livepilot 1.0.0

package/plugin/skills/livepilot-core/references/mixing-patterns.md

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+# Mixing Patterns Reference
+
+Timeless mixing knowledge for Ableton Live 12, structured as actionable recipes with specific parameter values.
+
+---
+
+## 1. Gain Staging
+
+### Principles
+
+- **Headroom target:** Keep master bus peaking at -6 dB before mastering; -3 dB minimum
+- **Individual tracks:** Aim for peaks around -12 to -8 dBFS per track
+- **Floating-point safety:** Live's 32-bit float engine has near-infinite internal headroom — tracks can go "into the red" without clipping internally. Clipping only occurs at physical outputs (sound card D/A) or when exporting/rendering
+- **Gain before processing:** Set source gain (sample volume, synth output) before effects chains. Plugins modeled on analog hardware (tape, consoles, compressors) respond differently at different input levels
+- **Utility for staging:** Place Utility device first in chain; use its Gain knob to trim signal to target level before downstream effects
+
+### API Volume Mapping
+
+| API Value | Approximate dB | Use Case |
+|-----------|---------------|----------|
+| `0.0` | -inf (silence) | Muted |
+| `0.50` | ~ -12 dB | Conservative mix level |
+| `0.70` | ~ -6 dB | Typical track level |
+| `0.85` | ~ 0 dB | Unity gain (fader at 0 dB) |
+| `1.0` | +6 dB | Maximum fader position |
+
+> **Note:** The fader range is 0.0-1.0 in the API, where 1.0 = +6 dB. The scale is logarithmic. 0.85 is the commonly referenced value for 0 dB (unity gain).
+
+---
+
+## 2. Parallel Compression (New York Compression)
+
+### Concept
+
+Blend a heavily compressed copy of a signal with the dry original to add density and sustain without destroying transients.
+
+### Setup Method A: Send/Return (Preferred)
+
+1. Create a return track (`create_return_track`)
+2. Load Compressor on return track (`find_and_load_device`)
+3. Set Compressor to aggressive settings (see below)
+4. Set sends from source tracks to the return (`set_track_send`)
+5. Blend with return track volume (`set_track_volume`)
+
+### Setup Method B: Audio Effect Rack
+
+1. Drop an Audio Effect Rack on the track
+2. Create two chains: "Dry" (empty) and "Compressed" (with Compressor)
+3. Adjust chain volumes to blend (`set_chain_volume`)
+
+### Compressor Settings for Parallel Compression
+
+| Parameter | Value | Notes |
+|-----------|-------|-------|
+| Threshold | -30 to -20 dB | Very low — catch everything |
+| Ratio | 8:1 to 20:1 | Heavy compression |
+| Attack | 0.5 - 5 ms | Fast to catch transients |
+| Release | 50 - 150 ms | Medium, follows groove |
+| Knee | 0 dB | Hard knee for aggressive character |
+| Makeup Gain | +6 to +12 dB | Compensate for heavy GR |
+| Dry/Wet | 100% (on return) | Full wet; blend via send/return levels |
+
+### Enhancement: Mid-Scoop EQ After Compressor
+
+Add EQ Eight after the compressor on the return track:
+- Cut 200-500 Hz by -3 to -6 dB (reduce mud from compressed signal)
+- This adds punch without muddiness
+
+### Typical Applications
+
+- **Drums:** Send all drum tracks to parallel compression return; adds body and sustain
+- **Bass:** Light send amount adds density
+- **Vocals:** Brings out detail and presence
+- **Full mix:** Subtle parallel compression on master (use with caution)
+
+---
+
+## 3. Sidechain Compression
+
+### Concept
+
+Use one signal (trigger) to control compression on another signal (target). Classic use: kick drum ducks bass/pads for rhythmic pumping.
