Something that I have learned when putting detailed touches on a track, especially when Automating parts to accent them or pull them back, that you should never Automate Mixer Channel Faders.
"Why not" you ask?
At the end of your project, you are trying to get a final balance on your mix and final Master EQ and other settings to render your masterpiece for sharing...
What I have found is that, if you want to Automate a Synth Machine throught your song, is to Automate the Synth's Output Fader (knob). Doing this frees up headroom and final control of that Synth's line level in the Mixer for touchups later, while still keeping your Synth's Automation untouched.
A few exceptions to this theory are if you use a Distrotion Effect on your synth (for a guitar or gritty nasty bass preset for example) In this case, Automate the Distortion Post-Fader in the Insert Effect section for that Synth Machine, still giving you final control of that synth in the Mixer. Also the Limiter Insert Effect's Post-Fader can serve this function.
Take this for what it's worth; from my perspective and experience, this will save alot of frustration and headaches, and speed up your workflow for your Caustic Projects. 
good to see you without a handgun
More importantly a great tip 
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Maybe i need two stop reading and commenting on post on the bus!!! But i'm a video man and i retain more from both video and the write-up of suggestions. Soooo it cancels out the automation?? I never thought two bring down a trk if i'm gonna up it with distortion. Not much of an effect. Why would this be of benefit anyway?
i mean not t he mixer automation. But the distortion after u lower the channel???
think of it as a way to more accurately control the sound and feel of your distorted track while leaving the final sound input to the overall master sound more within the overall range of what you intend it to be, little fade in and outs or other such adjustments and not hurting the main sound
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Yeah this is a universal thing in any DAW you work in. In Ableton you add a utility plugin to control the volume of the track seperately from the mixer. This makes things so much easier down the road when you want to fine tune a mix but don't want to mess up the automation. Good tip J!
Yea..... ok. :(
Derrtiblu, I believe the idea behind adjusting the post output on the distortion plugin is it more accurately adjusts the volume for a given amount of distortion. If you up the volume on a machine that has a distortion effect on it you are just feeding the effect with more signal but not changing the output signal resulting in unintended distortion but leaving the volume the same. By just adjusting the output you are only adjusting the level after the distortion has been processed by the effect and not adding in more distortion than needed, which could negatively effect the mix. I hope that made sense. Jason can probably explain it better.
I'm having two go in deep thought about. No. U did ok jason. Gave explaination. I just was not aggreeable two the post.
my fault jason.
Also, try to use pattern automation over song automation. Its more flexible. Only use song automation when the track is 95%complete
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One exception I would consider is where you are using long delays, long reverbs, distortion and / or bitcrushers.
If you want to silence a machine that has a long delay setting, especially if you've used a bitcrusher then I think automating the channel fader is the only practical way to do this. If you try to simply automate the machine volume, Caustic will continue to process the sound that entered the signal chain before your automation of the machine volume.
The bitcrusher in Caustic has a tendency to extend the length of any signal to what may as well be classed as infinity.
Hope that makes sense and if anyone has a better workround than mine I'd be happy to hear it
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Hear hear! Pattern automation is one of my best friends :D
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Why not automate the wetness of the FX?
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^^^^^^^ that's another pre-mixer choke-point..... Also addresses the IFX Toggle On/Off issue...
true - I'll try that next time. It's the combination of Bitcrusher and Delay that's guaranteed to produce an almost infinite signal.
May mean automating the wetness of two FX though v automating one mixer channel. Makes the mixer channel option the most efficient
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