As a comprehensive live performance environment, Camelot offers a host of audio routing and mixing features that make it entirely capable of handling tasks ranging from processing and mixing a single musician’s software and hardware instruments to complete mixing for a small ensemble. (If you have a large number of sources, Camelot, while theoretically capable, may not be the best tool for the job of mixing them.)

In this tutorial we look at how audio flows through Camelot and the ways it can be combined, moved around, and processed at the same time. If you are not already familiar with the fundamentals of Camelot, it will help you get the most out of this tutorial if you take a look at these tutorials first:

The Basics of Camelot: An Overview

Getting Started: A Camelot Tutorial

Main Audio Out

The Main Audio Out is a special output in Camelot. It is the default output for every Layer or backing track, and the Main Audio Out signal path includes the Master Effects controlled in the Mixer panel. It is important to understand that “Main Audio Out” is simply the title for a function it does not refer to a specific interface output. Any interface output can be designated as the Main Audio Out, but the name “Main Audio Out” cannot be changed.

Layers

Basic Layer Audio Input and Output

Layers are sort of Camelot’s fundamental currency. A Layer is a complete signal path that can have both audio and MIDI inputs, contain both audio and MIDI Items (functional blocks), and have both audio and MIDI outputs. In this tutorial, we are concerned with the audio signal path, but there are places where MIDI comes into play, as well.

_{Figure 1 – Camelot Layers contain both audio and MIDI signal flows, as illustrated here.}

Each Layer can have one audio input, mono or stereo, which is selected from the Audio Inputs panel of the Layer Settings. As we will see, there are ways to direct other audio signals into a Layer, but the Layer audio input is the Layer’s primary audio source. It might be used to bring a microphone signal into the Layer, the output of a hardware synthesizer, or even the output of a mixer being used by another band member.

To select an audio input for a Layer:

1.    Click in the colored block on the left end of the Layer to open the Layer Settings, then click the Audio Inputs

2.    Select the Camelot audio input you want to feed the Layer.

3.    If you need to add an audio input in Camelot, click the gear icon in the upper right to open the Audio panel of the Settings view. Click the Audio Input button and create the new input.

_{Figure 2 - The primary audio input for a Layer is selected in the Audio Inputs tab of the Layer Settings.}

Visually, signals in a Layer generally flow from left to right (as shown in Figure 1, above), so the Layer audio input comes into the Layer Settings block on the left, and flows through the Layer to the audio output section on the right. Along the way, there are three classes of Items that signals may pass through:

1. Pre-Processors: These are all MIDI functions with which we will not concern ourselves in this tutorial.
2. Instruments and Devices: This refers to external hardware instruments, software instruments, and other MIDI devices. Items in this part of the path can include audio, MIDI, or both.
3. Post-Processors: These are audio plugins, from basic processors like equalizers and compressors to effects like amp simulators, saturators, chorus/flangers, delay, reverb, autopanners, and bizarre, twisted, mysterious effects processors that tickle the ear, such as ring modulators and frequency shifters.

As with any processing chain, the order of the processors is crucial. The order of Items in a Layer is easily changed in Edit mode:

1.    Click the pencil icon on the right side of the section’s title banner to enter Edit mode.

_{Figure 3 - Items in a Layer can be reordered in Edit mode, which is entered by clicking the pencil icon.}

2.    Drag the Item you want to rearrange by its handle to the desired position in the chain.

_{Figure 4 - In Edit mode, Items can be rearranged by dragging them. Note that Pre-Processor and Post-Processor Items are shown as dark gray blocks, while Instrument and Device Items are show as gray boxes. The three categories must always stay in that order. You cannot move an Instrument Item after a Post-Processor Item, for example.}

3.    Click Done in the upper right corner after all adjustments have been made.

After the Post-Processors, the Layer audio signal flows to the audio output section on the right end. The fader in the output section is a master level control for the Layer. The Layer’s audio is then routed to the output selected in the Audio Outputs panel of the Layer Settings, which can be opened by clicking on the output name shown in the audio output section.

