REFERENCE MANUAL Table of Contents

Introduction v Installation and Activation 1 Installation 1 Activation Content 2 Installation 5 Authorizing Melodyne Essential 7 Starting your Trial of Melodyne 7 Setup 9 System Requirements 9 Set Up Your Audio Device Audio 9 Device Input/Output Setup Set 11 Up Your MIDI Devices Managing 13 Your Content Creating a New 18 Song 20 General Options 23 Advanced Options 24 Fundamentals 27 Nondestructive Editing and Undo/Redo 27 High-Precision Mix Engine 27 Automatic Delay Compensation 27 Look Mom, No MIDI! 27 Drag-and-Drop 28 Transport Controls 28 Key Commands 28 Studio One Help and Information 30 Flexible Parameter Control 30 Control Link 31 Pages 33 Start Song 33 Project 36 Quick 36 Switch 37 Recording 39 Audio Tracks 39 Instrument Tracks 43 Activating Recording 48 Metronome Control 50 Loop Recording on Audio Tracks 52 Instrument Track Recording Modes 53 Step Record 55 Track Layers 56 Audio Recording Format 56 Creating a Good Monitor Mix 56 Cue Mixes and Zero-Latency Monitoring 56 Print Effects While Recording 59 Editing 61 Events 61 Arrange View Mouse Tools 62 The Grid 66 Common Editing Actions 67 Audio Loops and Music Loops 73 Edit Groups 74 Timestretching 75 Comping 77 Transient Detection and Editing 79 Track Transform 83 Track and Event Inspectors 85 Edit View Event Editing 89 Pitch Correction with Melodyne Integration 96 Action Menu 98 Undo History 98 Navigating with Zoom 98 Editing Suggestions 99 Macro Toolbar 99 The Browser 107 Searching for Files in The Browser 107 Browser Tabs and Search 107 Instruments and Audio Effects 108 Browsing for Instruments 108 Loops Tab 112 Files Tab 114 Cloud Tab 119 The Pool 121 Browsing Song and Project Content Importing 123 Project Files from Other Applications 123 Arranging 125 Quickly Duplicating Events 125 Duplicating Tracks 125 Tempo Track 126 Time Signature 126 Arranger Track 127 Scratch Pad 131 Bouncing 132 Adding Time to the Arrangement 134 Deleting Time from the Arrangement 134 Folder Tracks 134 Track List 137 Mixing 139 The Console 139 Remote Bank 146 Effects Signal Routing 148 Channel Editor 156 Macro Control Transition Settings 158 Groups 161 Metering 162 Automatic Plug-In Delay Compensation 164 Manual Audio Track Delay 164 Using the Marker Track 165 Looping During Mixing 167 Mixing Down 167 Export Stems from your Song 170 Mixing Suggestions 172 Automation 175 What is Automation? 175 Automation Types 175 Editing Automation Envelopes 177 Automation Modes Instrument 179 Part Automation 180 Control Link 183 What is Control Link? 183 Set Up Your External Devices 183 Map Your Keyboard 183 Control Linking 185 Global and Focus Mapping Automation 185 with Hardware Controllers Mackie 187 Control Support 188 Mastering 195 Creating a New Project 195 Adding Tracks 196 Track Sequencing 199 Editing Tracks 199 Using Insert Effects Master 201 Device Rack Metering 202 Publishing Your Project 202 Song and Project Integration 203 205 Built-In Effects 207 Built-in Effect Micro Views 207 Metering, Analysis, and Signal Generation 209 Delay 215 Distortion 218 Dynamics 224 Mastering 229 Mixing 231 High-Pass Filter Module 233 Gate/Expander 233 Compressor Module 234 Equalizer Module Limiter 234 Module 235 Modulation 237 Reverb 242 Pipeline 246 Built-in Virtual Instruments 251 SampleOne 251 Presence XT 255 Working with Presence Content 256 Envelope Graphical Display 263 Impact 269 Mai Tai 272 Mojito 287 Multi Instruments 289

Note FX Splitters 291 Note FX 293 Video Playback and Sync 299 Video Player Interface 299 Supported Video Formats 300 Import Video 300 Sync to Video 300 Introduction

Thank you for purchasing PreSonus™ Studio One™ software, and welcome to the Studio One Reference Manual.