+
+### Setup in Ableton Live
+
+1. Place Compressor on the target track (e.g., bass)
+2. Enable Sidechain section (toggle triangle)
+3. Set sidechain Audio From to the trigger track (e.g., kick drum track)
+4. Adjust compressor to taste
+
+### Settings by Genre
+
+#### EDM / House / Techno (Heavy Pump)
+
+| Parameter | Value |
+|-----------|-------|
+| Threshold | -30 to -20 dB |
+| Ratio | Inf:1 (limiter mode) |
+| Attack | 0.01 - 0.1 ms |
+| Release | 100 - 300 ms |
+| Knee | 0 dB (hard) |
+| Mode | Peak |
+
+#### Deep House / Lo-Fi (Subtle Pump)
+
+| Parameter | Value |
+|-----------|-------|
+| Threshold | -20 to -15 dB |
+| Ratio | 4:1 to 6:1 |
+| Attack | 1 - 5 ms |
+| Release | 200 - 400 ms |
+| Knee | 6 dB (soft) |
+| Mode | RMS |
+
+#### Drum & Bass / Dubstep (Quick Duck)
+
+| Parameter | Value |
+|-----------|-------|
+| Threshold | -25 to -15 dB |
+| Ratio | 8:1 to Inf:1 |
+| Attack | 0.01 ms |
+| Release | 50 - 150 ms |
+| Knee | 0 dB |
+| Mode | Peak |
+
+### Pro Tips
+
+- Increase output gain on the compressor for a more dramatic "rise" at the tail of the pump
+- Use the sidechain EQ to filter the trigger signal (e.g., HPF to only trigger from kick's click, not its sub)
+- For transparent ducking without the pump feel: longer attack (10-30 ms), faster release (50-100 ms)
+- Ghost sidechain: use a muted MIDI track with a simple kick pattern as the trigger source for consistent timing
+
+---
+
+## 4. Send/Return Patterns
+
+### Standard 4-Return Template
+
+#### Return A: Short Reverb (Room)
+
+**Device:** Reverb (Live's stock)
+**Purpose:** Glue elements together, simulate shared space
+
+| Parameter | Value |
+|-----------|-------|
+| Dry/Wet | 100% (on return track) |
+| Decay Time | 0.5 - 1.2 s |
+| Pre-Delay | 10 - 25 ms |
+| Room Size | Small to Medium |
+| Diffusion | High (> 80%) |
+| High Cut (Reflect) | 4 - 8 kHz |
+| Low Cut (Reflect) | 200 - 400 Hz |
+
+**Send targets:** Snare, percussion, keys, vocals (light amounts)
+
+#### Return B: Long Reverb (Hall)
+
+**Device:** Reverb
+**Purpose:** Create depth and spaciousness
+
+| Parameter | Value |
+|-----------|-------|
+| Dry/Wet | 100% |
+| Decay Time | 2.5 - 5.0 s |
+| Pre-Delay | 30 - 80 ms |
+| Room Size | Large |
+| Diffusion | High |
+| High Cut (Reflect) | 3 - 6 kHz |
+| Low Cut (Reflect) | 300 - 500 Hz |
+
+**Send targets:** Pads, strings, vocals, FX (moderate amounts)
+
+#### Return C: Delay (Sync'd)
+
+**Device:** Delay
+**Purpose:** Rhythmic echoes, width
+
+| Parameter | Value |
+|-----------|-------|
+| Dry/Wet | 100% |
+| Sync | On |
+| Delay Time L | 3/16 or 1/8 |
+| Delay Time R | 1/8 or 1/4 (offset for stereo) |
+| Feedback | 30 - 50% |
+| Filter On | Yes |
+| HP Filter | 200 - 500 Hz |
+| LP Filter | 4 - 8 kHz |
+| Ping Pong | Optional (for stereo movement) |
+
+**Enhancement:** Place EQ Eight after Delay to cut low end from echoes (HPF at 200 Hz)
+
+**Send targets:** Vocals, synth leads, hi-hats (light), snare (light)
+
+#### Return D: Parallel Compression
+
+**Device:** Compressor (see Section 2 settings)
+**Purpose:** Add punch and density to drums
+
+**Chain:** Compressor -> EQ Eight (mid-scoop at 300-500 Hz, -4 dB)
+
+**Send targets:** Kick, snare, toms, percussion
+
+### Return Track Guidelines
+
+- Always set effect Dry/Wet to 100% on return tracks — the send level controls the blend
+- Use Pre-fader sends when you want reverb/delay tails to continue after fading out the source
+- Use Post-fader sends (default) for normal mixing where effect follows source level
+- High-pass the return track at 80-150 Hz to prevent low-end buildup from reverb/delay
+
+---
+
+## 5. Stereo Width Techniques
+
+### Panning Strategies
+
+| Element | Pan Position | Rationale |
+|---------|-------------|-----------|
+| Kick | Center (0.0) | Anchor, mono compatibility |
+| Snare | Center (0.0) | Core rhythm element |
+| Bass | Center (0.0) | Low-end energy, mono compat |
+| Vocals (lead) | Center (0.0) | Focus point |
+| Hi-hat | Slight L or R (-0.15 to 0.15) | Realism, slight offset |
+| Toms | Spread L to R (-0.5 to 0.5) | Stereo drum image |
+| Rhythm guitar L | Left (-0.6 to -0.8) | Stereo pair |
+| Rhythm guitar R | Right (0.6 to 0.8) | Stereo pair |
+| Keys / Pads | Wide (-0.4 to 0.4) or stereo | Fill the sides |
+| Backing vocals | Spread (-0.3 to 0.3) | Width behind lead |
+| Percussion | Various (-0.7 to 0.7) | Movement and space |
+| FX / Risers | Wide or automated | Interest and motion |
+
+> API pan range: -1.0 (full left) to 1.0 (full right), 0.0 = center
+
+### Stereo Pan Mode
+
+Right-click any pan knob and select "Convert Pan to Stereo Pan" for independent L/R channel panning. Useful for stereo synths and samples.