_{Figure 5 - The Layer audio output section allows routing the Layer's audio to any output defined in Camelot.}

It is important to note that multiple outputs can be selected, which mults (routes) the signal to multiple destinations.

Item Main Knobs

Each Item in a Layer is visually anchored by a large knob. This knob is assignable, but the default assignment is as a volume control for hardware and software instrument Items, and a wet/dry mix control for audio processors.

_{Figure 6 - Each Item has a main knob which is generally assigned to be volume (for an Instrument item, as on the left), or a DryWet Mix control for audio processing plugins, as on the right.}

When acting as a volume control for a hardware instrument, the Item Main Knob and Pan setting in the Audio Inputs panel of the instrument’s Audio & MIDI Settings (shown in Figure 7 below) lets you determine whether the knob controls the instrument’s volume by sending it MIDI volume messages or by actually scaling the audio signal in Camelot. We will discuss the latter option in a bit more detail later in this tutorial.

For an audio processor Item, the dry/wet mix function (actually titled Wet Balance) can be very useful for plugins like compressors (parallel compression at your fingertips!) and effects like delay and reverb. For other processors, such as equalizers, it also may sometimes be helpful. But there are many processors for which you only want to hear the output of the processor, not any of the input. Be sure to set the knob to 100 percent wet (full clockwise) in these cases.

Hardware Instrument Item Audio

Hardware instrument Items are primarily designed to provide MIDI control over external hardware instruments and devices. But with Camelot having audio mixing capability, it’s just impossible to resist wanting to have control over the audio from these instruments, too. The Audio Inputs panel of a hardware instrument allows selecting one of Camelot’s defined audio inputs to run through the item. By defining an interface input to receive the audio output of a hardware instrument, a single item can send MIDI to control the instrument AND receive its audio output and mix it with the rest of the Layer audio. The main knob on the Item can be used to set the level at which the audio is mixed into the Layer audio.

_{Figure 7 - Hardware Device Items have audio inputs that can be used to bring audio output from the device controlled by the Item into Camelot. This means the Item is in complete control of both MIDI and audio for the device, as shown at bottom. At the top is the Hardware Device Audio Inputs panel, where the audio input is selected.}

Expanded Layer Mixing

Clicking the double arrow in the lower left of the Layer Settings block opens the expanded Layer. This presents the Items in the Layer in a traditional mixer channel strip format. The faders are the main knob functions, but most Items also have a pan slider. The audio out section for the Layer displays a level meter, as well as the fader and pan controls.

_{Figure 8 - An expanded Layer offers easy mixing with faders. External MIDI devices may have their volume controlled via MIDI, while the volume of software instruments is set by scaling their audio outputs.}

Timeline View Audio

Backing Tracks

The Backing Tracks section of the Timeline view is a major source of audio content in Camelot. This section can have multiple tracks of audio, each with its own audio output section. This means that each backing track could be assigned to its own audio output (assuming your interface has enough physical outputs). Each track also has a level fader, of course.

_{Figure 9 - Looking on the right of these three backing tracks we can see that each is being assigned to a different output.}

The Backing Tracks section can be collapsed for a more compact display. When it is collapsed, there is still an audio output section with a fader. So which backing track is this fader controlling? Well, all of them, actually. The fader acts like a VCA group master, which controls the level of each individual backing track.

_{Figure 10 - When the Backing Tracks section is collapsed, there is a single fader that controls the level of all of the tracks, even if they are assigned to different outputs. This fader is the same control as the Backing Tracks master in the Mixer panel, and moving the control in one place causes it also to move in the other.}

So, if all of the backing tracks are assigned to the Main Audio Out, this fader acts like a simple submaster. If, however, each backing track is assigned to a different audio output, this fader will still control them all, so lowering this fader all the way means that no signals will come out of any of the interface outputs the tracks are assigned to. This “collapsed section” master is the same control labeled Backing Tracks in the Mixer panel, and moving the control in one location causes it also to move in the other location.

