LiGHTSIDE, DARKSIDE, LEFT OR RIGHT… HOW YOU SPLYT IS UP TO YOU!
In this latest instalment of PerforModule genius we present a suite of tools that split an audio stream by various methods. The primary usage of these is for the ability to apply different effects to the different split channels, but they can also be extremely useful just for soloing bands to listen to a particular channel
E.g. you could solo specific frequency bands during mastering to uncover illicit resonances, or you could solo the side channel to hear only the sides channel audio material.
Remember that you can press the keyboard shortcut “?” to bring up the info view box in the lower left corner of Live, where you will see handy info on all the devices and macro controls when you hover your mouse over them. Doing so is the easiest way to learn how to use these effects, and the most immediate way to refresh your memory of what they do when re-opening them later.
Advanced Splytter Devices:
4-way Splytter – Splits audio into 4 frequency bands: “Depth”, “Lower Mids”, “Upper Mids” & “Brightness”
5-Way Splytter – Splits audio into 5 frequency bands; there are two versions, one each for honing in on either the lower or higher ranges.
- Low-Weighted includes “Sub”, Lower Bass”, “Upper Bass”, “Mids” & “Highs”.
- High-Weighted includes “Lows”, “Mids”, “Presence” & “Ultra-Highs”.
(Note that the “Mids” band on both devices cover the exact same frequency range!)
6-Way Splytter – Splits audio into 6 frequency bands which are calibrated to the subjective human hearing range, very useful for soloing to hear bands: “Bass&Sub”, “Low-Mids”, “Mid-Mids”, “High-Mids”, “High-Highs” & “Brilliance”.
10-Way Splytter – Splits audio into 10 narrow frequency bands.
16-Way Splytter – Splits audio into 16 very narrow frequency bands, sub-grouped among “Lows”, “Mids” & “Highs” meta-chains.
Please note that the filter crossovers for the above devices are imperfect, so they are best used for creative sculpting rather than for precision adjustment, due to the fact that the output frequency contours and levels will be non-neutral. For phase-perfect frequency splitting, please use the “Lo-Hi Splytter” or the “Bell Splytter”.
Behind the Back Panner – Phase-shifting panning technique for virtual surround sound or odd spatial effects.
“Behind the Back Panning Technique”:
1. Use automation to smoothly tilt the “phase pan” knob all the way to one side to make the source “curve to the side” (imagine instead of something moving to the side in front of you, it’s moving to the side around you in a semicircle).
2. Use the corresponding “post position” knob to now pan the source “behind your back”.
3. Now… to move the source back the way it came, continue to use the “post position” knob… Or, to move the source “around the other side” (to simulate circular movement), return the “phase pan” knob to it’s default position of 63.5.
Bell Splytter – Splits audio into a bell filter’s frequency range, and the remainder (its opposite). Any effect you drop into the bell filter band will only be affected by that frequency focus, with adjustable resonance to intensify effects, and optional envelope response if desired, providing the ability to make linear affects non-linear (example: the frequency focus of a dropped-in reverb could get responsively lower the louder the input is).
Using this, you can transform relatively simple, boring effects into wild performance flair by playing with the frequency, resonance, and envelope controls.
CenterEdges Splytter – This is just like the MidSide Splytter, but it also splits the “side” channel furthermore into left and right, which we have dubbed the “edges” channels (example: you could do weird stuff like add reverb + distortion to one edge while heavily compressing the other edge).
Gate Splytter – This one is fun. It splits audio into two chains, one with material above and one with material below an adjustable gate threshold. Make sure to set the threshold so that the audio is flickering between both chains (solo or pan a chain to hear the gating action). You can then add different effects to each (example: add a reverb to only the gated chain; then reverb will not be triggered by the louder transients and only reverberate during the quieter moments).
LeftRight Splytter – Put different effects onto the left and right channels of a stereo track, should you desire to do so.
Lo-Hi Splytter – Splits audio into 2 frequency bands with a phase-perfect sweepable split point anywhere between 30Hz and 22kHz. This should be your go-to frequency splitter when absolute perfection of input-to-output continuity is required, for precision tasks (such as mastering, etc). Of course, you can always use it for crazy creative fun too.
Additional controls allow you to control level and panning of each chain as well as narrow the low chain’s width, and to select between a gradual or a steep crossover.
LRMS Splytter – This rack combines L-R processing and M-S processing chains in parallel. You can choose either L-R or M-S processing only… or a gain-matched blend between L-R and M-S processing.
The M-S processing is further split into left and right edges. Different effects can be dropped into any of these 5 resultant chains: “Left Edge”, “Left Half”, “Center”, “Right Half”, and “Right Edge”.
An exotic feature is to invert the effects applied to the mids and sides content partially or completely. And of course, you can set the panning and gain for each individual chain.
You could think of this rack as the mutant superhuman love-child of the “CenterSides Splytter” and the “LeftRight Splytter”.
MidSide Splytter – Put different effects onto the center and side channels of a stereo track, should you desire to do so, super easily.
Also, you can use it as an M-S encoder or decoder (pan “center” and “sides” to opposite sides).
SPL Splytter – Splits the audio into your choice of 2 to 6 parallel chains which add up to perfect unity sound pressure level. Effects applied to an active sub-chain will apply to the entire audio spectrum, but reduced in sound pressure level by the chosen divisor (for example, you could split the audio into thirds, then apply three different compressors on the three chains, which will all be working on the same material, but without affecting each other the way being routed serially would).
Time Splytter – A most zany device. It splits audio into two different chains, separated by… a time interval.
You can set the tempo-synced rate. By default, the shift is abrupt and complete, but you can implement a smooth fading between instead, if desired (example: place a glitchy effect rack on the “B Segment” chain. When you press play, the audio will play with no effects for one time interval, then every other time interval it will play through the glitchy effects rack instead).
Tri Devices – The following three “tri” devices, are not template splytters as the above effects are. They are instead racks filled with yummy pre-calibrated effects to immediately apply and utilise. Each of the “tri” effects is split into the chains “Low”, “Top Left”, and “Top Right”, and they each have “Split Frequency” and “Low Width” controls.
TriGlue – Triple-acting glue compressors for an easy-to-dial-in tight compression ranging from tickling to blooming.
TriTube – Triple-acting preamp with controls calibrated for optimal application of two alternate flavors: “Crunch” and “Punch”.
TriVerb – Triple-acting reverb for smooth and lush asymmetrical dimensional sculpting.
THIS PACK IS AVAILABLE SEPARATELY USING THE BUY NOW BUTTONS BELOW, OR AS PART OF THE PERFORMODULE COLLECTION TWO!