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Sub translation across headphones and monitors (Advanced)

An AI-generated advanced Ableton lesson focused on Sub translation across headphones and monitors in the Mixing area of drum and bass production.

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Lesson: Sub Translation Across Headphones and Monitors (Drum & Bass in Ableton Live) 🎧🔊

Teacher tone: energetic, clear, professional — let’s get your subs translating reliably between headphones and monitors so your DnB / jungle mixes hit hard and tight everywhere.

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1) Lesson overview

In this advanced lesson you'll learn how to design, process, and verify sub-bass so it translates consistently between headphones and studio monitors (and smaller consumer systems). You’ll get concrete Ableton Live device chains, settings, workflows, and troubleshooting techniques specific to fast-paced drum & bass: rolling subs, heavy reeses, and kick/sub interplay at 170–175 BPM.

Key goals:

Make sub energy mono and focused below a cutoff.
Keep harmonics and stereo motion up top without polluting the subs.
Control transient interplay between kick and sub so both punch through.
Create a repeatable headphone/monitor checking workflow.

Expect to use stock Live devices: Operator/Wavetable/Analog, EQ Eight, Utility, Spectrum, Compressor, Glue Compressor, Saturator, Multiband Dynamics, Drum Buss, Tuner, Spectrum.

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2) What you will build

A two-track bass system for DnB:

"Bass – Sub" (mono, focused, tuned) — carries fundamentals below ~120 Hz.
"Bass – Top" (stereo, texture, harmonics) — carries mid/high energy and stereo movement.

Plus a bass buss with subtle glue, and a kick-sidechain setup so the kick and sub coexist cleanly. You’ll also build a simple monitoring check rack (Utility + Invert) and a visual/aural reference workflow to test translation.

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3) Step-by-step walkthrough

Follow these steps inside Ableton Live. I’ll give exact device order, suggested params, and why we do it.

A. Prepare your bass source

Instrument: use Operator or Wavetable (stock) for synth subs. For reese-style bass use two detuned oscillators with low pass.

- Operator: Use a sine or low-pulse for the sub oscillator. Set second oscillator for octave + detune if you want reese top content.

- Wavetable: Use a basic sine or triangle for sub oscillator, add a second wavetable (detuned) for mid harmonics.

B. Split into Sub / Top tracks

Duplicate the bass track or route via sends. Name them:

- Bass – Sub (Audio or Instrument)

- Bass – Top (Audio or Instrument)

On Bass – Sub:

- Insert EQ Eight first. Use it as a low-pass filter:

- Band 1: Low-pass (Type: Lowpass), Frequency: 180 Hz (start here), Slope: 24 dB/oct.

- Band 2: High cut very steep below 20 Hz? Instead set a gentle high-pass at 18–20 Hz only if you need to remove inaudible rumble.

- Add Utility (after EQ):

- Width: 0% (mono)

- Gain: adjust to match level with Top.

- Phase: leave normal.

- Add Compressor for kick ducking (I prefer a dedicated sidechain Compressor):

- Device: Compressor (stock) -> Sidechain on -> choose Kick group (or Kick bus).

- Ratio: 6:1 (start). Attack: 0.5–3 ms. Release: 70–110 ms. Threshold: adjust until you get ~2–5 dB of gain reduction on kick hits.

- Note: shorter attack keeps more transient, short release for punch — tune for tempo (at 174 BPM, use release around 80–140 ms).

- Add Saturator (very subtle if at all): Drive 1–3 dB, Soft clip preset if you need harmonic content but be careful — saturate only if you retain mono phase.

- Add Spectrum (for visual check) or Tuner to ensure fundamental is in tune with track key.

On Bass – Top:

- EQ Eight:

- High-pass: 100–220 Hz (cut everything below your chosen sub crossover — often 110–160 Hz for DnB; use ear and Spectrum).

- Shape mids for texture (notch any build-ups).

- Stereo widening / texture:

- Use Chorus-Ensemble or Ping-Pong Delay, or simpler: Utility with Width 120–140% (with caution).

- Add Drum Buss or Saturator to taste to create upper harmonics and grit.

- Optional: Multiband Dynamics (tame low-mids/or upper bass band) so top content doesn't get overloaded.

C. Create a Bass Bus

Route both Sub and Top to a group “Bass Bus”.
On Bass Bus:

- Glue Compressor (2:1, threshold for 1–2 dB GR) to glue the parts.