+
+### Utility Device for Width
+
+| Width Value | Effect |
+|-------------|--------|
+| 0% | Mono (collapses L+R to center) |
+| 100% | Normal stereo (default) |
+| 100-200% | Enhanced width (side signal boosted) |
+| 200% | Side-only (mono content removed) |
+
+### Frequency-Dependent Width ("Upside Triangle")
+
+**Goal:** Narrow low end, wide high end. This ensures mono compatibility for bass while creating spaciousness in the upper spectrum.
+
+**Method using Audio Effect Rack:**
+
+1. Create Audio Effect Rack with 3 chains:
+   - **Low chain:** EQ Eight (LPF at 200 Hz) -> Utility (Width 0%, mono)
+   - **Mid chain:** EQ Eight (BPF 200 Hz - 4 kHz) -> Utility (Width 100%)
+   - **High chain:** EQ Eight (HPF at 4 kHz) -> Utility (Width 120-150%)
+
+**Simpler method with EQ Eight in M/S mode:**
+1. Set EQ Eight to M/S mode
+2. On the Side channel: apply HPF at 150-250 Hz (removes stereo info below this)
+3. Optionally boost high-shelf on Side above 4 kHz for air and width
+
+### Haas Effect (Micro-Delay Widening)
+
+1. Place Delay on track
+2. Set one channel to 10-30 ms, other to 0 ms
+3. **Warning:** Check mono compatibility — Haas effect causes phase cancellation in mono
+
+### Mid/Side Processing with Utility
+
+- **Extract Mid (mono center):** Utility with Width at 0%
+- **Extract Side (stereo difference):** Utility with Width at 200%
+- Use in parallel chains to process mid and side independently
+
+---
+
+## 6. Low-End Management
+
+### Bass/Kick Relationship Strategies
+
+#### Strategy 1: Frequency Separation (EQ Carving)
+
+Decide which element owns the sub:
+- **Kick-dominant sub:** HPF bass at 60-80 Hz, let kick fill sub. Boost bass body at 100-200 Hz
+- **Bass-dominant sub:** HPF kick at 50-60 Hz (gentle), boost kick attack at 2-5 kHz. Let bass fill sub range
+
+Complementary EQ cuts:
+- If kick has a bump at 60 Hz, cut bass at 60 Hz (and vice versa)
+- If kick has presence at 3 kHz, cut bass at 3 kHz
+
+#### Strategy 2: Sidechain Ducking
+
+Place Compressor on bass with kick as sidechain input. Both can share the sub range because the bass ducks when the kick hits.
+
+#### Strategy 3: Multiband Sidechain
+
+Use Multiband Dynamics on bass, sidechain only the low band (below 120 Hz) from the kick. Upper bass harmonics stay unaffected.
