livepilot 1.26.0 → 1.26.1

package/livepilot/skills/livepilot-core/references/sound-design-deep.md

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+# Deep Sound Design — Techniques from the Masters
+
+This is a reference for creative sound design thinking, not a recipe book. These are principles and techniques drawn from deep minimal, dub techno, and experimental electronic production. Use them as inspiration — adapt, combine, subvert.
+
+## Philosophy: Sound Design IS Composition
+
+In minimal and experimental electronic music, sound design and composition are the same thing. A filter sweep IS the melody. A reverb tail IS the harmony. Modulation IS the arrangement. The producer's job is not to write notes — it's to sculpt evolving textures.
+
+**Minimal-techno principle:** A single sound source, properly modulated, IS a complete piece. The trick is making one thing do the work of ten.
+
+**Basic Channel principle:** Space is an instrument. Delay and reverb are not effects — they are the composition itself.
+
+**Richie Hawtin principle:** Subtraction is more powerful than addition. Remove one thing and the remaining elements become louder without touching a fader.
+
+---
+
+## Technique Library
+
+### 1. Micro-Modulation (Making Things Breathe)
+
+The difference between "sounds like a computer" and "sounds alive" is modulation that operates below conscious perception.
+
+**Filter breathing:** Assign an LFO at 0.1-0.5 Hz to a lowpass filter cutoff with a depth of 5-15%. The filter opens and closes like breathing. The listener doesn't hear "filter modulation" — they feel "organic movement."
+
+**Oscillator drift:** Detune oscillators by 1-3 cents with slow LFO modulation (0.05-0.2 Hz). This creates the warmth of analog — tiny pitch instabilities that prevent digital sterility.
+
+**Amplitude micro-variation:** Automate track volume with perlin/brownian noise at very low depth (±1-3 dB). Every bar sounds slightly different even with identical notes.
+
+**Key insight:** If the listener can consciously hear the modulation, it's too much. The best modulation is felt, not heard.
+
+### 2. Space as Composition (Dub Techniques)
+
+In dub techno, reverb and delay are not decorations — they generate the harmonic and melodic content.
+
+**The dub chord:** A short, dry chord stab fed into long delay (70-80% feedback) with a filter on the delay return. The delay tail becomes the pad. The filter on the return shapes the "melody" — slowly opening the filter on the delay return makes the chord brighten over time while the source stays dark.
+
+**Reverb as harmony:** A single note hit fed into a reverb with 5-10s decay. The reverb tail becomes a drone that carries harmonic information. Modulating the reverb's pre-delay and diffusion creates the impression of harmonic movement.
+
+**Delay throws:** Normally sends are set to a fixed level. A "throw" is a momentary spike — send level goes from 0 to 60-80% for half a beat, then back to 0. The element echoes into space and the echo fills the gap. Use this on snare, hats, vocal fragments. The throw IS the composition — it creates rhythmic space events.
+
+**Feedback modulation:** Set delay feedback to 75-85% (near self-oscillation). Then modulate the delay time by ±5-10%. The pitch shifts create eerie, warped echoes — the signature Basic Channel sound.
+
+### 3. Creative Sidechain (Beyond Pump)
+
+Sidechain compression is not just for the kick-bass pump. It's a modulation source.
+
+**Sidechain reverb from drums:** Route the dry drum signal to trigger sidechain compression on the reverb return. When drums hit, the reverb ducks. When drums are silent, the reverb fills the space. This creates rhythmic breathing in the entire reverb field — the room "pulses" with the groove.
+
+**Sidechain everything from a ghost kick:** Create a muted kick track (no audio output). Use it as a sidechain source for pads, textures, atmospheres. This creates rhythmic ducking on elements that have no rhythmic content — they pulse with a phantom groove.
+
+**Sidechain filter instead of volume:** Instead of ducking volume, use an envelope follower (from the kick) to modulate a filter cutoff on the pad. When the kick hits, the pad filter closes. When the kick releases, the pad opens. Subtler than volume ducking — the pad "brightens" between kicks instead of getting quieter.