- EQ Eight: gentle low shelf cut at 30–40 Hz (-1 to -3 dB) if your room excites sub resonances.

- Multiband Dynamics (optional): control sub band dynamics without squashing mids.

- Monitor output level: keep the bus peaking well below 0 dBFS; leave headroom (master peak -6 dB is a good mixing rule).

D. Sub tuning and checking

Use Tuner or Spectrum:

- Use Spectrum set to dB, FFT size 4096 for good resolution.

- Find the fundamental — ensure sub notes are in key of the track. DnB bass notes often live around 40–120 Hz (A1–E2 region for many tracks).

If the sub fundamental sits at non-musical frequencies or clashes with kick harmonic, transpose bass pattern until it sits cleanly.

E. Mono / Phase checks

Create a small “Translation Check” rack:

- Utility -> Width 0% (to check mono).

- Utility -> Phase invert L or R to stomping test (insert another Utility to invert one side when needed).

Regularly switch Bass – Sub to Utility Width 0% (you should already have 0%). Also solo the Bass Bus and toggle the check rack.
Phase inverts: With both sub and top playing, invert the left channel on the top track; if low end collapses, you have phase issues.

F. Headphone vs Monitor balancing workflow

Always compare at multiple levels:

- Monitors: check at reference ~75–85 dB SPL if possible.

- Headphones: lower SPL but remember perceived bass increases — reduce sub fader if needed on headphones then adjust for monitors.

Practical routine:

1. Set master output gain: aim for no clipping, leave ~6 dB peak headroom.

2. Turn off all master processing while designing sub (no limiter).

3. Toggle between headphones and monitors every 5–10 minutes while adjusting. Make one decisive parameter change between swaps (e.g., adjust crossover from 140 to 120 Hz), then listen on the other system.

4. Use LUFS & peaks as a reference but predominantly trust translatable listening.

G. Fast Kick/Sub interplay (critical for DnB)

Use sidechain on the sub (described above). For faster rolling kicks:

- Compressor Settings: Attack 0.5–2 ms (fast), Release 60–120 ms (depends on groove).

- Alternatively, use volume automation or clip-envelope to shape the sub so it ducks right on top hits.

Another technique: transient shaping on kick (Transient Shaper device isn't stock, but use Compressor with fast attack and short release on Kick bus to make the transient bigger without increasing LF content).

H. Visual metering & reference

Use Spectrum on Bass Bus; observe energy below 120 Hz and compare with reference tracks.

- Set Spectrum smoothing to 0.7 and FFT size 4096. Look for peaks at your sub fundamentals.

Use the Utility/Phase invert test and listen to make sure cancellation isn’t happening.

I. Quick test checklist before exporting/arrangement moves

Mono check: Utility width 0% — low end persists.
Phase invert check: invert L or R — low end collapses (good).
Headphones check: translate ~70–85% of power (you may need to reduce sub).
Small speaker check: highpass around 40–60 Hz to simulate laptop speakers — essential to ensure bass hint still present in mids.

Example device chains (basic starting presets):

Bass – Sub (chain):

```

Operator/Wavetable -> EQ Eight (Lowpass 180Hz, 24dB) -> Utility (Width 0%) -> Compressor (sidechain kick, 6:1, Attack 1ms, Release 100ms) -> Saturator (Soft Clip, Drive 1-2dB) -> Spectrum/Tuner

```

Bass – Top (chain):

```

Operator/Wavetable (same source) -> EQ Eight (HPF 120Hz) -> Saturator/Drum Buss (subtle) -> Chorus/Delay (Stereo FX) -> Utility (Width 110-140%) -> Glue on Bass Bus

```

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4) Common mistakes

Making the sub stereo: leads to phase cancellation on mono playback and inconsistent translation.

Over-saturating the sub oscillator: adds harmonics but can smear the low end and create phase issues.
Not tuning sub notes to the track key: results in muddy, unfocused low end.
Over-reliance on headphones: headphones exaggerate bass perception differently than monitors.
Not leaving headroom on master while mixing bass (causes masking and inaccurate decisions).
Using a single track for everything (sub + top) and applying stereo FX before splitting — split early in the chain.
Overdoing low-pass crossover too low or too high. If you cut too much mid-bass from Top, it might sound thin on small systems.