_{Figure 11 - The Backing Tracks master controls the level of each backing track, but the audio from the tracks may not be mixed; each track might be routed to a different output. This is the same scheme used by VCA masters in DAWs. The Song Level and Scene Level masters in the Mixer panel work this same way.}

Scenes

The Scenes section of the Timeline view has an audio output section as well, but it works a bit differently than other audio output sections. For one, there is no audio output specified. Each Scene will typically consist of a number of Layers, each having its own output assignment. So there can’t really be a single output assignment for the Scenes section.

But there is a level fader. Its function is the same idea as the master fader in the Backing Tracks section: it behaves like a VCA master, but instead of controlling the level of all the tracks in the section, it controls the level of all of the Layers in a Scene. The Scenes section master fader is not affected by Scene changes; it’s like an offset that is applied to each Scene in a Song. If the fader is set to -3dB, the level of each Layer in a Scene is decreased by 3 dB, and when the Scene changes, the level of each Layer in the new Scene is also decreased by 3 dB.

As with the Backing Tracks master, the Scenes master fader is the same control as the Song Level master (NOT the Scene Level master!) in the Mixer panel.

_{Figure 12 - The Scenes section master fader in the Timeline view is the same control as the Song Level master in the Mixer panel. Both control the levels of all Layers in the current Scene.}

The Scene Level master in the Layers section of the mixer controls the master level of the Scene that is currently running. So, Song Level and Scene Level both control the level of the current Scene, but Song Level remains the same through the entire Song and affects every Scene called in the Song, while Scene Level changes when the Scene is changed.

Audio Routing and Submixing

As we have already seen, each Layer and Backing Track can be independently routed to one or more audio outputs. This makes it simple to create submixes, by setting several Layers or Backing Tracks to the same output and using the Layer or Backing Track output level to control the mix. It’s just as easy to designate one mono or stereo pair of outputs to be the main mix and a second to be a monitor mix, then route Layer or Backing Track audio to them.

Audio Layer Connectors

Audio Layer Connectors are Items that can be inserted on a Layer in order to split the signal running through that Layer and route it to another Layer. The signal also continues to feed the Layer’s selected outputs. This is useful in a number of ways, especially submixing, as we will discuss in just a moment.

At this time, the only audio layer connector is the Audio Send item. This item is a Post-Processor item, meaning that it is inserted at the end of the Layer’s signal path. You cannot insert an Audio Send Item in between Items in a Layer.

_{Figure 13 - This Layer has an Audio Send item to route audio from the Layer to another Layer set up as an effects chain.}

Submixing

Submixing is a valuable function used to accomplish many tasks in audio. Camelot is not laid out like a traditional mixer, but it has potent submixing capabilities.

One can easily mix the outputs of a number of Layers simply by assigning all of the Layers to the same output and using the Layer audio output faders to achieve the desired balance. If you want to feed Layers to a monitor send, as well as a main house mix, you can simply select multiple audio outputs for each Layer: one output to feed the house mix and another to feed the monitor mix. However, in that scenario, the Layer sends the same level to both mixes.

_{Figure 14 - There are two Scene Layers and two Setlist Rack Layers all assigned to the Main Audio Out, which means the audio from all of these Layers will get mixed together, with the balance between them being set by the Scene output level faders.}

Creating Independent House and Monitor Mixes

If you want to create a monitor mix with a balance of signals different from the main house mix, you create a Layer whose function is to be a monitor submixer, and feed it using Audio Send Items placed in each source Layer. The Audio Sends let you set a different balance between sources than that of the main house mix. The output going to the monitor system is chosen as the Layer output.

You can keep things as simple as using the Layer just to create a submix, or expand on the idea by adding processing plugins to condition the signal, such as a limiter or an equalizer.