+
+**Multiband sidechain:** Only duck the low frequencies of a pad from the kick. The high frequencies stay constant — shimmer remains while the sub clears for the kick. Use Multiband Dynamics or an EQ before the compressor.
+
+### 4. Textural Layering (Micro-Fragment Method)
+
+Minimal-techno producers build textures by layering tiny, filtered, processed fragments — each one barely audible alone, together they create a living fabric.
+
+**Grain technique:** Take a single percussion hit. Duplicate it 3-4 times. Process each copy differently — one through bit reduction, one through heavy reverb, one through a bandpass filter, one pitch-shifted. Pan them across the stereo field. Mix each at 15-25% of the original. The result: one "hit" that has depth, width, and organic irregularity.
+
+**Noise sculpting:** White noise through a tight bandpass filter with slow LFO on the center frequency creates a "breathing" texture. Add this at -20dB under your main elements. It's the "air" in the room. Modulate the filter Q for moments of focus.
+
+**Sample mangling:** Take a melodic sample. Time-stretch it to 200-400% length. This reveals the granular structure — artifacts become texture. Filter the result aggressively. Use what remains as an atmospheric layer.
+
+### 5. Frequency Domain Thinking
+
+Don't think about tracks — think about frequency bands. Each band is a voice in the mix.
+
+**Sub (20-60 Hz):** One element only. Kick or bass, never both at the same time. Sidechain or frequency split to ensure they alternate.
+
+**Low (60-200 Hz):** Bass body and kick impact. Keep this mono. This is where groove lives.
+
+**Low-mid (200-500 Hz):** The "warmth" zone but also the "mud" zone. Be selective — only one or two elements should occupy this space at any time.
+
+**Mid (500-2kHz):** Where most melodic/harmonic content sits. Filter pads to stay below 2kHz for depth. Bright melodic elements (leads) sit above 1kHz.
+
+**High-mid (2-6kHz):** Presence and attack. Hi-hats, percussion transients, vocal presence. This is what makes things "cut through."
+
+**High/Air (6-20kHz):** Shimmer and sparkle. Reverb tails, noise textures, cymbal sustain. Subtle modulation here creates "life."
+
+**The frequency dance:** At any given moment, each frequency band should have one primary element. When the chord opens its filter into the highs, pull the hi-hat back. When the bass drops, the kick shortens. This is mix engineering as composition.
+
+### 6. Organic Automation Shapes
+
+Real producers don't draw straight lines or perfect curves. Their automation reflects human movement.
+
+**Perlin noise:** Smooth, natural-looking randomness. Perfect for filter cutoff drift, send level breathing, oscillator detune. Sounds like "a hand on a knob."
+
+**Brownian motion:** Random walk — each value is close to the previous one. Good for very slow parameter drift over 16-32 bars. Creates the feeling of gradual transformation.
+
+**Exponential curves:** For build-ups and filter sweeps. Energy accumulates slowly at first, then accelerates. This is how tension works in music — the last 4 bars contain more change than the first 12.
+
+**Asymmetric envelopes:** Fast attack, slow release on send throws. The element stabs into the reverb quickly, but the tail fades slowly. This is more musical than symmetric curves.
+
+**Anti-quantize:** After drawing automation, add tiny random offsets (±0.05 beats) to the breakpoints. This prevents the automation from sounding "gridded."
+
+### 7. The WTF Moment
+
+Every great minimal track has 2-3 moments where something unexpected happens — a sound that doesn't belong, a brief disruption that breaks the hypnosis just enough to deepen it.
+
+**Techniques:**
+- Reverse a percussion hit for 1 bar before a section change
+- Pitch-shift the entire master bus by ±2 semitones for 2 beats
+- Suddenly remove ALL reverb for 4 beats — the room "dries up"
+- Send one element to 100% delay feedback for 1 beat, creating a momentary pitch spiral
+- Drop the tempo by 0.5 BPM for 16 bars, then return — subconscious tension
+- Insert 1 bar of silence (mute master) — the most powerful "effect"
+
+**Rules:**
+- Maximum 3 WTF moments per 8-minute track
+- Never repeat the same trick
+- The WTF moment should last 2-8 beats — any longer and it becomes a section, not a moment
+- After the WTF, return to exactly where you were — the contrast is what makes it powerful
+
+### 8. Effects as Instruments
+
+In experimental electronic music, effects chains ARE instruments.