Studio One 3 is a groundbreaking music-creation and production application for Mac® OS X and Windows® that makes audio recording, MIDI sequencing, and audio mastering (in Studio One Professional) easy and fun—the way it should be. From tracking to mixing to mastering and distribution, this is a creative environment built for intuitive use, speed, and efficiency, yet robust enough for the most complex productions. Version 3 adds a wide range of new features, improvements, and advanced technologies. This manual is a great place to start learning about Studio One, and it also provides an in-depth reference for experienced and new audio-software users alike. We encourage you to contact us with questions or comments regarding this product. Our forums are a great source of information from our staff and from other Studio One users. Users in the USA also can reach us by email at techsupport@presonus.com. Users in other countries should contact their local PreSonus distributors for technical support.

PreSonus is committed to constant product improvement, and we value your suggestions highly. We believe the best way to achieve our goal of constant improvement is by listening to the real experts: our valued customers. We appreciate the support you have shown us through the purchase of this software. Studio One Versions There are two versions of Studio One 3: Artist and Professional. Studio One uses a single installer for all versions, and the product key with which you activate Studio One determines the version that you run. The following describes the key differences between the versions.

Studio One Artist Unlimited audio and MIDI Tracks, unlimited simultaneous record inputs

Content browser with musical search and direct access to the PreSonus Shop

Advanced editing features, including comping, transient detection and editing, pitch correction (Melodyne trial ver-sion), and much more Full SoundCloud™ integration

30 Native effects and 5 virtual instruments

Studio One Professional IncludesallArtist featuresand content

Addsthe Project page, an integrated mastering solution

AddsArranger Trackand Scratch Pads

Adds fully licensed Melodyne Essential pitch correction

AddsExtended FX Chainsand MultiInstruments

Addssupport for 3rd partysampler formats(EXS, Giga, Kontakt, Bitwig)

Adds video playback and sync

AddsNote FX, Groove Delay, Multiband Dynamics, OpenAIR, Pipeline, and IR Maker Native Effectsplug-ins

Addssupport for 3rd partyVST/AU plug-ins, Rewire and MP3 encoding/decoding Installation and Activation

Thissection takesyou through the Studio One installation and activation process.

Installation The processfor registering, installing, and authorizing your copyof Studio One willdiffer, depending on the method you used to acquire it. Retail Purchase If you bought Studio One in a retailboxand onlyreceived a Product Keyin the box, you'llregister the key and then download Studio One, and then activate it online upon first launching the product. Direct Purchase from Shop.PreSonus.com If you bought the software directlyfrom http://shop.presonus.com, installation and activation happen entirelyonline and the purchased software isautomaticallyadded to your user account. Retail or Direct Purchase of USB Flash Drive If you're installing Studio One from the USB flash drive which comes with select retailversionsand is also available asan additionalaccessorypurchase from http://shop.presonus.com, your activation willhappen online using the Product Keyafter launching the product for the first time. If you purchased Studio One byanyof these three first methods, see Register and Download Studio One for further detailson registration and downloading your new software. PreSonus Audio Interface or Audio Mixer Purchase If you bought an AudioBox, FireStudio or StudioLive AiMixer product, these allcome with a bundle version of Studio One Artist. Registering the hardware in your My.Presonusaccount automaticallygivesyou accessto Studio One and a corresponding Product Key. When you launch Studio One for the first time, you can authorize the software using the provided Product Key. If you came about acquiring Studio One bypurchasing a PreSonushardware product and wish to claim your Studio One Artist license, see Register and Download Studio One Bundled with PreSonus Hardware for more information.

