We have the techno-logy, part 3: Mixing and effects

A few weeks back, we started building two techno-oriented systems of two different sizes. We’ve chosen our voices and sequencing, and the last step is to bring everything together with some mixing and effects. 

Mixing

Mixing plays two parts in a performance system. It’s important to combine all the sound sources in your system into one signal, and a mixer is also an extremely useful performance tool. In our small system, we have three voices that we need to combine, so Xer Dualis is a perfect choice. It has four channels, each with a level control and mute switch, which adds a performative element to our patching: we can quickly remove a voice with the mute switch, or fade things in and out with the potentiometers. 

For our large system, the fabulous Xer Mixa does everything we could want from a mixer. It has 10 stereo channels, more than enough for all of our voices and effects, as well as three output busses for effects sends or bus processing. Each channel has a fader for volume, a mute switch, and flexible routing and panning options. It can also be CV controlled with the Expando Expandi expander, allowing for some fun modulation capabilities with the CV generators we added to our system last week. 

Effects: making space 

A key part of the techno sound is spatial effects like reverb and delay. Rumbly, ominous backgrounds are a staple of the genre, and reverb on top of a kick or a bassline is a great way to generate it. Our Desmodus Versio was designed to be a sound source as much as an effect, and it’s the perfect choice for this sort of task. I’ve added it to both our small and our large systems since it works so nicely for techno patching, and takes up only 10 HP. 

In our larger system, I’ve also added Yester Versio, a creative three-tap delay that’s my personal favorite choice for percussive echoes. Since it can be synced to a clock, it’s perfect for expanding on beats that we’re already generating – I like using it on top of a kick to create an automatic call-and-response. 

In our small system, we can patch up our effects a couple of different ways. If we want to, say, create a big rumble by running our kick through a reverb, we can patch one of our Tymp Legios directly into Desmodus Versio and add that into our mix. Or, we could mix all of our voices with Xer Dualis, then run the whole thing through Desmodus for a more washed-out sound. What sounds best is up to you, and can depend a bit on what’s happening in your patch. 

In our larger system, we can use the aux send and return capabilities of Xer Mixa to create busses for our effects. This will allow us to select which voices are sent to effects, and how much reverb or delay is heard on each one. This can help emphasize space in a mix, and also allows us to use just a couple of effects processors for all of our voices. 

Effects: Glue 

Another tool that can be useful in a patch is dynamics processing. In our large system, we have enough room that it’s worth adding a dedicated module to perform this task. Librae Legio can perform expansion, limiting, and compression, as well as adding color with zero-crossing distortion or saturation. We could add dynamics processing to our entire mix by running the output of Xer Mixa through Librae Legio, gluing all of our voices together and adding punch with some limiting. Or, a drum bus could be created by mixing our Tymps and Incus in a Xer Mixa submix, and routing them through Librae Legio to compress them – you can learn more about submix processing in this blog post.

A note on grime 

Compression is a great end-of-chain effect, but if you like the more industrial or grimey side of things, then distortion is a fun option to consider, too. Running your whole patch (or a submix, like just your drums) through a distortion module can create some really dramatic timbres. Librae Legio has the capabilities to add a good amount of saturation to your mix, but if you want even more, a distortion effect like Ruina Versio could be a fun choice. It has a blend parameter that allows for balance of undistorted and distorted tones, so you can choose just how much destruction you want. Full-patch distortion isn’t something I always do, but there’s nothing that sounds quite like it. 

Outputs

A final decision you’ll need to make for your system is whether or not you want an output module. If you’re planning to mainly use your system in the studio, you may not need to use an output module at all – you can use adapter cables to go from ⅛” to ¼” and plug into your mixer or audio interface. If you plan on gigging with your system, though, having balanced outputs on ¼” jacks can be very helpful for ease of setup and reducing noise. You’ll also need a dedicated output module if you want to use headphones with your system. An output module also provides the benefit of creating a volume control for your whole system, which can make gainstaging easier. 

Whether or not you need an output depends on what your needs are, but they’re a good utility to consider. Sono Abitus is the perfect choice if you do want some output capabilities in your system: it has balanced ¼” outputs, a ¼” headphone output, and level controls for each out. 

The finished systems

After adding our mixers, effects, and output modules, our systems are finished! Take a look at these beauties: 

All that’s left now is to start patching and get a groove going. If you need an overview of the basics, our Getting Started series is a fun place to start – or dive right in with some tutorials on how to use your new modules right… and wrong.