+
+**Self-oscillating filter:** Push a filter's resonance to the point where it starts ringing. Play notes by changing the cutoff frequency. The filter becomes a sine oscillator with natural overtones.
+
+**Feedback loop instrument:** Route a track's output back to its own input through effects. Add a compressor to prevent runaway feedback. What you get is a living, evolving texture that responds to its own output. Add a gate to control when it speaks.
+
+**Granular reverb:** Very short reverb (0.1-0.3s) with high diffusion on percussive sounds. The reverb doesn't add "space" — it smears the transient into a tonal cloud. The pitch of the cloud is determined by the reverb size.
+
+**Convolution as synthesis:** Load a non-impulse-response file into a convolution reverb — a speech recording, a drum break, a synth pad. The "reverb" imprints the spectral character of that source onto whatever passes through it. A kick drum through a vocal convolution gains speech-like formants.
+
+---
+
+## Application Principles
+
+When working on any track, think about these layers:
+
+1. **Foundation:** What is the one element that defines this track? Protect it.
+2. **Modulation:** What is moving? If nothing is moving, the track is dead.
+3. **Space:** Where are things in the stereo field? What reverb/delay creates the "room"?
+4. **Frequency balance:** At any moment, is every frequency band occupied by exactly one primary element?
+5. **Surprise:** Where are the 2-3 WTF moments that break the hypnosis?
+6. **Evolution:** Over 8 minutes, what changes? Not clip changes — parameter changes. The filter that opened 5% in the first minute is at 70% by minute 6.
+
+**The test:** Mute any single track. If the track sounds empty, that element is doing too much. If the track sounds the same, that element isn't doing enough. Each element should be missed when removed but not dominant when present.

package/livepilot/skills/livepilot-core/references/sound-design.md

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+# Sound Design — Instruments, Effects & Recipes
+
+Ableton Live's stock instruments and effects with key parameters, typical values, and sound design starting points. Use these as launch pads — every sound should be shaped by context.
+
+## Stock Instruments
+
+### Analog (Subtractive Synth)
+Two oscillators + noise → two filters → two amplifiers. Classic analog-modeled subtractive synthesis.
+
+**Key parameters:**
+- `Osc1 Shape` / `Osc2 Shape` — Saw, Square/Pulse, Sine, Noise
+- `Osc1 Octave` / `Osc2 Octave` — -3 to +3
+- `Osc2 Detune` — Fine detune for thickness (-1.0 to 1.0 semitones)
+- `Filter1 Type` — LP12, LP24, BP, HP, Notch
+- `Filter1 Freq` — Cutoff frequency (20 Hz - 20 kHz)
+- `Filter1 Res` — Resonance (0 to 1.0)
+- `Fil1 Env Amount` — Filter envelope depth
+- `Amp1 Attack` / `Decay` / `Sustain` / `Release` — ADSR envelope
+- `LFO1 Rate` / `Amount` — Modulation speed and depth
+
+### Wavetable (Wavetable Synth)
+Two wavetable oscillators with continuous morphing, sub oscillator, and powerful modulation.
+
+**Key parameters:**
+- `Osc 1 Pos` — Wavetable position (0-1, morphs through waveforms)
+- `Osc 1 Effect` — FM, Classic, Modern, formant effects on the wavetable
+- `Sub Osc` — Sub oscillator (-2 to 0 octaves, sine/triangle)
+- `Filter Type` — LP/HP/BP with various slopes
+- `Filter Freq` — Cutoff
+- `Filter Res` — Resonance
+- `Mod Matrix` — Map any source (LFO, envelope, velocity, etc.) to any parameter
+- `Unison Voices` — 1-8 voices for supersaw/thick sounds
+- `Unison Amount` — Detune spread between voices
+
+### Operator (FM Synth)
+Four oscillators (operators) that can modulate each other's frequency. 11 algorithms define the routing.
