In our recent article, we highlighted the layer-based approach of TRIUMPH 3 from Zynaptiq. This innovative audio editor turns the tracks-into-bus paradigm on its head. By presenting a different way to combine audio assets, layers also present an entirely different approach to audio effect processing. You can read more about audio layers here in our article.
Processing Tracks Into Busses
The DNA of the traditional DAW has its routes in the world of tape machines and mixing consoles. Upon record, signals hit a mixer feeding recorder tracks. On replay, the reverse is true, and this is mirrored by the DAW’s audio streams to and from disk coupled with a virtual mixer. When producing the final mix, virtually all reading this understand the concept of virtual mixer channels entering a summing point of some sort from which the mix is rendered. Tracks’ signal flow remains parallel to one another until this point is reached.
Creative or corrective processing for tracks happens in-line, with the potential for common processing to happen across submixes or across the mix buss.
Processing Audio Layers In TRIUMPH 3
With audio layers presenting a different way for mixes to emerge, so too do they offer a different approach to audio processing. Whereas the ‘classical’ DAW’s tracks follow a parallel signal flow, audio layers follow a sequential, serial route to the output. This means that the first layer hits the second, with the result hitting the third and so on.
Exploiting this, Layer Blending can be employed, which dictates how each layer interaction behaves. This can be as simple as layer balancing which can be thought of as a two-channel mixer (where the A source is the layer in question and the B source is everything else upstream of it). However, in keeping with TRIUMPH 3’s sound design muscle, users can employ Zynaptiq’s advanced DSP processing such as morphing or vocoding to ‘graduate’ one layer into another.
Watch in the video how we employ Zynaptiq’s Morph algorithm to blend layers to design a new sound from scratch. We then optimise signal flow by rearranging layer order, before exploiting TRIUMPH 3’s AU audio plugin compatibility to apply some extra sonic interest.
Blending sounds using a serial, layer-based approach naturally lends itself to the design of entirely new ones, in the same way that the visual artist mixes colours to create new tones. While this workflow will require some mental rewiring for users of the conventional DAW, those designing sounds will find much to like about blending sounds together. Modulating and impressing upon one sound with another is an entirely different way of sound design that will almost certainly result in results that differ in the ‘tracks-into-bus’ parallel audio environment.