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5) Pro tips for darker/heavier DnB 🖤💥

Mono sub + stereo wobbles: Keep the sub strictly mono; push reese movement to the Top track. Automate Top width for build-ups to hide stereo phase issues during drops.
Harmonic reinforcement: Duplicate the Sub track, set duplicate an octave-up, saturate heavily, lowpass around 400–700 Hz and mix very low. This “harmonic layer” gives perceived bass on small speakers without adding LF.
Parallel saturation chain: send to a Return with Saturator + EQ and blend back to taste to add distortion without contaminating the mono sub.
Multiband sidechain: use Multiband Dynamics on Bass Bus, compress the low band when the kick hits more heavily than mids.
Controlled rumble: Apply a gentle shelf cut at 28–35 Hz across the master/bass bus to remove unhelpful subsonic energy that translates poorly.
Use small, decisive EQ cuts rather than boosts. For heavy DnB, cuts remove stimulation that causes masking.
Tighten kick-sub timing: use transient shaping and shorter release on sub sidechain to create a snappy pocket. At 174 BPM, set release to align with the groove (try 80–140 ms).
Arrangement dynamics: during breaks, you can widen and process the Top heavily. For drops, collapse width slightly and ensure sub is rock-solid and in mono.

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6) Mini practice exercise (20–30 minutes)

Goal: Build a sub that translates equally on headphones and monitors.

1. Create a simple DnB bassline (1 bar loop at 174 BPM) in key of E (low E ~41 Hz).

2. Load Wavetable or Operator and make a sine-sine sub with slight sub oscillator detune for character.

3. Duplicate track: make Bass – Sub and Bass – Top.

4. Bass – Sub: EQ Eight low-pass at 150 Hz, Utility width 0%, Spectrum on. Sidechain Compressor: sidechain from Kick, Ratio 6:1, Attack 1 ms, Release 100 ms.

5. Bass – Top: HPF at 120 Hz, add Drum Buss for grit, small stereo FX.

6. Group to Bass Bus: Glue compressor 2:1, -1 dB gain reduction.

7. Mono-check: toggle Utility Width 0% (should be unchanged since Sub is mono). Invert left channel on Top — low end should collapse when inverted (if it collapses too much, check phasing).

8. Swap headphones and monitors: make one adjustment to the Sub crossover or sidechain release. Repeat until balance feels consistent in both.

9. Export a short loop and check on laptop speakers / earbuds — does the ear still perceive bass presence (via harmonics) even if LF is absent?

Send me the Ableton Live questions if you want a check on specific parameter screenshots or the project file structure.

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7) Recap

Split your bass into a mono Sub and stereo Top early; low-pass the Sub (~120–180 Hz) and high-pass the Top (~100–220 Hz).

Keep the sub mono with Utility Width 0% and use Spectrum/Tuner to tune the fundamentals.
Use sidechain compression or volume automation to duck the sub against the kick — Attack 0.5–3 ms; Release 60–140 ms (tune to groove).
Check phase and mono compatibility frequently (invert channels and use Width 0%).
Translate by switching between headphones and monitors constantly and make one decisive change between swaps.
For darker/heavier DnB, add harmonic layers, parallel saturation, and careful multiband control—don’t stereoize the sub.

You’re now equipped to create subs that punch on studio monitors, headphones, and small systems while keeping the body and weight every DnB track needs. Want a quick Ableton Rack template I use for splits and checks? I can draw one up with exact presets and a downloadable Live Set. 👊

Extra coach notes

1) Extra coach notes

Think in roles, not tracks. Treat the low-frequency part as "weight" (energy under ~120 Hz), the mid-high part as "definition" (harmonics and movement), and the kick as "attack." Make mixing decisions by role: if the kick needs more attack, reduce energy in the weight role; if the track feels woolly, tighten the definition role.

Phase alignment beats level-matching. If two layers are slightly out of time/phase the cure is timing/phase nudging, not more gain. Use tiny track-delay nudges (±0.5–6 ms) on the Top layer or the Sub layer to find placement that maximizes LF coherence.
Use complementary EQs rather than drastic cuts. Make each layer serve a frequency band with overlapping slopes (e.g., Sub low-pass at 140 Hz 24 dB/oct, Top high-pass at 120 Hz 12 dB/oct). That overlap avoids holes while keeping the bands separate.
Keep one listening focus per passing minute. When you switch to headphones, only change one parameter (crossover freq, sidechain release, or saturation amount), then check on monitors. This isolates cause/effect and speeds convergence.
Preserve headroom for translation: if you’re using heavy saturation on the Top to create perceived bass, pull the sub level down a little rather than turning the sub up to “compete.” Perceived LF can be created with harmonics.