Here’s how to do it:

1.    Create a new Layer for the submix and processing and assign its output. If this is something like signal conditioning for the monitor mix, it is likely to remain unchanged for the entire gig, in which case you might want to create the Layer in the Setlist Rack. But you can create it in a Scene Layer, Song Rack, or Setlist Rack, whichever works for you and your situation.

_{Figure 15 - A new, empty Layer that will feed the monitor system.}

2.    Add the processing plugins you want in the signal chain, one at a time, by going to the Add Item panel, choosing the Post-Processors subpanel, clicking the Audio FX plugins button and finding the plugin you want from the appropriate brand folder.

_{Figure 16 - Adding an equalizer to the monitor signal chain in the Add Item dialog.}

3.    Once the signal chain is in place, go to the first Layer you want to route to the monitor submix and insert an Audio Layer Connector Item from Add Item>Post-Processors>Audio Layer Connectors>Audio Send. The Audio Send subpanel lets you select the destination Layer and give a name to the send, like “monitor send.”

_{Figure 17 - The Audio Send Item can be routed to any Layer.}

4.    Repeat for each Layer you want to send to the monitor submix. Use the knobs on the Audio Send Items to create the desired balance.

_{Figure 18 - At the top is the easiest way to generate Main and Monitor sends from a Layer, which is simply to assign multiple outputs for the Layer. However, each output will get the same level from the Layer. On the bottom is a more flexible method that uses a Layer for the Monitor send. Audio Send Items in each Layer send signals to the Monitor submix at levels independent of those sent to the Main output. This arrangement also allows a monitor signal processing chain to be added.}

Creating Send Effects

This same architecture works perfectly for creating send effects. Perhaps you want to have a reverb in an aux send setup where several Layers can go through the same reverb (or effects chain). Audio Send Items on the Layers act as effects sends, routing audio to the effects Layer and setting the send amount. The output of the effects Layer is chosen to be the same as the other Layer audio outputs, so that the final mix includes effects.

_{Figure 19 - An Audio Send Item on the top layer sends the Layer’s audio to an effects chain in the Layer on the bottom.}

Remember that the Audio Send Item splits the signal in the Layer; it is still routed to the Layer’s audio output selections. In a send effect setup, the effects chain Layer would probably be routed to the same output as the Layers that are being sent to it, so that the output contains a mix of all the Layers AND the effects.

Bringing More External Sources Into the Mix

The most direct method of bringing a microphone signal or maybe a hardware reverb into a mix is by creating a Layer and selecting the mic or reverb as the audio input. However, if you need to sneak an extra input (mono or stereo) into a Layer, you can do it by adding a hardware device Item to the Layer and using its audio inputs to add additional external audio. Obviously, the original intention for these inputs is to return audio from an external hardware instrument, but, in a pinch, any external audio could be injected into the mix this way.

Master Audio FX

We just discussed how to use a Layer as a custom processing chain. But Camelot has its own onboard processing chain, which is dedicated to the audio output designated as Main Audio Out. This processing often can save time, trouble, and CPU cycles.

The Master Audio FX chain can be found on the Mixer panel, and includes four processors: compressor, equalizer, delay, and reverb, connected in that order. While these processors aren’t as fancy as specialized plugins, they can be entirely adequate in many situations, especially for simpler setups or smaller gigs.

_{Figure 20 - The Master Audio FX reside on the Main Audio Out signal path. Expanding an effect provides access to additional parameters.}

1. By default, the processors are all in the signal path, but each processor has a bypass button in the lower left corner.
2. The Compressor, Delay, and Reverb all have one main knob, labeled Amount, which controls the dry/wet mix. The equalizer has a boost/cut knob for each of its three bands.
3. Since each processor except the equalizer has a dry/wet mix control, particular attention must be paid to how these are set to ensure a balanced mix at the end of the chain.
4. Each processor can be expanded by the double-headed arrow in its lower right corner to access additional parameters.
5. Parameters can be edited by dragging up or down in the parameter’s fader. For the parameter controlled by the main knob, dragging either control moves the other.
6. Each parameter in an expanded processor has a Reset button at the bottom that restores the factory default value.
7. A Global Reset button at the bottom of the expanded panel resets all parameters of that processor to the factory default values.

