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Welcome. In this lesson called "Sends in Ableton explained and example," I’ll show you what sends and return tracks are in Ableton Live 12 and walk you through a practical Drum & Bass mixing setup using three return tracks: a short drum reverb, a tempo‑synced delay for fills, and a parallel compressor for punch. By the end you’ll know how to create the returns, load Ableton stock devices, shape them with EQ, route tracks to them, and automate send amounts for musical movement.
First, what we’re going to build. A simple send/return rig for a DnB mix:
- Return A: a short, tight drum reverb using Ableton’s Reverb.
- Return B: a tempo‑synced ping‑pong delay for fills.
- Return C: a parallel compressor for drum bus punch, using Compressor or Glue Compressor.
We’ll also cover routing examples for kick, snare, hats, bass, and pads or leads, and explain which elements should use which sends and why.
Now let’s walk through the steps. Use Live 12, either Session or Arrangement view, and keep your drums and bass at reasonable levels before you add sends. Treat sends as color and space, not as gain fixes.
Step A — create the return tracks and devices:
Open your Live set. From the Create menu, choose Insert Return Track three times so you have A, B, and C. Rename them to “Drum Reverb (A)”, “Delay (B)”, and “Parallel Comp (C)” so you always know what they do.
Step B — build Return A, the short drum reverb:
Drop Live’s Reverb device on Return A. For Drum & Bass drums set a short decay, around 0.4 to 0.8 seconds to keep the groove tight. Use 20 to 40 milliseconds of pre‑delay to preserve transients. Keep size and color moderate and set diffusion to moderate‑high for a denser sound. Important: set the Reverb’s Dry/Wet on the return to 100% — returns should be fully wet so the dry signal stays on the original channel. After the Reverb add an EQ Eight and high‑pass around 200 to 300 Hz with a 12 to 24 dB/octave slope to remove low‑end build up. If the reverb sounds boxy, dip a kilohertz or two.
Step C — build Return B, the tempo delay for breaks:
On Return B, load Ping Pong Delay, or use Simple Delay in ping‑pong mode. Sync the delay to the tempo. For 174–176 BPM try musical divisions like dotted eighth or 1/8 trip — test 1/8 or 1/16 dotted and choose what sits with the groove. Set feedback to a moderate amount, around 20 to 40 percent, and again set Mix or Dry/Wet on the return to 100%. Put an EQ after the delay and roll off everything below roughly 500 Hz and above about 8 to 10 kHz so the echoes don’t clash with the bass or add too much sparkle.
Step D — build Return C, parallel compression:
On Return C insert a Compressor or Glue Compressor and set it for heavy gain reduction. Try a high ratio like 8:1 or use Glue with a fast attack. Set attack between about 2 and 10 milliseconds, release medium‑fast around 50 to 150 milliseconds — tune to the beat. Lower the threshold until you see 6 to 12 dB of gain reduction on transient peaks. Optionally add a Utility after the compressor to trim output gain so the return doesn’t overload the mix bus. Again, leave this return fully wet at 100%.
Step E — route tracks to the returns:
In the Mixer you’ll see send knobs labeled A, B, C on every track. Turning up the A knob on a snare channel sends a copy of the snare to Return A. A few practical routing suggestions:
- Kick: keep A and B near zero; C can be a tiny amount or zero. The low end should stay dry.
- Snare or clap: send A around 10 to 30 percent, B zero to 20 percent for occasional fills, and C around 20 to 40 percent for punch.
- Hats and percussion: A around 10 to 25 percent, B 10 to 30 percent for rhythmic width, and C mostly low or zero.
- Pads and leads: A between 30 and 60 percent for space, and B around 20 percent for stereo movement. You can create a second, longer reverb return if you want longer tails for melodic parts.
- Bass: keep A and B at zero and C at zero — bass should remain tight and dry. If you must add ambience to bass, use a heavily HPF’d or filtered copy on a separate return.
Play the section and adjust send amounts by ear. Remember the original track stays dry; returns are fully wet.