+
+**Key parameters:**
+- `Algorithm` — Routing topology (1-11). Algorithm 1 = all serial (most harmonics). Algorithm 11 = all parallel (additive).
+- `Osc A-D Coarse` — Frequency ratio (0.5, 1, 2, 3... harmonic ratios)
+- `Osc A-D Level` — Output level / modulation amount
+- `Osc A-D Waveform` — Sine, Saw, Square, Triangle, Noise
+- `Filter Freq` / `Res` — Global filter
+- `LFO Rate` / `Amount` — Vibrato, tremolo
+- `ADSR per operator` — Each operator has its own envelope
+
+### Drift (Analog-Modeled)
+Simple, characterful analog synth with built-in instability and warmth.
+
+**Key parameters:**
+- `Shape` — Oscillator shape (continuous morph)
+- `Drift` — Amount of analog-style instability
+- `Filter` — Low-pass filter with resonance
+- `Envelope` — Attack/Decay/Sustain/Release
+- `Voice Mode` — Mono, Poly, Unison
+- `Modulation` — Built-in LFO and envelope routing
+
+### Simpler (Sample Player)
+One-shot or looped sample playback with filter, envelope, LFO, and warp modes.
+
+**Key parameters:**
+- `Mode` — Classic (one-shot), One-Shot, Slicing
+- `Start` / `End` — Sample region
+- `Loop` — On/off, loop start/length
+- `Filter Type` / `Freq` / `Res` — Sample filtering
+- `Amp Envelope` — ADSR for amplitude
+- `Warp` — Time-stretch sample to tempo
+- `Voices` — Polyphony count
+- `Spread` — Stereo spread for polyphonic voices
+
+### Drum Rack
+Container that maps samples/instruments to MIDI notes (pads). Each pad is a chain.
+
+**Key concepts:**
+- 128 pads (MIDI 0-127), typically using 36-51 (C1-D#2)
+- **Choke groups**: Assign pads to same group — triggering one silences others (e.g., open/closed hi-hat)
+- Each pad has its own chain: sample player + effects
+- **Macro knobs**: 8 knobs that can control parameters across multiple chains
+- Sends A/B per pad for internal effects routing
+
+### Other Instruments
+- **Sampler** — Advanced multi-sample instrument with zones, layers, modulation matrix
+- **Tension** — Physical modeling of strings (pluck, bow, hammer)
+- **Collision** — Physical modeling of mallet instruments (bars, membranes, plates)
+- **Electric** — Electric piano modeling (tine, reed, pickup, damper)
+- **Meld** — MPE-capable synth with two engines and a mixer
+
+## Stock Audio Effects
+
+### Dynamics
+
+**Compressor**
+- `Threshold` — Level where compression starts (dB)
+- `Ratio` — Compression ratio (1:1 to inf:1)
+- `Attack` — How fast compression engages (0.01-300ms)
+- `Release` — How fast compression releases (1-3000ms)
+- `Knee` — Soft/hard knee transition
+- `Makeup` / `Output Gain` — Compensate for gain reduction
+- `Sidechain` — External input for ducking (key for pumping effects)
+- **Modes**: Peak, RMS, Expand, OTT-style multiband (Compressor modes)
+
+**Glue Compressor**
+Bus-style compressor modeled on classic mix bus compressors.
+- `Threshold`, `Ratio` (2, 4, 10), `Attack`, `Release`
+- `Range` — Limits maximum compression
+- `Dry/Wet` — Parallel compression in one device
+- **Best for**: Drum bus, mix bus, gluing groups together
+
+**Limiter**
+- `Gain` — Input gain before limiting
+- `Ceiling` — Maximum output level
+- `Release` — Auto or manual
+- **Use for**: Final output protection, loudness maximizing
+
+**Gate**
+- `Threshold` — Level below which audio is muted
+- `Attack` / `Hold` / `Release` — Gate timing
+- `Return` — Hysteresis (how far below threshold to close)
+- **Use for**: Removing bleed, tightening drums, creative gating
+
+**Multiband Dynamics**
+Three frequency bands, each with its own compressor/expander.
