Take the stems.Cut your owndub.dub.dub.dub.dub.dub.

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Per strip: three knobs, MUTE, REC ARM, a fader. BANK LEFT / BANK RIGHT change what the knobs do; the faders stay strip volumes on every page. Four pages: flip through them below.

◀ Bank leftBank right ▶

MIXFXMASTERINSERTS

4 pages · click a tab, the arrows or ← →

Reach it: BANK RIGHT

The knobs are: delay time, feedback, wow, filters, reverb decay, damping, tone, phaser rate, depth… the three returns and the bus-to-bus sends

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• MUTE cuts a strip; the LED shows the state. SOLO held + MUTE solos it, in place: the echo and reverb returns keep playing while everything else is gone.

• REC ARM held is the dub throw: the strip goes at full into the delay (or the reverb, or both), taken before the fader and the mute. Throw a cut vocal, hear only its echo.

• Shared buses like the sends of a real board: cutting a strip never kills an echo or a reverb tail already on its way. That is the whole point.

• Pre or post sends are post-fader by default; Settings switch any bus to pre-fader for the classic move: fader down, echo still running.

• Bus to bus each bus return can also feed one other bus, like patching a return into a send. Pick the target in the bus card's Send to menu, dose it on strip 8 of the FX page: a filter on bus 3 with the delay sent into it is a filtered echo. Loops are greyed out.

They never touch your mutes: release, and the mix is exactly as it was.

• D

  Drophold

  Everything cut but the strips marked KEEP. Mark bass and drums, hold D, you are on the riddim.

• H

  Holdhold

  The delay closes on itself, input shut, feedback at unity. Cut all the rest, the echo keeps turning.

• C

  Crash

  Hit the spring. Perry's thunder, Tubby's spring shot (select Built-in · Spring on the REVERB card).

• R

  Pull-up

  The selector's rewind. Tape brake on the whole master, back to the top, play.

• T

  Tap tempo

  Tap the tempo; the delay time can lock to it, 1/16 to 1/2, dotted included.

• NP

  Next · previous

  Load the next or previous tune of the setlist, stopped at the top, while the effect tails keep going.

• ⌘R

  Record

  Record the master, after the limiter, as 24-bit WAV. Your version, ready to cut.

• Dub delay

  A tape echo: every pass, including the first, goes through the filters and the saturation, so repeats get darker and rounder. Feedback up to self-oscillation, held by the tape. Wow and flutter. Time in milliseconds or locked to the tempo. Space Echo head patterns (1, 2, 3, 1+2, 2+3, 1+3, 1+2+3) and ping-pong.

  tapeheads 1·2·3ping-pong

• Reverb

  A Dattorro plate, or a spring: a dispersive line where the transient comes out as a downward chirp, the boing. Hit it with CRASH.

  platespringcrash

• Bus 3

  A Bi-Phase style phaser (two six-stage phasers in series, resonance held by saturation, ±2.5 octaves) or a tape flanger. Both output only the shifted signal: summed with the strip's dry sound, they carve the comb.

  phaserflanger

• Master chain

  The big knob: King Tubby's stepped high-pass from the MCI board, 20 Hz to 10 kHz in twelve steps, each one a plateau you hear. The kills: a sound-system isolator, BASS / MID / TOP, kill only, never boost. The dubplate colour: an acetate played a hundred times, bandwidth shrinking, tape saturation, a slow wobble, crackle to taste. And the pull-up.

  big knobkillsdubplatepull-up

• Strip inserts

  A sub-octave generator (the dbx boom box idea: follow the bass, add the octave below) and an auto-wah in the Mu-Tron III style: louder opens the filter, or closes it in down mode.

  subauto-wah

• Audio Units

  Any AU effect can replace a built-in effect on a bus, or sit in a strip's insert. Plugins load out of process: one that crashes falls back to the built-in effect and stays in the project. On the FX page the bus's six knobs become macros you assign to the plugin's parameters.

  AUout of processmacros