Step F — automation and creative uses:
Automate send amounts to create movement. For example, automate the snare’s B send so it’s at zero in the verse and ramps to 30 to 50 percent on fills or transition bars. You can also automate parameters on the returns themselves — reverb decay or predelay — but send automation is often more musical and easier to manage. Use the return’s track fader for whole‑song control or muting if you need to remove the effect globally.
Step G — balancing in the mix:
Treat return faders as mix instruments. If a return is too loud, pull the return fader instead of hunting down many individual sends. Always use EQ and HPF on returns to protect the low end; for DnB a steep high pass around 200 to 400 Hz on reverb returns keeps the kick and bass clean.
Common mistakes to avoid:
- Don’t send full bass to reverb — it will muddy the low end. Either keep bass sends off or make sure the return is strongly high‑passed.
- Don’t set a reverb on the original drum channel with a wet mix. Use a return with Dry/Wet at 100% so you can blend one wet signal across many tracks.
- Watch return levels: returns are fully wet, and strong sends plus a loud return fader will mask elements. Lower the return fader first.
- Never forget to EQ returns — reverb and delay build frequency mud if left unchecked.
- Be careful with parallel compression — it can squash dynamics if overused. Blend it in.
Pro tips and practical reminders:
- Short pre‑delay on drum reverb keeps transients punchy — 20 to 40 milliseconds works well for fast DnB.
- You can have two reverb returns: one short for presence and one longer for tails, and automate the long one only where you want ambience.
- Use Ping Pong Delay for wider fills and automate the send so delays appear only in transitions.
- For parallel compression, sidechain the compressor on the return to the kick so the kick pokes through when the comp pumps.
- Group your drum tracks to a Drum Bus and send that bus to the Parallel Comp return for cohesive punch.
- Add subtle Saturator or Chorus on returns for character, but always control the low end with EQ Eight.
- If you need the send level to stay constant regardless of fader moves, consider routing a duplicate pre‑gain track or using send automation — Ableton sends are post‑fader by default.
- Reuse returns instead of loading many instances of the same effect — it’s more cohesive and saves CPU. If CPU becomes an issue, bounce or freeze return content or resample the wet result.
- Color‑code and name returns clearly. A sensible default is starting reverb returns around minus six to minus twelve dB on the fader and delay around minus nine to minus fifteen.
- Small workflow tips: hold Shift for finer send knob adjustments, or send the grouped drum bus to the parallel comp instead of each drum individually. A Gate after a reverb return can tighten tails on loud hits.
Mini practice exercise:
Let’s try a quick eight‑bar loop.
1. Create a simple drum loop with kick, snare, and hats.
2. Insert three return tracks and load Reverb on A, Ping Pong Delay on B, and Compressor on C using the settings we covered.
3. Send the snare to A at roughly 20 percent and to C at around 30 percent. Send hats to B at about 15 percent.
4. On bar seven, automate the snare’s send to B from zero to around 40 percent to create a delayed fill into bar eight.
5. Listen and adjust the Reverb decay and the reverb return’s high‑pass so the kick stays clear.
6. Export the eight‑bar loop and compare it with the dry version to hear how sends add space and punch.
Quick signal‑flow reminders:
A send copies a post‑track signal to a return where the effect is fully wet; the original track keeps its dry sound. Ableton sends are post‑fader by default, so send levels follow major fader changes. Use returns as color and spatial tools, not as gain fixes.
Troubleshooting pointers:
If you hear low‑end buildup, solo returns to find the culprit — likely a reverb or delay without a proper HPF. If a send changes when you move the channel fader, that is normal post‑fader behavior. If the wet sound is thin, try adjusting diffusion, or add subtle saturation. If multiple stereo effects cause comb filtering, mono the lows on the delay or narrow the sides.
Final recap:
You’ve learned what sends and return tracks are, how to create them in Ableton Live 12, and how to build a practical DnB send rig: a short drum reverb, a tempo‑synced delay, and a parallel compressor on return tracks. Key rules: keep returns fully wet, high‑pass and EQ returns to protect the low end, keep bass mostly dry, and automate send amounts for musical movement. Practice the mini exercise to build familiarity and make a small bank of useful returns so you can mix faster next time.
That’s it — set up your returns, experiment with send amounts and automation, and listen for clarity and groove.