2) Advanced variation ideas

Frequency-specific sidechain (stock workaround): create a send that filters only low frequencies to an audio track (use send -> return with an EQ Eight low-pass at your crossover), and sidechain-compress the Sub using that filtered return as trigger. This gives you sidechain sensitivity focused on the LF content of the kick or pattern.
Dynamic crossover using Racks: build an Instrument/Audio Effect Rack with two chains split by complementary EQ Eight settings. Map crossover frequency to a Macro. Automate that Macro to tighten/widen the sub range in different sections (e.g., wider sub for verses, tighter sub for drops).
Adaptive ducking: automate the Compressor release time (or create two parallel chains with different release times and morph between them) so that during fast breaks the sub ducks shorter, and during long sustained notes it ducks longer to avoid pumping.
Micro-timing textures: create a second sub layer shifted by a few milliseconds and slightly detuned. Use tiny send levels and phase/track-delay nudges to create stereo richness above the sub band without affecting mono low end.
Resampling-based re-synthesis: resample your Sub loop to audio, apply heavy low-mid saturation and band-pass around 300–600 Hz, then pitch-duplicate and lightly mix back to give small-speaker presence while keeping original sub clean.

3) Sound design extras

Clean core + harmonic engine: keep one oscillator as a pure sine for the core. Route a second oscillator (or FM/Operator algorithm) to generate upper harmonics, but low-pass that generator above ~300–800 Hz. That way small speakers hear harmonics while monitors still get the sine body.
Psychoacoustic trick (octave hum): duplicate the sub, octave-up, apply heavy band-pass 200–700 Hz, saturate hard, low mix. This creates “apparent bass” on devices that can’t reproduce LF.
Phase-shaping technique: invert phase of the upper harmonic layer and nudge it slightly in time—this can thin certain frequency bands to make room for the kick while keeping perceived weight.
Envelope sculpting via Clip Envelopes: on synth clips, use the clip gain envelope to chop the sub’s sustain on specific hits (very short dips) instead of full compressor ducking. This gives sample-accurate rhythmic slots.
FM for harmonics: use Operator’s FM routing to add controlled harmonic content only when you want more presence. Keep the mod index low so the fundamental stays pure.
Low-band widening without phase risks: create a parallel chain in a rack where the low band is duplicated and sent to a very subtle mono-to-stereo shimmer (e.g., short delay + tiny chorus on mid/high only). Keep the true sub chain strictly mono.

4) Arrangement upgrade ideas

Section-dependent bass architecture: design 3 bass states—Intro (narrow, less harmonics), Verse (detailed, wider top), Drop (mono sub, maximum weight). Automate the Rack Macro that switches between them for instant arrangement changes.
Pre-drop subtraction: remove harmonic layers or reduce Top width a bar before the drop. The human ear perceives the sudden return of those elements as added impact—use this to make drops land harder without raising overall level.
Call-and-response bass events: let the sub breathe by using alternating patterns where the Top carries rhythmic motion during one bar and the Sub provides sustained hits in the next—this reduces masking with fast kick patterns.
Instrumental orchestration: when other elements (vocal, pads) sit low, automate a narrow EQ dip (2–3 dB) around the conflicting frequency on the Top, not the Sub. Keep the sub untouched to preserve energy while letting the midrange make room.
Mix-time automation: vary the Bass Bus Glue ratio or saturation depth over the track (e.g., less glue in breakdowns, more in the drop) so the low-end character evolves with arrangement intensity.

5) Homework challenge

Create three exports (stems or short loops) demonstrating the same bassline optimized for three listening contexts: studio monitors, closed-back headphones, and laptop/smartphone speaker. Deliverables and judging criteria:

1) Build a 16-bar loop at 174 BPM with the bassline and kick only (no other instruments).

2) Make three versions:

- Version A (Monitors): Solid, mono sub with kick interplay; sub-focused, tuned, and sitting cleanly under 120–140 Hz.

- Version B (Headphones): Slightly reduced sub level, more harmonic content in 200–800 Hz, modest stereo width on the Top.