Let’s take a look at the parameters available for each processor.

Compressor

The compressor is a general-purpose, soft-knee dynamics processor designed to get excellent results from a very simple set of controls. It has a fairly short attack time and automatically provides makeup gain as needed, depending on how much compression is applied with the Amount setting.

_{Figure 21 - Expanding a processor enables greater control.}

Amount: This sets the intensity of the compression effect. Higher values yield more compression.

Character: This control alters the release times of the compressor. Low values provide fairly traditional compression, while higher values produce more of a leveling action.

Equalizer

_{Figure 22 - The equalizer has high and low shelving bands and a fully parametric midrange band.}

Low Freq: Sets the -3 dB point of the low frequency shelving filter between 50 Hz and 500 Hz. The filter has a very gentle slope.

Low Gain: Provides up to 24 dB of boost or cut below Low Freq.

Mid Freq: Sets the center frequency of the mid frequency bell filter between 200 Hz and 5 kHz.

Mid Res: “Res” stands for “resonance,” otherwise known as filter Q. The lower the number, the wider the bandwidth. This control goes from .1 to 10

Mid Gain: Provides up to 24 dB of boost or cut at the Mid Freq.

High Freq: Sets the -3 dB point of the high frequency shelving filter between 2 kHz and 12 kHz. The filter has a very gentle slope.

High Gain: Provides up to 24 dB of boost or cut above the High Freq.

Delay

_{Figure 23 - The delay is easy to set up and can be configured to use either milliseconds or note values related to the tempo set in the Tempo & Sync panel. For BPM to work, the Send clock setting in the Tempo & Sync panel must be On.}

Amount: Sets dry/wet mix of the delay.

Time: Sets the delay time between 0 and 2 seconds.

BPM Sync: Click this switch to activate tempo-synced delay, and click on the note to the right of the switch to choose the note value for the delay. This feature uses the tempo set in the Tempo & Sync panel, which must be both activated and running for tempo-synced delays to work.

_{Figure 24 - Once BPM is activated, clicking on the note icon brings up this palette of note values to select from.}

Feedback: Sets the delay feedback amount. Caution: Feedback goes all the way up to 99%, which, in some cases, can produce runaway feedback.

Filter Freq: This control sets high-frequency rolloff in the delay’s feedback loop between 20 Hz and 20 kHz. Lower values make each repeat darker.

Reverb

_{Figure 25 - The Master Reverb is basic but capable of producing a wide range of room sizes.}

Amount: Sets dry/wet mix of the reverb.

Room Size: Sets the apparent room size of the reverb, especially in terms of decay time. Decay time is short (under one second) until you get up around 70 percent.

Width: Sets apparent stereo width of the reverb. Reverb is mono when Width is set to zero, and wide stereo at 100 percent.

Damping: Damping reduces the decay time of the high frequencies in the reverb. Higher values produce shorter high frequency decay times, and so darker reverb.

Remote Control of Mixing

Most of the time, you will set a mix as you want it and store it as part of a Scene. That means that when you load a Scene manually, using either onscreen or remote controls, or when Scenes are loaded automatically using Scene changes in the Timeline, the mix will be changed, along with all of the other Scene elements. This is a good method for achieving snapshot mix automation.

However, Camelot also offers facilities for modifying a mix in real time with MIDI control, so that you can respond to performance variations or make sophisticated mix gestures. There are two ways such adjustments can be done.

One method is to use the MIDI control capabilities built into an external hardware device. A keyboard workstation, for example, will usually allow various level controls and mutes to be adjusted with MIDI controllers. If it is convenient, you can just reach over and use the device’s onboard hardware controllers to make such adjustments, but doing it through Camelot centralizes remote mix control of external devices and remote mix control of Camelot.