+- `Low` / `Mid` / `High` — Frequency crossover points
+- Per-band: `Threshold Above/Below`, `Ratio`, `Attack`, `Release`
+- **Use for**: Mastering, de-essing, frequency-specific dynamics
+
+### EQ & Filters
+
+**EQ Eight**
+8-band parametric EQ — the workhorse.
+- Per band: `Frequency`, `Gain` (dB), `Q` (bandwidth)
+- Filter types: LP, HP, Bell, Notch, Low Shelf, High Shelf
+- Various slopes: 12dB, 24dB, 48dB per octave
+- `Oversampling` — Reduce aliasing at high frequencies
+
+**Auto Filter**
+Resonant filter with LFO, envelope follower, and sidechain.
+- `Filter Type` — LP/HP/BP/Notch, various slopes
+- `Frequency` — Cutoff
+- `Resonance` — Q factor
+- `LFO Amount` / `Rate` / `Shape` — Filter movement
+- `Envelope Amount` / `Attack` / `Release` — Envelope follower
+- **Use for**: Sweeps, wobbles, auto-wah, rhythmic filtering
+
+**Channel EQ**
+Simple 3-band EQ for quick tonal shaping.
+- `Low`, `Mid`, `High` — Gain knobs
+- `Mid Freq` — Sweepable mid frequency
+
+### Time-Based
+
+**Reverb**
+- `Decay Time` — Reverb tail length (0.2-60s)
+- `Pre Delay` — Delay before reverb starts (0-500ms)
+- `Room Size` — Early reflection size
+- `Diffusion` — Density of reflections
+- `High/Low Cut` — EQ the reverb tail
+- `Dry/Wet` — Mix (100% wet on return tracks)
+- `Freeze` — Infinite sustain of current reverb
+- **Types**: Room (short, 0.5-1.5s), Hall (medium, 1.5-4s), Cathedral (long, 4-10s+)
+
+**Delay**
+- `Time Left/Right` — Delay time (sync or ms)
+- `Feedback` — How much repeats (0-100%)
+- `Filter` — LP/HP on feedback path
+- `Dry/Wet` — Mix
+- `Ping Pong` — Alternates between L/R
+- **Common sync values**: 1/4, 1/8, 3/16 (dotted eighth), 1/4T (triplet)
+
+**Echo** (combines delay + reverb + modulation)
+- `Left/Right Time` — Delay times
+- `Feedback` — Repeat amount
+- `Reverb Level` — Built-in reverb
+- `Modulation` — Chorus-like movement in delay
+- `Ducking` — Delays get quieter when input is playing
+- `Gate` — Rhythmic gating of the echo tail
+
+### Distortion & Saturation
+
+**Saturator**
+- `Drive` — Amount of saturation
+- `Curve Type` — Analog Clip, Soft Sine, Medium Curve, Hard Curve, Sinoid Fold, Digital Clip
+- `Output` — Compensate volume
+- `Dry/Wet` — Parallel blend
+- **Soft Sine**: Warm, subtle. **Sinoid Fold**: Aggressive harmonics. **Analog Clip**: Tape-like.
+
+**Overdrive**
+- `Drive` — Distortion amount
+- `Tone` — Brightness
+- `Dynamics` — Preserves or compresses dynamics
+- **Use for**: Guitar-amp style warmth, bass grit
+
+**Erosion**
+- Adds digital artifacts: noise, sine wave modulation
+- `Amount`, `Frequency`, `Width`
+- **Use for**: Lo-fi, bitcrushed textures, digital degradation
+
+**Redux**
+- `Downsample` — Reduces sample rate (aliasing)
+- `Bit Reduction` — Reduces bit depth (quantization noise)
+- **Use for**: 8-bit sounds, lo-fi, retro textures
+
+### Modulation
+
+**Chorus-Ensemble**
+- `Rate 1/2` — LFO speeds
+- `Amount 1/2` — Modulation depths
+- `Feedback` — Flanging intensity
+- `Dry/Wet` — Mix
+- **Use for**: Thickening, stereo width, classic chorus
+
+**Phaser-Flanger**
+- `Rate` — LFO speed
+- `Amount` — Modulation depth
+- `Feedback` — Intensity/resonance
+- **Phaser**: Sweeping notches. **Flanger**: Jet/whoosh effect.
