STU­DIO ONE

Computer Music - - Make Music Now -

01

While it’s not un­usual for DAWs to have the abil­ity to ex­port ef­fects chain pre­sets, Stu­dio One goes a bit be­yond the norm by al­low­ing you to cap­ture ef­fects chains for any and all mixer chan­nels in one go by drag­ging-and-drop­ping all se­lected mixer chan­nels di­rectly to the file browser.

02

Dis­abled tracks are a great way to stream­line the process of pre­par­ing large in­stru­ment sets with­out us­ing too many of your sys­tem’s re­sources, mak­ing the load­ing of large tem­plates much faster and more ef­fi­cient.

You can take, say, a 70-track or­ches­tral tem­plate project, pre­con­fig­ured with ef­fects in­serts, VCA chan­nels, send ef­fects, and ar­range fold­ers, and get it to load al­most in­stantly by dis­abling all in­stru­ments in the tem­plate by de­fault. Rather than wait­ing for all those large in­stru­ment sam­ple sets to load, it be­comes an on-de­mand pro­duc­tion choice.

You can get straight to the point and turn any track back on by right-click­ing and se­lect­ing En­able, to start play­ing it al­most im­me­di­ately.

03

Stu­dio One’s Folder Tracks are very flex­i­ble, and that means they have a lot of uses that aren’t im­med­i­taly ap­par­ent. For ex­am­ple, by us­ing Folder Tracks with the Dis­able Tracks fea­ture, you can put an en­tire mix into a folder, col­lapse it, and du­pli­cate it, com­plete with all in­serts, sends, rout­ing, au­to­ma­tion. By dis­abling the orig­i­nal folder and con­tents, you can cre­ate an al­ter­nate, sep­a­rate mix on the same time­line with­out con­sum­ing ad­di­tional re­sources. This all be­comes even more flex­i­ble when you con­sider that folder clips al­low au­to­matic grouped edit­ing across all child tracks.

04

The Stu­dio One browser is fully bidi­rec­tional, so you can drag things from your file browser into the Ar­range­ment or Mixer view, or drag el­e­ments from your ses­sion into your file browser. This be­comes very use­ful when im­port­ing and ex­port­ing stems. You can even drag files di­rectly from Sound­Cloud into the Ar­range­ment view – this will cre­ate a new track in your ses­sion and down­load the file at the same time.

05

There are many ways to ren­der, con­sol­i­date, or ex­port au­dio from Stu­dio One. One of the more use­ful meth­ods is drag­ging and drop­ping a se­lec­tion range to the browser to ren­der au­dio con­sol­i­da­tions. You can drag and drop to ren­der most com­mon for­mats di­rectly, with no ex­port di­a­log needed. Ren­der­ing can be done ei­ther pre or post in­sert ef­fects – just hold Ctrl to take pre in­serts or Alt to take post in­serts There are mul­ti­ple ex­port vari­a­tions de­pend­ing on what’s se­lected, and you can use mar­quee or range se­lec­tion to ren­der mul­ti­ple in­de­pen­dent clips or con­sol­i­da­tions at once.

06

In the Metronome Setup win­dow, you can cus­tomise the sam­ples used when Stu­dio One’s metronome plays, and you can ren­der it to an au­dio chan­nel to send it wher­ever you want. You could even make it de­fault to a kick to get tracks started faster.

07

Stu­dio One’s ex­tended Chan­nel Ed­i­tor of­fers sig­nal rout­ing, giv­ing a seem­ingly in­fi­nite num­ber of ways to have your chan­nels act the way you want. As a ba­sic ex­am­ple, you can split a stereo sig­nal to ap­ply dif­fer­ent pro­cess­ing to each side on a sin­gle mixer chan­nel, as shown in the im­age be­low.