Creating a My.Presonus Account You must have a PreSonusaccount to installand activate Studio One for use on your system. If you bought Studio One from our website, you alreadyhave a My.PreSonususer account. If you do not yet have a My.PreSonususer account, you'llwant to create one. Beyond being a requirement to download and activate the latest version of Studio One 3, there are manybenefitsto creating a My.PreSonusaccount including easyaccessto additionaldocumentation and other content files, accessto the user forums, latest tipsand product videos, and the abilityto easilycreate a technicalsupport ticket. To create a user account, go to: http://my.presonus.com. On that web page, click[Create MyPreSonusAccount], then fillout the provided form and then click[Create MyPreSonusAccount] again to create your new account. If your computer isnot connected to the internet, you can stilldownload and activate Studio One byusing a different computer that doeshave internet access, asdescribed in the Offline Activation section below. Once you create your account, a verification emailfrom PreSonusisautomaticallysent to the emailaddressyou provided. Clickon the linkin the emailto activate your account. You are now readyto download and installStudio One.

Register and Download Studio One To download the Studio One installer, log into your My.PreSonususer account at http://my.presonus.com. Click the [Register a Product] button, choose Software or Extensionsfrom the Choose Product Type menu, and enter your Product Key.

CHAPTER 1│Studio One Reference Manual If you bought a license or upgrade for Studio One from our website, the Product Keyissent to you byemail. If you bought a boxed version of Studio One, the Product Keyisincluded in the box. If you bought your copyof Studio One in a retailstore, your dealer mayhave provided your Product Keyon the salesreceipt for your purchase. Once you've entered the Product Key, clickthe [Register] button to register your copyof Studio One. A confirmation window appears, and you can pressthe [View Your Product] button to see your new software in the software section of your My.PreSonusaccount. Thispage iswhere you download your Studio One installer. The installer download button for your operating system should be the first in the list. If you are downloading from a different type of computer than the computer on which you plan to installStudio One, you can clickthe [View Other Systems] button to accessinstaller downloadsfor other operating systems. Once you have downloaded the appropriate installer for your type of system, run the installer and follow the on-screen promptsto installStudio One.

If your copyof Studio One came bundled with a PreSonusaudio interface or mixer, follow thisprocedure to claim your Studio One Artist license and download the installer. First, visit my.presonus.com and log into your user account. Here you can register your hardware and anysoftware it came bundled with. If your hardware came with a Studio One Product Key, register Studio One with that key, asdescribed in Register and Download Studio One, then register your new hardware asdescribed below. If no Studio One Product Keyisprovided with your bundled hardware, registering the hardware willautomaticallyregister itsbundled software and enable the software to be downloaded and installed. In thiscase, clickthe [Register a Product] button in your My.PreSonusaccount page, choose Hardware from the Choose Product Type selector, and enter the purchase date and serialnumber of your new hardware into the form. Your hardware'sserialnumber can be found on the bottom of the unit, aswellason the provided registration card. Once you have entered the serialnumber and purchase date, click[Register] to conclude the hardware registration process. Then, click[View Your Product] to see allthe newlyregistered hardware and software in your account. In the Studio One Artist section, clickthe [View More Details] button to accesssoftware downloadsand further installation information. The Studio One installer download button for your operating system should be the first in the list. If you are downloading from a different type of computer than the computer on which you plan to installStudio One, you can clickthe [View Other Systems] button to accessinstaller downloadsfor other operating systems. Once you have downloaded the appropriate installer for your type of system, run the installer and follow the on-screen promptsto installStudio One.

Activation Studio One must be activated for use on your computer. Once installation iscomplete, launch Studio One. The License Agreement appears.

2│Studio One Reference Manual Click[I Accept] to accept the agreement. The PreSonusLogin window isthen displayed.

If you alreadyhave a user account, enter your emailaddress(or My.PreSonususername) and password, and press [Login] to log into your account. If you need to create an account and your computer isconnected to the internet, clickon [Create My.PreSonusAccount].

CHAPTER 1│Studio One Reference Manual Fillin your desired user-account details, and click[Create PreSonusAccount].

