Happy to help!

Anytime!

Happy to hear that!

I'm not sure I understand what you're asking with the first part of the question. Could you clarify? As for the CPU-saving benefits, I'm not really sure if it does save any because there will now be more single-threaded workloads now that there are more signals flowing overall.

Clint Moody So I recently studied a Grammy award winning mix engineer who has separate buses/returns for each of his tracks instead of just putting plugins directly on the track of let’s say a kick drum. So my question is should I start to create returns like your example because there won’t be a delay when they are processed? Or would it be just as fine to create a kick drum and group it to a bus and put the effects on the bus?

@@lewchootrain With regard to processing delay, I'm very sure it wouldn't matter which way you do it. The only delay I've experience in routing is when recording the output of regular send/returns when the return track's send pots are active. Sorry if that sounds confusing. What would matter is the effective routing being created - i.e. serial or parallel processing. If you make a bus, send the kick through that bus, and then process that bus, this would be serial processing. On the flip side, if you make a return track (parallel processing) that has effects on it in addition to a dry version, you can blend between the two. Both are great for different things. A quick guideline is that it's typically time-based effects that work well in parallel (delay, chorus, reverb, flange, phase etc...).

Clint Moody thank you! I always thought parallel was just to add a certain bandpass frequency or a few things but didn’t know time based was better. So a return track with its effects actually makes another copy of the track it’s sending to and feeds it back into the original? Thanks for all your help

@@lewchootrain Yeah, that's the gist of it. I like to think of returns ("auxes") as "community effects" that any channel can send some of it's signal to. After a channel sends it's signal to the aux, it is then blended back in with it's dry signal (the portion that wasn't being diverted to the aux) and thus is called "returned". This routing is desirable in analog workflows and is often advantageous because one effect unit can be applied to many different signals, as opposed to needing multiple units in a serial configuration. The other benefit is that you always have a bit of the dry signal to blend back in giving you flexibility and control.

Hey, thanks for checking out the video. Actually, you can do both of these things. You can drag and drop groups and channels from any other Ableton project folder into your current session via Live's browser. It's super useful and I do this regularly which why I like this technique so much - I I have an effect set that I like, I drag and drop it into a new project. I just made a quick video describing how to do this to demonstrate that I'm uploading now. Will post the link here when it's done. Also, you can have a clip with automation and modulation on it. Look up how to do "dummy clips" for more info :)

See how to here: kzfaq.info/get/bejne/Y7mIksmSzb7Zd58.html ;-)

@@elementonemusic6453 Okay, so they patched that even in previous Live Versions or what?!? Groups weren't available in the File Browser for years. But yes, it's possible now. And yeah I now about dummy clips. Looks like Ableton is putting much more effort in making people look stupid (which makes them look really stupid), then they put into the user support and the DAW developement. But that's not my concern. Have a nice day, tho!