- Version C (Small speakers): Sub removed below ~80 Hz, strong harmonic layer 200–800 Hz, and clear transient kick.

3) Export 16-bar WAVs at the same loudness (no master limiting) and include a short note for each version describing:

- The single parameter you changed most for translation (e.g., moved crossover from 140→100 Hz).

- The trick you used to preserve perceived bass on small speakers.

4) Test checklist before exporting:

- Mono collapse check (sub persists in A and B).

- Phase invert left on Top — low should collapse in versions B/C where intended.

- Compare peaks and adjust levels so that all exports have roughly identical RMS/peak for fair listening.

If you want, send the three stems and I’ll give time-stamped notes on any phase problems, suggested crossover shifts, or sidechain tweaks to make them translate even better.

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Narration script

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Welcome to the advanced lesson: Sub translation across headphones and monitors for drum and bass in Ableton Live. I’m pumped you’re here — we’re going to lock in subs that translate from big studio monitors to closed-back cans and even tiny laptop speakers, so your 170–175 BPM tunes hit hard and clean everywhere.

First, quick overview of the goal. You’ll build a two-track bass system: a mono, focused Bass – Sub carrying fundamentals below roughly 120–180 hertz, and a stereo Bass – Top carrying harmonics, texture, and movement. We’ll glue them together on a Bass Bus, set up kick/sub interplay with sidechain or envelope shaping, create quick translation checks for mono and phase, and develop a headphone-to-monitor workflow so adjustments you make actually translate.

Step one: prepare your bass source. Use Operator or Wavetable. For a clean core, pick a pure sine or triangle for your sub oscillator. For reese-style motion, add a second detuned oscillator or wavetable for mid and high harmonics. Keep the core sine clean — that’s your weight.

Step two: split into Sub and Top tracks early. Duplicate the instrument track or route to two tracks, and name them Bass – Sub and Bass – Top.

On the Bass – Sub track you want this chain and mindset: first EQ Eight as a low-pass. Set a low-pass around 150 to 180 hertz with a steep slope — 24 dB per octave is a good starting point. Optionally add a gentle high-pass at 18–20 hertz to remove inaudible rumble if your system exaggerates subsonics. Next place Utility and set Width to 0 percent so the sub is strictly mono. Match gain with the Top so the parts stay balanced. Add a Compressor for kick ducking: enable Sidechain, select your Kick group or Kick bus as the input, start with a ratio around 6:1, attack 0.5 to 3 milliseconds, release 70 to 110 milliseconds — at 174 BPM you’ll likely land around 80 to 140 ms depending on the groove. Adjust threshold until you see about 2 to 5 dB of gain reduction on hit. Keep attack fast so the transient of the kick can cut through, and tune release to the rhythmic pocket. Use Saturator very sparingly for harmonic weight — drive 1 to 3 dB max, Soft Clip preset is safe. Finish with Spectrum or Tuner to confirm your fundamental is in key.

On the Bass – Top track: high-pass everything below your chosen crossover. Start the HPF between 100 and 220 hertz; for DnB a 120–160 Hz range is typical but use your ears and the spectrum. Sculpt mids to add texture and remove build-ups. Add Drum Buss or Saturator for grit, and tasteful stereo FX like Chorus, Ping-Pong Delay, or simply increase Utility Width to 110–140 percent for movement. Consider Multiband Dynamics if the Top gets heavy in low-mids so you don’t mask the sub.

Next create a Bass Bus and route both Sub and Top into it. On the bus, use Glue Compressor lightly — something like 2:1 with very gentle gain reduction, maybe 1–2 dB — just to glue the layers. Add a gentle low-shelf attenuation at 30–40 hertz if your room booms, and consider a Multiband to control the low band independently. Keep the bus peaking well below 0 dBFS; a good mixing rule is to leave around 6 dB of headroom on the master as you mix.

Sub tuning and phase checks are critical. Use Spectrum with an FFT size around 4096 for solid resolution and find the fundamental. Make sure the sub notes are in key — DnB lows often sit between 40 and 120 hertz, so make small transposition adjustments if something sounds off. If two layers are slightly out of phase, timing or phase nudging is the cure, not more gain. Use tiny track-delay tweaks of ±0.5 to 6 milliseconds on the Top or Sub to find a placement that maximizes LF coherence.