The rout­ings that can be ac­com­plished in the Chan­nel Ed­i­tor are al­most un­lim­ited, and are a huge space saver. Not hav­ing to use bus chan­nels and sim­i­lar typ­i­cal chan­nel rout­ing and stag­ing meth­ods to ac­com­plish some things also helps avoid ex­plod­ing the con­sole chan­nel count.

08

Not only does the Chan­nel Ed­i­tor give you plenty of cre­ative scope, you can also save set­ups into the Browser. What­ever your rout­ing or use of split­ter de­vices, drag from the mixer’s In­sert header to con­vert the whole thing into a pre­set. When you load the strip onto an­other chan­nel and check out its Chan­nel Ed­i­tor, you’ll see your orig­i­nal setup, rout­ing, split­ters and all.

09

Stu­dio One 3 in­tro­duced NoteFX, MIDI plug­ins pro­pri­etary to the Stu­dio One plat­form. The Chorder, for ex­am­ple, is a NoteFX plugin for play­ing chords when strik­ing a sin­gle key… but it also has an al­ter­nate use: remap­ping MIDI notes.

You can cre­ate a Chorder pre­set that sin­gu­larly maps one in­put note pitch to a dif­fer­ent out­put note pitch. In this way, you can make any MIDI in­put or out­put pitch remap­ping you need. For ex­am­ple, you can remap your drum sampler so that all the kick drums, snares, and hi-hats are side-by-side on your MIDI key­board, and then use the Pitch Map Ed­i­tor (see tip 18) to make a named pitch map for it, to re­use any­where else you see fit!

10

One of the most over­looked and unique features of Stu­dio One is ded­i­cated Au­to­ma­tion Tracks. In­stead of need­ing to house au­to­ma­tion lanes in the same space as a track’s au­dio or MIDI in­for­ma­tion, you can house them on ded­i­cated tracks, along with au­to­ma­tion data for other in­stru­ments and ef­fects. This means you can make a ded­i­cated track for, say, a build-up, and as­sign all el­e­ments to be au­to­mated dur­ing the build-up to that track, help­ing you overlay and com­pare their move­ments.

11

Speak­ing of au­to­ma­tion, you know that hand that ap­pears in the top left of Stu­dio One when­ever you click a pa­ram­e­ter? You can drag it onto any track to cre­ate an au­to­ma­tion track in­stantly, or even drag it onto the note ed­i­tor to con­trol the pa­ram­e­ter’s au­to­ma­tion along­side the piano roll.

12

Stu­dio One’s Pres­ence XT sampler loads its in­stru­ments in the .mul­ti­in­stru­ment for­mat, which is also used by fel­low young DAW Bitwig Stu­dio. Hence, some of your Bitwig in­stru­ments can load straight into Pres­ence XT. Here’s hop­ing that this for­mat branches out even more in the fu­ture!

13

Scratch Pads of­fer an al­ter­nate time­line to work on dif­fer­ent sec­tions, ar­range­ments and ideas in the same project. When you add in Stu­dio One 3’s Ar­ranger Track and sec­tion ‘blocks’, there are even more things you can achieve. Here’s three ways to get the most out of Scratch Pads…

14

Stu­dio One’s macros al­low you to au­to­mate your work, cre­at­ing cus­tomised ‘work­flows’ for com­monly used ac­tions. Macros can be set up with key­board short­cuts to make short work of long tasks.

For ex­am­ple, Stu­dio One doesn’t of­fer a ded­i­cated key com­mand to nudge the play-head, but you can do it your­self. To cre­ate a quick com­mand for this, you only need to cre­ate a sim­ple macro made up of the fol­low­ing stages…

> Cre­ate Range From Cur­sor (cre­ate a range which can be moved via com­mand ac­tion)

> Move Range (moves the range for­ward— or Move Range Back moves back­ward)

> Lo­cate Se­lec­tion (moves the play cur­sor to the range start po­si­tion)

This essen­tially al­lows you to nudge the play cur­sor for­ward or back­ward as you would with me­dia clips. The be­hav­ior is based on the cur­rent grid value if Snap is on, or based on one-mil­lisec­ond steps if Snap is off.