Activating Studio One In most cases, Studio One willself-activate the first time you log in with your My.PreSonusaccount. In the rare instance where you have multiple licensesof the same Studio One version registered to the same My.PreSonusaccount, you will need to select which license to activate. If you have not alreadydone so, launch Studio One and select Studio One Activation from the Studio One menu.

Online Activation

If the computer on which Studio One hasbeen installed isconnected to the Internet, select the [Activate mypurchased version of Studio One] option. Clickthe drop-down button next to the Product Keyfield, and choose Show myExisting Product Keysfrom the menu. Your registered Studio One license (or licenses) are shown. Choose the license you wish to use, and clickthe [Activate] button to finish the activation process.

4│Studio One Reference Manual Offline Activation

If the computer on which Studio One hasbeen installed isnot connected to the Internet, click[Activate Offline] in the Studio One Activation window, and make note of the Activation Code shown in the instructions. Offline Activation letsyou activate your copyof Studio One using a separate, internet-connected computer. To activate Studio One in thisway, you willneed a USB flash drive (or other portable data storage device), a written copyof your Product Key, and your Activation Code. Head to a computer with an Internet connection, visit http://my.presonus.com, and log in to your account. Clickthe [Register a Product] button, choose Software or Extensionsfrom the Choose Product Type menu, and enter your Product Key, asprinted on the Studio One package or provided via email. Clickon [Register], and you are taken to your Software list. Clickthe [View More Details] button for the version of Studio One in your Software list, and then click[Offline Activation] on the next page. Click[Activate Software], and enter the Activation Code provided byStudio One. You mayalso enter a computer name to help you keep trackof your five allowed activations. Click[Offline Activation] again, and then click[Download License] to download your User License file. Save thisfile to some sort of externalmedia (such asa flash drive or CD-R), and then copythe file to the computer on which Studio One is installed. In Studio One, navigate to the Studio One/Studio One Activation dialog again, click [Activate Online], then click [Select License File] to load your user license file, activating Studio One.

Content Installation Studio One comeswith manyaudio loopsand instrumentsthat are organized into Sound Sets, aswellasdemo songsand tutorialvideos. The number of Sound Setsavailable for installation dependson the version of Studio One you have installed (Artist or Professional). To installthe Sound Setsand demo/tutorialmaterial, launch Studio One and open the Studio One/Studio One Installation menu item. In the InstallFrom selector, you can choose to download allselected content from your PreSonusAccount, or navigate to downloaded content in your file system (or a provided USB stick). If you wish to installanyfurther content at a later time, you can alwaysreturn to Studio One/Studio One Installation window to do so. Bydefault, allpackagesincluded with your version of Studio One are selected for installation. You can set the InstallTo location to anydesired location on your computer, then clickon [Install].

CHAPTER 1│Studio One Reference Manual After installation, you can find allof the installed content in the Browser, which ison the Song page. Demosand tutorials can be accessed from the Start page. Instrument presetsare listed under the related instrument in the Instrumentstab of the Browser, aswellasthe preset browser in the plug-in window.

Downloading Included Content from My.PreSonus.com If you have anydifficultydownloading the content from within Studio One, you can alwaysvisit my.presonus.com to download the content directlyfrom your user account page. To do this, first log into your user account, then clickthe [My Products] button to view your registered software. Clickthe [View More Details] button under your current Studio One license to view available downloads. Allincluded Sound Setsand content are available to download on thispage. Once downloaded, to installthe content, simplydouble- clickeach file, or drag it onto the Studio One window.

Installing Add-On Content If you need to installadditionalcontent you've purchased from the http://shop.presonus.com alongside Studio One, or asan Add-on at a later time, simplylocate and select it from the Studio One Installation window, listed as“MyPurchased Items.” Alternatively, download the content from your http://my.presonus.com account. To installthe content to the default user location, simplydouble-clickor drag the content onto the Studio One window. If you wish to store the content in another location, place it there, and add that location to Studio One/Options/Locations (Mac OS X: Preferences/Locations). There, you can add new locationsfor Sound Sets, Instruments, and 3rd-partyplug- ins. Once you tellStudio One where your new content islocated, it becomesavailable for use in Studio One.

