To create an aux track in LUNA or Pro Tools, press Cmd+Shift+N (or Ctrl+Shift+N on a PC) and set “aux” as the type.

Here’s a lesson in how to apply automation settings to various parameters in your mixes.

Hello, and welcome to another Dojo! Tighten up your belts, because this time I’m going to take you further down “automation lane,” and point out some DAW features that may be missing in your mixes. You’ll recall that last month, I sang the praises of immersive audio and how having your automation skills “on point” can be a big benefit in your mixing process in this paradigm. I also dove into the differences between “write,” “latch,” “touch,” and “trim” settings. Now, you should be able to apply them to a multitude of different parameters available in most DAWs.

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Here we investigate four unconventional effects and how to use them.

You know how a three-knob overdrive works. And a single-knob boost isn't gonna throw you for a loop. But double the knobs and add parameters with names like Crash, Warp, and Glide, and things can get murky fast. This is the world of bizarre effects, and if you're confused by stompboxes with more than a few knobs and switches, you're certainly not alone.

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Though there's a plethora of delay pedals on the market, the control scheme on a Boss DD-7 is very common.

Whether you’ve got a barebones analog box or a feature-packed digital model, your delay can do a lot more than add ambience to your sound. Here we walk you through everything from basics like signal-chain placement and dialing in traditional sounds to looping and precise tempo matching.

Delay pedals are among the most popular effects around, and the reason is simple: A delay pedal not only gives your sound a professional sheen and adds a three-dimensional quality—even when set for a discreet, atmospheric effect—but it can also produce a wide variety of not-so-subtle sounds and textures, ranging from ear-twisting rhythmic repeats (à la Eddie Van Halen's “Cathedral") to faux twin-guitar harmonies and live looping.

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