+
+### High-Pass Filtering Guide
+
+| Instrument | HPF Frequency | Slope |
+|------------|--------------|-------|
+| Kick drum | None or 30 Hz | 24 dB/oct |
+| Bass | None or 30 Hz | 24 dB/oct |
+| Snare | 80 - 120 Hz | 18-24 dB/oct |
+| Hi-hats | 200 - 400 Hz | 12-18 dB/oct |
+| Guitars | 80 - 120 Hz | 12 dB/oct |
+| Keys / Piano | 60 - 100 Hz | 12 dB/oct |
+| Vocals | 80 - 120 Hz | 18 dB/oct |
+| Pads / Strings | 100 - 200 Hz | 12 dB/oct |
+| FX / Risers | 150 - 300 Hz | 12 dB/oct |
+
+### Mono Below Frequency
+
+Keep everything below ~150-250 Hz in mono for:
+- Mono club playback compatibility
+- Vinyl cutting (stereo bass causes needle skip)
+- Cleaner low end, less phase issues
+
+**Implementation:** See Section 5 "Frequency-Dependent Width" method
+
+### Sub Frequency Handling
+
+- Sub bass (20-60 Hz): Should be clean sine or triangle. Avoid complex harmonics
+- One element at a time in sub range — never two sounds competing below 60 Hz
+- Use spectrum analyzer to verify sub content (Spectrum device on master)
+
+---
+
+## 7. EQ Patterns
+
+### Frequency Character Map
+
+| Range | Name | Character | Common Actions |
+|-------|------|-----------|----------------|
+| 20-60 Hz | Sub bass | Felt more than heard, physical rumble | HPF non-bass instruments; clean up with surgical cuts |
+| 60-250 Hz | Bass body | Warmth, fullness, weight | Boost for warmth, cut for clarity |
+| 200-500 Hz | Low mids / "Mud" | Boxy, muddy, nasal | Cut broadly by 2-4 dB on most tracks to clean mix |
+| 500 Hz-1 kHz | Mid body | Honky, hollow | Cut for space, boost for body on thin sounds |
+| 1-4 kHz | Upper mids / Presence | Bite, attack, clarity, aggression | Boost vocals/guitars for presence; harsh if overdone |
+| 4-8 kHz | Brilliance | Sibilance, definition, edge | De-ess vocals; boost for articulation |
+| 8-12 kHz | Sparkle | Crisp, bright, shimmer | Boost cymbals/acoustic guitars for life |
+| 12-20 kHz | Air | Airy, open, ethereal | Gentle shelf boost for "air"; roll off if harsh |
+
+### Common EQ Recipes by Instrument
+
+#### Kick Drum
+- HPF: 30 Hz (remove sub rumble below tuning)
+- Boost: +2-4 dB at 50-80 Hz (sub weight)
+- Cut: -3-5 dB at 300-400 Hz (remove boxiness)
+- Boost: +2-3 dB at 3-5 kHz (beater click/attack)
+
+#### Snare
+- HPF: 80-100 Hz
+- Boost: +2-3 dB at 150-250 Hz (body)
+- Cut: -2-4 dB at 400-800 Hz (boxiness)
+- Boost: +2-3 dB at 2-4 kHz (crack/snap)
+- Boost: +1-2 dB shelf at 8 kHz+ (sizzle/wires)
+
+#### Bass (Synth or Electric)
+- HPF: 30 Hz
+- Boost: +2-3 dB at 60-100 Hz (sub foundation)
+- Cut: -2-4 dB at 200-400 Hz (mud)
+- Boost: +1-3 dB at 700 Hz-1.5 kHz (growl/presence)
+
+#### Vocals
+- HPF: 80-120 Hz
+- Cut: -2-3 dB at 200-400 Hz (proximity effect/mud)
+- Boost: +2-4 dB at 2-5 kHz (presence, intelligibility)
+- De-ess: narrow cut at 5-8 kHz if sibilant
+- Boost: +1-2 dB shelf at 10 kHz+ (air)
+
+#### Pads / Strings
+- HPF: 150-250 Hz (make room for bass)
+- Cut: -2-3 dB at 300-500 Hz
+- Shelf boost: +1-2 dB at 8 kHz+ (air and openness)
+
+#### Hi-Hats / Cymbals
+- HPF: 300-500 Hz (aggressive filtering)
+- Cut: -2-3 dB at 1-3 kHz (reduce harshness)