This is one sim­ple ex­am­ple of how pow­er­ful macros can be. If you think some­thing can’t be done in Stu­dio One 3, or if it’s not built-in or ded­i­cated to a com­mand ac­tion, you can typ­i­cally cre­ate it your­self and ei­ther bind it to a key com­mand or put it on a macro tool­bar but­ton.

You can down­load ready-made macros from the PreSonus Ex­change at bit.ly/SO3­macros.

15

Even deeper than macros, script­ing is also pos­si­ble in Stu­dio One. This re­quires Javascript and some pretty in-depth skills to boot, but if you’ve got them – or know some­one who has – you can take the ul­ti­mate con­trol over Stu­dio One, set­ting up if-this-then-that com­mands for al­most any task you can imag­ine run­ning into.

16

Got a load of projects open? Of course you do – you’re a pro­ducer! Try hit­ting Ctrl-Tab to switch be­tween your currently open projects and also find your way back to Stu­dio One’s start page.

17

A tiny tip, this, but fun none­the­less: with your cur­sor placed over the colour strip at the bot­tom of a mixer chan­nel, sim­ply scroll the mouse wheel to whizz through track colours at light­ning-fast speed.

18

You don’t have to stick to tra­di­tional note names in the piano roll. If you’re work­ing with sam­ples or drums, click the drum icon above the piano roll keys to ex­tend them, and click the span­ner icon to open the Edit Pitch Names win­dow, where you can – you guesses it – edit the names of the pitches of the notes on the piano roll. You can also save and load pre­sets for later use with the same in­stru­ment.

19

Click and hold on the Pen tool and you’ll get to se­lect a few com­mon shapes to draw in­stantly. With lines, sines, squares and more, this is a great way to make au­to­ma­tion meet mod­u­la­tion as you draw in spe­cific shapes at dif­fer­ent rates, through­out your en­tire track or cer­tain sec­tions.

20

Your mas­ter chan­nel has two in­sert ef­fects sec­tions: those to be placed pre-fader and those to be placed post-fader. How to get the best out of the both of them?

Anal­y­sers should al­ways go last in the chain, just so you know you’re see­ing ex­actly what you’re hear­ing. Com­pres­sion and lim­it­ing is more nu­anced: put your ‘safety’ limiter post­fader to save your ears from ac­ci­dents, but con­sider plac­ing your ‘ac­tive’ limiter be­fore the mas­ter fader – this’ll help you use the mas­ter to bring lev­els up and down for ref­er­enc­ing with­out af­fect­ing how the dy­nam­ics pro­cess­ing re­acts to the sig­nal.

Any Chan­nel Ed­i­tor setup can be ex­ported and reused later, in the same project or an­other

You can drag whole ef­fects chains – even from mul­ti­ple chan­nels – into Stu­dio One’s browser to be used later

Cre­ate bite­size tasks Move in­di­vid­ual sec­tions of a long live record­ing to in­di­vid­ual Scratch Pads to edit and mix the song sec­tions in­di­vid­u­ally. Once each song is mixed, it can be dragged right back into the main record­ing with the mix, au­to­ma­tion and ed­its in place. Blocks meet Pads Scratch Pads be­come even more flex­i­ble in con­junc­tion with the abil­ity to ran­domly re­ar­range full sec­tions for your song us­ing the Ar­ranger Blocks, in­clud­ing rip­ple ed­its on drag and drop. Copy an en­tire song to a new Scratch Pad and cre­ate an al­ter­nate mix.

You can choose cus­tom names for the notes on your piano roll, and save them to be used again and again

Make new ver­sions Ex­per­i­ment with mul­ti­ple al­ter­nate song ar­range­ments in mul­ti­ple Scratch Pads. Maybe it’s a ra­dio mix, a back­ing track mix or a club edit… none of them have to af­fect the orig­i­nal ver­sion of your main track’s ar­range­ment.

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