+
+**Shifter** (renamed from Frequency Shifter in Live 12)
+- `Frequency` — Shift amount in Hz (not semitones — inharmonic)
+- `Drive` — Input gain
+- `Dry/Wet` — Mix
+- **Use for**: Metallic textures, detuned unease, ring-mod effects
+- **Browser name**: `Shifter` (use this with `find_and_load_device`)
+
+### Utility
+
+**Utility**
+Essential for mixing — should be on every track during mix.
+- `Gain` — Volume trim (-inf to +35dB)
+- `Width` — Stereo width (0=mono, 100=normal, 200=wide)
+- `Bass Mono` — Make frequencies below X Hz mono
+- `Bass Mono Freq` — Cutoff for mono bass (typically 120-200 Hz)
+- `Mute` — Kill switch
+- `Phase Invert L/R` — Flip phase
+- `Channel Mode` — Left, Right, Both, Swap
+
+## Sound Design Recipes
+
+These are starting points — load the instrument with `find_and_load_device`, then use `batch_set_parameters` to set values. Always `get_device_parameters` first to see exact parameter names.
+
+### Sub Bass (Analog)
+Deep, clean low-end foundation.
+```
+Oscillator 1: Sine wave
+Oscillator 2: Off
+Filter: LP24, cutoff ~200 Hz, no resonance
+Amp Envelope: Attack 0ms, Decay 0ms, Sustain 100%, Release 100ms
+Note range: C0-C2 (MIDI 24-48)
+```
+- Mono mode (one voice)
+- Velocity sensitivity low/off for consistent level
+
+### Reese Bass (Analog or Wavetable)
+Thick, detuned, evolving bass for DnB/dubstep.
+```
+Oscillator 1: Saw wave
+Oscillator 2: Saw wave, detune +5-15 cents
+Filter: LP24, cutoff ~500 Hz, resonance 20%
+Filter Envelope: moderate amount, medium attack (50-200ms)
+Unison: 2-4 voices, moderate spread
+```
+- Automate filter cutoff for movement
+- Layer with clean sub (separate track) for low-end clarity
+
+### Pad (Wavetable or Analog)
+Warm, evolving background texture.
+```
+Oscillator: Soft wavetable or saw + triangle
+Unison: 4-8 voices, wide spread
+Filter: LP, cutoff ~2 kHz, low resonance
+Amp Envelope: Attack 200-800ms, Decay 0, Sustain 100%, Release 500-2000ms
+LFO → Filter Cutoff: slow rate (0.1-0.5 Hz), subtle amount
+```
+- Add Chorus-Ensemble for extra width
+- Add Reverb (hall, 3-5s decay, 30-50% wet)
+- Velocity → filter cutoff for expressiveness
+
+### Pluck (Analog or Wavetable)
+Short, percussive melodic sound.
+```
+Oscillator: Saw or square
+Filter: LP24, cutoff ~1 kHz, moderate resonance (30-50%)
+Filter Envelope: Amount high, Attack 0, Decay 100-300ms, Sustain 0%, Release 50ms
+Amp Envelope: Attack 0, Decay 200-400ms, Sustain 0%, Release 100ms
+```
+- Short decay = harp-like. Longer decay = guitar-like.
+- Add short reverb (room, 0.5-1s) for space
+
+### Lead (Analog or Operator)
+Cutting melodic line that sits on top of the mix.
+```
+Oscillator: Square or saw
+Filter: LP or BP, cutoff ~3 kHz, moderate resonance
+Amp Envelope: Attack 5-20ms, Decay 200ms, Sustain 70%, Release 200ms
+Portamento/Glide: On (50-100ms) for mono mode
+```
+- Add Delay (1/8 or dotted 1/8, 30% feedback, 20% wet)
+- Add subtle Reverb (plate, 1-2s)
+- Use Saturator lightly for presence
+
+### Supersaw (Wavetable)
+Classic trance/EDM lead/pad.
