtle and tempo-synced, measure loudness rather than trusting loudness alone, and prepare DJ-friendly exports with steady low end and clear metadata. If something still feels off, return to the mix or stems — mastering should be subtle and reversible.

That’s it. Save your Rack, save your project, and test your master across multiple playback systems.

Mickeybeam

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