_{Figure 26 - Three methods of real-time mix control. Assuming the hardware device permits MIDI control of levels, you can assign the faders of an expanded hardware Item in Camelot to send the appropriate MIDI continuous control messages (shown at top). If you have a hardware MIDI controller with faders, you can make the controller be the Layer MIDI input device and use a hardware device Item to route MIDI to the hardware device (including remapping, if needed), as shown in the middle. At bottom is the third option, which is to assign the hardware controller faders to remote controls that change audio levels in Camelot.} 

MIDI Mix Control of External Devices

Control of an external device can be established by assigning the faders in an expanded hardware device Item to control the desired functions in the external device using specified MIDI controller numbers.

Alternatively, if you have a hardware MIDI controller suitable for controlling mixing, you can make the necessary assignments in that controller or in the external device and use Camelot simply to route MIDI from the controller to the device by assigning the controller as the MIDI input to the Layer in which a hardware device Item for the external device resides.

MIDI Remote Control of Camelot

Another approach is to control mix parameters in Camelot using the Settings>Remote Controls subpanel to assign MIDI controls to Camelot settings. The Camelot settings available for remote control are:

On Mixer panel

1. Main Audio Out Master level
2. Layers Song Level
3. Layers Scene Level
4. Mute Song Layers
5. Backing Tracks Master Level
6. Mute Backing Tracks

In current Scene

1. Scene Layer [1-16] Level
2. Scene Layer [1-16] Mute
3. Song Rack [1-16] Level
4. Song Rack [1-16] Mute
5. Setlist Rack [1-16] Level
6. Setlist Rack [1-16] Mute
7. Scene Layer [1-5] Item [1-16] Level
8. Scene Layer [1-5] Item [1-16] Mute

In current Song

1. Song Rack [1-3] Item [1-16] Level
2. Song Rack [1-3] Item [1-16] Mute
3. Backing Track [1-16] Level
4. Backing Track [1-16] Mute

In current Setlist

1. Setlist Rack [1-3] Item [1-16] Level
2. Setlist Rack [1-3] Item [1-16] Mute

To clarify, when the list above says “Scene Layer [1-5] Item [1-16] Level,” it means that you can control level for each of 16 Items in each of five Layers. This is extensive mix control that goes deeper than master level controls.

Assigning a MIDI Remote Control for Mixing

1.    Click the Settings button in the footer to open the Settings view

_{Figure 27 - Remote Controls offer a way to control Camelot functions from your MIDI controller(s) while you play. Very powerful.}

2.    Click the Remote Control button, then the MIDI button, then the From/By button.

3.    If the MIDI controller you want to use is in the list that appears, but not selected, click it to make it active. If you need to add a controller to the list, click the plus sign (+) at the bottom of the list. You can have as many controllers active at one time as are needed.

_{Figure 28 - Remote Controls can be established for each MIDI controller in your system.}

4.    Choose Edit from the “three dots” menu to the right of the controller’s name. A list of available remote controls will appear.

_{Figure 29 - There are dozens of remote controls available to be controlled by MIDI. Only the first few in the list are shown here.}

5.    Locate the remote control you want to assign in the list. Clicking the Faders & Knobs tab filters the list, which will make it easier to find mixing parameters. The search field at the top of the list is another quick way to go straight to the control you want.

6.    Click the name of the remote control you want to assign and an assignment panel will appear.

7.    Click the Learn button and move the physical controller you want to assign to that remote control. Once Camelot has acquired the control you moved, the Stop MIDI Learn button will automatically change to saying Learn.

_{Figure 30 - Camelot is waiting for you to move the controller you want to use. When you do, it captures the information about the controller and changes the Stop MIDI Learn button back to saying Learn.}

8.    Alternatively, you can make the assignment manually by clicking Choose type and selecting the MIDI message you want to use, clicking the Channel + or – buttons to set the MIDI channel the control will be sent over, and clicking the <unassigned> + or – buttons to set the MIDI controller number that will be used.