+```
+Oscillator: Saw wavetable
+Unison: 7-8 voices
+Unison Amount: High (wide detune)
+Filter: LP, cutoff ~5 kHz, low resonance
+Amp Envelope: Attack 2ms, Sustain 100%, Release 300ms
+```
+- Layer with sub sine one octave below
+- Chorus or Ensemble for extra width
+- Stereo Delay (1/8 L, dotted 1/8 R)
+
+### Texture / Ambient (Wavetable + Effects)
+Evolving atmospheric sound.
+```
+Oscillator: Complex wavetable, automate position slowly
+Filter: BP, slowly sweeping frequency
+Amp Envelope: Slow attack (500ms-2s), long release (3-5s)
+LFO: Multiple slow LFOs mapped to position, filter, pitch (subtle)
+```
+- Heavy Reverb (5-10s decay, high diffusion, 80-100% wet)
+- Delay with high feedback (60-80%), filtered
+- Shifter at very small values (+/- 1-5 Hz) for movement
+- Grain Delay for granular textures
+
+### 808 Bass (Simpler or Drum Rack)
+Pitched sub with distortion for trap/hip-hop.
+```
+Sample: 808 kick or sine with fast pitch envelope
+Amp Envelope: Attack 0, Decay 1-3s (long tail), Sustain 0%
+Tuning: Tune to song key
+```
+- Add Saturator (soft sine or analog clip) for upper harmonics
+- Set Simpler to mono
+- Duration determines how long the 808 rings
+
+## Device Chain Patterns
+
+### Standard Insert Chain (on a track)
+```
+EQ Eight (surgical cuts) → Compressor → Saturator (subtle) → EQ Eight (tonal shaping) → Utility (final trim)
+```
+
+### Vocal Chain
+```
+EQ Eight (HP at 80 Hz, cut mud at 300 Hz) → Compressor (4:1, medium attack) → De-esser (Multiband Dynamics, high band) → EQ Eight (presence boost at 3-5 kHz) → Reverb (20-30% wet, plate)
+```
+
+### Drum Bus Chain
+```
+EQ Eight (HP at 30 Hz) → Glue Compressor (4:1, 10ms attack, 100ms release) → Saturator (subtle drive for warmth) → Utility (trim)
+```
+
+### Parallel Compression Setup
+Using Audio Effect Rack:
+- Chain A: Dry (no processing)
+- Chain B: Compressor (heavy — 10:1, fast attack, fast release, low threshold) → balance chain volume
+
+Or using Return track:
+1. `create_return_track` for parallel compression
+2. Add Compressor with extreme settings on the return
+3. Use `set_track_send` to feed signal to the return
+4. Blend return level to taste
+
+### Sidechain Ducking Setup
+1. Load Compressor on the track to be ducked (bass, pads)
+2. Enable Sidechain in Compressor
+3. Route kick track to sidechain input
+4. Settings: Ratio 4:1-inf:1, Attack 0.1ms, Release 50-200ms, Threshold low
+5. Adjust release to match tempo (longer for slower tempos)
+
+## Creative Effects Techniques
+
+### Reverb Freeze
+Set Reverb's Freeze parameter to capture and infinitely sustain the current sound. Automate on/off for dramatic transitions.
+
+### Delay Feedback Washes
+Automate Delay feedback above 100% briefly — the delay builds and self-oscillates. Pull back before it gets out of control. Great for transitions.
+
+### Beat Repeat (Stock Effect)
+Repeats/stutters incoming audio rhythmically.
+- `Grid` — Repeat size (1/4 to 1/32)
+- `Chance` — Probability of repeating
+- `Gate` — How long the repeat runs
+- Great for glitch, fills, and transitions
+
+### Grain Delay
+Granular delay that can pitch-shift and scatter audio.
+- `Pitch` — Transpose the grains
+- `Spray` — Randomize grain position
+- `Frequency` — Grain rate
+- Great for ambient textures and otherworldly effects