Activating Add-On Content

Once you've installed add-on content, you are prompted to activate it. If your computer isconnected to the internet, simply pressthe [Activate] button to activate the content in the current copyof Studio One. If your computer isnot connected to the internet, go to a computer with internet service, and log into your my.presonus.com user account. Click[MyProducts] to see your registered products, then click[Add-ons] to see your purchased add-on content. Locate the add-on you are trying to install, and click[View More Details]. On the following screen, click[Offline Activation], and download the license file for your add-on content. Transfer this license file to your Studio One computer using a flash drive or other form of removable storage device. Once you installthe add-on content, you are prompted to activate the content. Press[Select License...] and navigate to your new license file. Once the activation isconfirmed, restart Studio One to use your new content.

Melodyne We have partnered with Celemonyto bring you accessto their Grammy-winning Melodyne, a usefultiming and pitch correction and manipulation toolthat integratescloselywith Studio One. Studio One Artist comeswith Celemony Melodyne Trial. We have partnered with Celemonyto bring you accessto their Grammy-winning Melodyne, a usefultiming and pitch correction and manipulation toolthat integratescloselywith Studio One. Studio One Professionalcomeswith a full Celemony Melodyne Essential license.

Installing Melodyne

In Studio One, navigate to Studio One/Studio One Installation. Checkthe boxnext to the version of Melodyne that islisted to select it. Once selected, you can click [Install] to install Melodyne. Studio One Professionalcomeswith a fulllicense for Melodyne Essential. Clickthe [Claim Product Key] button next to the Melodyne listing to claim your Melodyne product key. The keyisdisplayed, and you can clickthe [Copy] button to copyit to the clipboard.

6│Studio One Reference Manual Authorizing Melodyne Essential

Before you can use Melodyne Essential, you must first launch the standalone Melodyne application that isinstalled along with the plug-in versions. Once opened, pressthe [Enter SerialNumber] button, then type or paste in the provided Melodyne Essentialserialnumber, and press[Continue]. You are then prompted to register your copyof Melodyne, by clicking [Create myCelemonyaccount]. Follow the promptsto register your copyof Melodyne Essential. Once registration isfinished, you can quit the standalone Melodyne application, and then launch Studio One to begin using Melodyne Essential.

Starting your Trial of Melodyne

Before you can begin to tryout Melodyne, you must first launch the standalone Melodyne application that isinstalled along with the plug-in versions. Once opened, pressthe [Tryout Melodyne editor] button to start the trialprocess, then follow the promptsto authorize your 30-daytrial. Once the trialhasbeen activated, you can quit the standalone Melodyne application, and then launch Studio One to begin using Melodyne Trial.

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8│Studio One Reference Manual Setup

Thischapter containsinformation about Studio One system requirements, hardware device setup, and software setup. A thorough knowledge of thisinformation ishelpfulbefore attempting to workin Studio One.

System Requirements The following are the system requirementsto run Studio One.

Mac® OS (10.8.5 or Higher) Systems Minimum Hardware Intel® Core™ 2 Duo processor

4 GB RAM

Recommended Hardware IntelCore i3 processor or better

8GBor moreRAM

Windows® 7 (x64 or x86, SP1 + Platform Update) or Windows 8.1 (x64, x86) Systems Minimum Hardware Intel® Core Duo™ or AMD Athlon™ X2 processor

4 GB RAM

Recommended Hardware IntelCore2Duoor AMD AthlonX4or better

8GBor moreRAM

Additional Requirements (all Systems) Internet connection on an available computer (for authorization and updatesonly)

DVD-ROM drive

A monitor resolution no lower than 1366 x768 resolution (high-dpimonitor recommended) Multi-touch-enabled monitor required for touch operation (MacOS X systemsonly)

30 GB available hard-drive space for installation, content, and recording projects

Set Up Your Audio Device Studio One automaticallyselectsan audio device to use for audio input and output, pulling from a list of devicescurrently installed on your computer. If you have a PreSonusaudio interface, it isselected automatically. To select a different device, navigate to Studio One/Options/Audio Setup (Mac OS X: Preferences/Audio Setup).