+- Boost: +1-2 dB at 8-12 kHz (shimmer)
+
+#### Piano / Keys
+- HPF: 80-120 Hz
+- Cut: -2-3 dB at 300-500 Hz
+- Boost: +1-2 dB at 2-4 kHz (definition)
+- Boost: +1 dB shelf at 8 kHz (brightness)
+
+### EQ Philosophy
+
+- **Cut more than boost** — aim for 2:1 ratio of cuts to boosts
+- **Subtractive first:** Cut competing frequencies on other tracks rather than boosting the one you want to hear
+- **Narrow cuts, wide boosts:** Use high Q for surgical removal, low Q for tonal shaping
+- **Context is everything:** Solo to find problems, but always judge in context of the full mix
+- **EQ Eight Oversampling:** Enable "HiQ" mode on master/bus EQ for cleaner high-frequency processing
+
+---
+
+## 8. Bus Processing
+
+### Drum Bus Chain
+
+**Track setup:** Group all drum tracks into a group track (acts as bus)
+
+**Typical chain order:**
+
+1. **EQ Eight** — HPF at 30 Hz, cut 300-500 Hz by -2 dB, gentle presence boost at 4 kHz
+2. **Glue Compressor** — The go-to drum bus compressor (modeled on SSL bus comp)
+   - Threshold: -15 to -25 dB
+   - Ratio: 2:1 to 4:1
+   - Attack: 0.3 - 10 ms (longer preserves transients)
+   - Release: 0.1 - 0.4 s (or Auto)
+   - Makeup: compensate to match bypassed level
+   - Range: -3 to -6 dB (limits max GR)
+3. **Saturator** (optional) — Analog Clip or Soft Sine mode, Drive 1-3 dB for warmth
+4. **Drum Buss** (Live device) — Trim, Crunch (distortion), Boom (low-end resonance), Transients
+
+### Instrument / Synth Bus Chain
+
+1. **EQ Eight** — HPF at 100-200 Hz (keep out of bass territory), tame 2-4 kHz if harsh
+2. **Compressor** — Gentle glue
+   - Ratio: 2:1 to 3:1
+   - Attack: 10-30 ms
+   - Release: Auto or 100-200 ms
+   - GR target: 1-3 dB
+3. **Utility** — Width adjustment (80-120%), level trim
+
+### Vocal Bus Chain (if multiple vocal tracks)
+
+1. **EQ Eight** — HPF 100 Hz, presence boost 2-4 kHz
+2. **Compressor** — Ratio 3:1 to 4:1, fast-ish attack (5-15 ms), medium release
+3. **De-esser** (or dynamic EQ) — Tame 5-8 kHz
+4. **Saturator** — Very subtle (1-2 dB drive) for warmth
+
+### Master Chain (Pre-Mastering)
+
+**Typical order:**
+
+1. **Utility** — Gain trim to hit target level into chain; mono check button
+2. **EQ Eight** (HiQ mode) — Corrective: HPF at 25-30 Hz, gentle broad cuts/boosts
+3. **Glue Compressor** — Very gentle bus compression
+   - Ratio: 2:1
+   - Attack: 10-30 ms
+   - Release: Auto
+   - GR target: 1-2 dB max
+   - Soft Clip: On (optional gentle limiting)
+4. **Multiband Dynamics** (optional) — Light upward compression per band, 1-2 dB GR max per band
+5. **EQ Eight** (optional) — Final tonal polish: air boost shelf at 10 kHz
+6. **Limiter** — Final brick wall
+   - Gain: +2 to +4 dB (genre dependent)
+   - Ceiling: -0.3 dB (headroom for codec conversion)
+   - Lookahead: 1-4 ms
+   - Release: Auto
+   - **Target:** No more than 3-6 dB of gain reduction for transparent results
+
+---
+
+## 9. Volume Relationships
+
+### Relative Level Starting Points
+
+Build the mix from the anchor element outward. These are approximate starting relationships, not absolute values.
