Every effect on all fourteen tracks, and where each track goes on its way to the master. The pans are set. The levels on top of that are yours.
The Ableton The Live set every song is cloned from, so each export opens with the tracks, buses, sends and pans already in place. on the session page is wired this way already, and the session you download arrives on it with the song in place. To work from your own template, drop each song's plain MIDI into it instead. Live throws controller data away when it imports MIDI, so the filter sweep and the swell come through only in the session. Any other DAW keeps them, so take the PDF above and build the same routing there.
Insert.Amp, EQ, compression, saturation, chorus, tremolo and filter change the sound itself, so they go on the track.
Send.Reverb and delay go on shared returns, so every part sits in the same room.
Signal Flow
Each track goes into its bus, or straight to the master where it has none, and every bus goes into the master with the sends beside them. A dashed line is a return, so it's the room coming back rather than the part.
Three buses, and each one is a group that has to sound like one thing. Drums is the
rhythm floor, and you glue those three or they never sound like one musician. Jangle is the
attack instruments, everything whose transient is the point. Wash is the haze the genre is
named for, sustained and wide and behind everything.
The bass and the lead go straight to the master instead. A bus around a single
channel gives you a fader and no decision, and what the bass has to work out is where it sits
against the kick, which is a level and EQ question rather than a routing one. The lead is the
part you ride by hand, and a shared compressor argues back: pull the track down and the bus
stops compressing and hands the level straight back.
Tracks 1 and 2 are one groove for two kits, a drum machine and an acoustic kit, and both arrive written in full and switched on, so the call is yours. Run either on its own, or drop the machine under the acoustic kit and layer them, where it adds the click and the tight low end a machine kick has and an acoustic one doesn't. For the machine alone, copy the crashes over from track 2 first, because in any bar the acoustic kit plays, the machine leaves the crash to it.
Track Inserts, Pans and Sends
Every effect the template puts on a track, in the order the signal hits them, and the colour says what kind of effect each one is. The pans don't move, because the two guitars are written as a hard-panned pair and closing that up collapses the part. Beside them is how much each track sends to returns A to D. There are only five levels, 0, −6, −12 or −18 dB, or off, and each is the whole number the template ships with, so you can read one off here and type it straight into Live's send field.
#
Track
Pan
APlateBHallCShimmerDDelay
Inserts
1
DRM Machine
Center
−6···
None
2
DRM Acoustic
Center
−6···
Comp
3
Aux Perc
±40
−12···
EQ
4
Bass
Center
···−18
CompEQSaturation
5
Guitar
Left 100
···−12
Amp simEQ
6
Guitar 2
Right 100
····
Amp simEQ
7
Keys
Right 25
····
Auto FilterTremoloChorusSaturationEQ
8
Pad
Center
··−6·
Auto FilterChorusEQ
9
Swells
Center
··−6·
SaturationUtility
10
Arp
±60
··−12−12
Auto FilterEQ
11
Lead
Center
·−6·0
Amp simComp
12
Vocal
Center
−6··−18
CompEQWidening
13
Harmony
Left 20
−6··−18
CompEQWidening
14
Vocal 2
Right 20
−6··−18
CompEQWidening
Buses and Returns
The same reading for the three buses, the four returns and the master, in the order the signal meets them. The buses feed the returns too, on the same five levels.