CHAPTER 2│Studio One Reference Manual Then follow these stepsto configure your audio device for use in Studio One: 1. Select your chosen device from the Audio Device drop-down menu under the Studio One/Options/Audio Setup (Mac OS X: Preferences/Audio Setup) menu. 2. Some devicesoffer a selection of configuration options. If your connected device hasthose controls, you can click on the [ControlPanel] button next to the device selection drop-down menu and make your changeswithin the device’scontrolpanel. If your device doesnot offer these options, the ControlPanelbutton isgreyed out. 3. Set Device BlockSize (and on Windows, InternalDevice BlockSize aswell) to fit your needs. Lower settingsmin- imize latency, which isusefulwhen tracking. Higher settingsbring more latency, but give you additionalpro- cessing power, for effectsand instrument plug-ins. Mac OS X: Device Block Size is the audio device’s buffer size, which has a direct impact on your audio device’sperformance. You can increase or decrease thisvalue byselecting a new value from the Device BlockSize pop-up menu. The appropriate setting dependsupon your specificuse of Studio One. For moreonthisrefer tothe Maximizing Computer Processing Power section. Windows: Internal Block Size can be locked to the Device Block Size by checking the Lock box (checked bydefault). The InternalBlockSize isthe software buffer size, which hasa direct impact on your computer system and on Studio One’sperformance. For more on thisrefer the Maximizing Computer Pro- cessing Power section. If unlocked, the InternalBlockSize can be selected from a drop-down menu. If you are unsure of the best setting, leave Internal Block Size locked to Device Block Size. For DSP-powered effectsand virtualinstruments, such asthe UniversalAudio UAD system, locking the InternalBlockSize of your Audio Device iscriticalto ensure proper operation. 4. Bydefault, Studio One’sprocessprecision isset at Single (32-bit). If using Studio One Professional, you may choose double precision (64-bit) from the ProcessPrecision drop-down menu. 5. If your computer hasmultiple processorsor processing cores, Enable Multi-Processing ischecked bydefault. Unlessyou experience performance issues, it isrecommended you leave thisat the default setting for best performance. 6. When the aforementioned settingsare selected, your system’scurrent totalinput and output latency, sample rate, and bit depth isreported below the Audio Setup menus.

10│Studio One Reference Manual Supported Devices Studio One supports most audio devices, including ASIO, Core Audio (Mac OS X), and WASAPI (Windows) devices. When using a WASAPI audio device in Windows, note that WASAPI offersExclusive and Shared modesof operation. In Exclusive mode, lower latencycan be achieved, but other applications(such asWindowsMedia Player) cannot use the audio device at the same time. Refer to the WindowsControlPanel/Hardware and Sound/Sound to configure the options for your WASAPI device.

Performance Monitor When setting up your audio device (specificallywhen determining appropriate Internalor Device BlockSize, or selecting Single or Double ProcessPrecision), you should take into account the related performance demandson your computer. Open the Performance Monitor byselecting it from the View menu, or byclicking on the [Performance] button in the Transport. Thismonitor displaysthe current relative overallCPU and diskperformance, aswellasthe performance of instruments and automation. When these metersapproach or reach the top of their range, you mayneed to consider altering your audio device settings (or changing the Song or Project) to avoid audible clicksand popsor possible instability. For instance, it iscommon to lower the Device and/or InternalBlockSize while recording to keep monitoring latencylow but then to increase BlockSize while mixing to provide asmuch CPU headroom aspossible for effectsprocessing. If anyplaybackissuesare encountered with third-partyvirtualinstrument or effect plug-insthat have their own multiprocessor support implementation (e.g., NI Kontakt, FL Studio), it isrecommended that thissupport be disabled in the plug-ins. In thiscase, Studio One managesallprocessor scheduling.