+
+| Element | Relative Level | Notes |
+|---------|---------------|-------|
+| Kick | Reference (0 dB) | Loudest element in most electronic genres |
+| Snare/Clap | -1 to -3 dB | Close to kick, sometimes equal |
+| Bass | -2 to -4 dB | Sub peaks similar to kick; mid-bass quieter |
+| Lead Vocal | -1 to -3 dB | Sits on top in vocal-driven genres |
+| Hi-hats | -6 to -10 dB | Support, not dominate |
+| Percussion | -8 to -12 dB | Texture and groove |
+| Synth Lead | -4 to -8 dB | Prominent but behind vocal |
+| Pads / Strings | -10 to -15 dB | Bed/texture, felt not heard prominently |
+| FX / Risers | -8 to -14 dB | Momentary, automated |
+
+### Genre-Specific Anchor
+
+| Genre | Anchor Element | Secondary |
+|-------|---------------|-----------|
+| EDM / House | Kick | Bass |
+| Hip-Hop / Trap | 808/Bass | Snare/Clap |
+| Pop | Vocals | Kick + Snare |
+| Rock | Snare | Vocals |
+| Ambient | Pads | Texture |
+
+### Mix Bus Target
+
+- **Peak level at master:** -6 to -3 dBFS before mastering
+- **RMS / LUFS:** Genre dependent, but -14 to -10 LUFS integrated is a good pre-master range
+- **After mastering/limiting:** -1 to 0 dBTP; -8 to -14 LUFS integrated depending on genre and platform
+
+---
+
+## 10. Ableton Utility Device — Complete Reference
+
+### Parameters
+
+| Parameter | Range | Default | Purpose |
+|-----------|-------|---------|---------|
+| Gain | -35 to +35 dB | 0 dB | Level adjustment without moving fader |
+| Width | 0% to 200% | 100% | Stereo field control |
+| Bass Mono | Off / On + Freq | Off | Collapse frequencies below threshold to mono |
+| Bass Mono Freq | 50-500 Hz | 120 Hz | Cutoff for bass mono |
+| Mute | On/Off | Off | Silence output |
+| Phase (Left) | Normal / Invert | Normal | Invert left channel phase |
+| Phase (Right) | Normal / Invert | Normal | Invert right channel phase |
+| Channel Mode | Stereo / Left / Right / Swap | Stereo | Route specific channels |
+| Panorama | -50 to 50 | 0 | Pan within the device |
+
+### Common Use Cases
+
+1. **Gain staging:** Place first in chain, set Gain to bring signal to target level before plugins
+2. **Mono bass:** Enable Bass Mono, set frequency to 120-200 Hz
+3. **Mono check:** Set Width to 0% on master to check mono compatibility (then set back to 100%)
+4. **Phase correction:** Invert L or R phase to fix phase cancellation issues
+5. **Width reduction:** Width at 50-80% to narrow a too-wide synth
+6. **Width enhancement:** Width at 120-150% to widen pads/ambience (check mono compat)
+7. **Side extraction:** Width at 200% to hear only the difference signal
+8. **Channel isolation:** Set to Left or Right to solo one channel; use Swap to flip L/R
+9. **Silent sidechain trigger:** Place Utility at end of chain with Mute on; track still sends audio to sidechain inputs but is inaudible in mix
+10. **A/B level matching:** Place at end of chain; bypass all effects, match perceived loudness using Gain to fairly compare processed vs. dry
+
+---
+
+## Quick-Reference: LivePilot API for Mixing
+
+### Key Tools
+
+| Operation | Tool | Key Params |
+|-----------|------|------------|
+| Set track volume | `set_track_volume` | `track_index`, `volume: 0.0-1.0` |
+| Set track pan | `set_track_pan` | `track_index`, `pan: -1.0 to 1.0` |
+| Set send level | `set_track_send` | `track_index`, `send_index`, `value: 0.0-1.0` |
+| Create return track | `create_return_track` | — |
+| Load device | `find_and_load_device` | `track_index`, `device_name` |
+| Set device parameter | `set_device_parameter` | `track_index`, `device_index`, `parameter_name`, `value` |
+| Batch set parameters | `batch_set_parameters` | `track_index`, `device_index`, `parameters: [...]` |
+| Get return tracks | `get_return_tracks` | — |
+| Get master track | `get_master_track` | — |
+| Set master volume | `set_master_volume` | `volume: 0.0-1.0` |
+| Set track routing | `set_track_routing` | `track_index`, `output_type`, etc. |
+
+### Common Workflows
+
+**Set up a reverb return:**
+```
+create_return_track
+find_and_load_device(return_track_index, "Reverb")
+batch_set_parameters(return_track_index, 0, [
+    {"name": "Dry/Wet", "value": 1.0},
+    {"name": "Decay Time", "value": 2.5},
+    {"name": "Pre-Delay", "value": 30}
+])
+set_track_send(source_track, return_send_index, 0.5)
+```
+
+**Set up sidechain compression:**
+```
+find_and_load_device(bass_track, "Compressor")
+# Sidechain routing must be configured via Ableton UI
+# or set_track_routing if sidechain input routing is exposed
+batch_set_parameters(bass_track, compressor_index, [
+    {"name": "Threshold", "value": ...},
+    {"name": "Ratio", "value": ...},
+    {"name": "Attack", "value": ...},
+    {"name": "Release", "value": ...}
+])
+```
+
+**Quick drum bus glue:**
+```
+find_and_load_device(drum_group_track, "Glue Compressor")
+batch_set_parameters(drum_group_track, device_index, [
+    {"name": "Threshold", "value": ...},
+    {"name": "Ratio", "value": 4},
+    {"name": "Attack", "value": 0.3},
+    {"name": "Release", "value": 0.2}
+])
+```