Build a Translation Check rack: a Utility set to Width 0 percent for mono checks, and another Utility you can flip to invert left or right for quick phase inversion checks. Regularly toggle mono while listening: the low end should persist. When you invert a channel and the low end collapses, that means your phase is behaving as expected — if it collapses when it shouldn’t, you have a phase issue to solve.

Headphones versus monitors: make switching deliberate. Set your master with no limiting while designing sub sounds. Swap between headphones and monitors every five to ten minutes and only change one parameter between swaps — maybe the crossover from 140 to 120 hertz, or the sidechain release — to isolate cause and effect. Headphones usually feel bassier, so you’ll often lower sub level on headphones and raise it back on monitors. Trust the monitors for translation, but use headphones to catch detail.

Kick and sub interplay is the beating heart of DnB. Use sidechain compression on the Sub as described, but for faster rolling kicks you can also automate volume or use clip gain envelopes to carve tiny rhythmic slots. Try a Compressor sidechain with attack 0.5 to 2 ms and release 60 to 120 ms for snappy ducking. Another tactic: shape the kick transient so it reads cleaner without adding LF — fast attack and short release on the Kick bus’s compression will emphasize attack without muddying the low end.

Now some pro tips and coach notes. Think in roles, not tracks: the low band is “weight,” the mid-high is “definition,” and the kick is “attack.” Make decisions by role. Use complementary EQs instead of extreme cuts: for example, Sub low-pass at 140 Hz 24 dB per octave and Top high-pass at 120 Hz 12 dB per octave — overlapping slopes avoid frequency holes. Phase alignment often beats level matching — a few milliseconds of nudging will fix problems faster than turning up a fader.

Advanced variations you can try: frequency-specific sidechain using a filtered return to trigger ducking only from the low frequencies of the kick; a dynamic crossover Rack mapped to a macro so you can automate the crossover frequency across sections; or adaptive ducking where you morph between short and long release behaviors for different musical contexts.

Sound design extras: keep a clean sine core and a separate harmonic engine. Route a second oscillator or resampled layer into a band-pass around 200–700 hertz, saturate it hard and mix low — this creates perceived bass on small speakers without muddying the core. You can also duplicate sub, pitch an octave up, heavily band-pass and saturate to simulate “apparent bass” on devices that can’t reproduce LF.

Arrangement-wise: design different bass states for intro, verse, and drop. Automate a macro to switch from narrow and clean to wide and harmonic when needed. For pre-drops, subtract harmonic layers a bar before the drop so the return feels massive without raising overall level.

Time for a 20–30 minute practice exercise. Build a one-bar DnB bassline at 174 BPM in the key of E — low E around 41 hertz. Use Wavetable or Operator to make a sine sub with a slightly detuned harmonic oscillator. Duplicate into Bass – Sub and Bass – Top. On the Sub: low-pass at 150 Hz, Utility width 0 percent, sidechain Compressor from the Kick ratio 6:1 attack 1 ms release 100 ms. On the Top: HPF at 120 Hz, add Drum Buss and stereo FX. Group to Bass Bus and add a Glue Compressor for gentle cohesion. Do a mono-check with Utility set to Width 0 percent; invert left on the Top to test phase collapse. Swap to headphones and monitors, change one parameter between swaps, and refine until the balance translates.

Before you export, run this quick checklist: mono check — low end persists; phase invert check — low collapses when intended; headphone check — balance feels consistent; small speaker check — create a harmonic layer or high-pass the sub to simulate laptop speakers. Export without master limiting and with headroom intact.

Homework challenge if you want to push it further: make three 16-bar versions of the same bassline and kick only — one optimized for monitors, one for closed-back headphones, and one for small speakers. For each, make one decisive change for translation and include a short note about that change. If you send stems, I’ll give time-stamped notes on phase, crossover, and sidechain tweaks.

Recap in one line: split early into a mono sub and a stereo top, keep the sub clean and mono with a steep low-pass, sidechain or automate to make kick and sub coexist, check phase and mono frequently, and always swap between headphones and monitors making one decisive change at a time.

You’re armed now — go lock in subs that hit everywhere. If you want, I can draft a Live Rack template with the split, phase check utilities, and mapped macros for crossover and sidechain control so you can drop it into any project and start mixing. Let me know and I’ll write that up or walk through a project file with you.

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