Audio Device Input/Output Setup

Software I/O Channels In most recording applications, audio Tracksdirectlyuse your hardware audio device’schannels. In Studio One, there isa layer of software I/O(input and output) channelsbetween your hardware audio device channelsand your Tracks. This setup affordsmanyadvantagesover the traditionalmethod. For instance, let’ssayyou produce a Song in your studio, using a multi-channelinterface, then take your Song file to your friend’sstudio, where you use a different audio interface. Simplyconnect your friend’shardware audio device channelsto the correct software I/Ochannels. When you get backto your studio, the originalI/Oconfiguration for the Song is automaticallyloaded for you, asif you never left. You can do the same thing if you need to open the Song on your laptop using itsbuilt-in audio hardware. Thisispossible because Studio One storesI/Oconfigurationswith your Song, per computer and per audio device driver, ensuring that your Song remainshighlyportable and isnever “broken” bychanging audio devices.

Audio I/O Setup Menu Each Trackin a Song receivesa signalfrom an input source and routesto an output destination. The input sourcesand output destinationsmade available to each Trackare determined bythe software I/Ochannelconfiguration created in the Audio I/OSetup menu. To view thismenu and set up a default I/Oconfiguration for each Song, create a new Song by clicking on Create New Song in the Start Page and navigate to Song/Song Setup/Audio I/O Setup.

CHAPTER 2│Studio One Reference Manual The configuration of the Audio I/OSetup isdone within each Song, so that it ispossible for each Song to have a separate I/O setup. As discussed in Default Device I/O Setup, a default I/Osetup can be created so that each new Song defaults to a particular I/Osetup if you desire. In the Audio I/OSetup menu, there are two tabs: one for input configuration and one for output configuration. In each tab, a MatrixRouting view showsthe current configuration, with the verticalcolumnsindicating hardware audio device channels(hardware I/O) and the horizontalrowsindicating created software I/Ochannels. Software I/Ochannelsfunction asthe input sourcesand output destinationsavailable to individualTracksin Studio One

Add or Remove Software I/O Channels Clickon the [Add (Mono)] or [Add (Stereo)] button to add an Input or Output Channel, depending on which tab you are currentlyviewing. When a new channelisadded, the next unassigned hardware inputsor outputsare assigned to the new channelby default. To remove anychannel, clickon the channelto select it and then clickon the ]Remove] button. To rename anychannel, double-clickon the name of the channel, type a new name, and pressEnter. In order for software I/Ochangesto occur, be sure to clickApplybefore exiting thismenu.

Assigning Hardware I/O to Software I/O Channels Hardware inputsand outputsare assigned to software I/Ochannelsin a matrixrouter, which isa visualrepresentation of the routing. Software channels(mono and stereo) are each given a horizontalrow, and hardware inputsand outputsare given verticalcolumns. The pointsat which these rowsand columnsintersect represent potentialconnections, or routes, between the hardware I/Oand software I/Ochannels. Bydefault, Studio One createsthree Input Channels: one stereo and two mono. These channelsare labeled Input L+R (stereo), Input L (mono), and Input R (mono). Bydefault, the stereo Input Channelreceivesinput from the first stereo hardware input pair of your selected audio device. The two mono Channelsreceive input from the same stereo hardware input pair. The Output Channelislabeled Main Out (stereo) and isrouted bydefault to the first stereo hardware output pair of your selected audio device. To create a route between software I/Ochannelsand hardware I/O, clickon the emptysquare at the intersection of the desired hardware input or output and the software channelinput or output. Acolored square appearswith an M, L, or R label,indicating whether the route isa mono route (M) or the leftor rightside ofa stereo route (L or R).

12│Studio One Reference Manual While it isuncommon for Audio I/OSetup changesto be required in the middle of Song production, the audio I/Orouting can be changed at anytime. However, you should be aware that routing changesaffect allassociated Tracks, possibly switching inputsfor audio Tracks, changing the hardware output for the Main Output, and so on. When making new routesin the Audio I/OSetup menu, notice the metersto the left of the software I/Ochannels. By displaying signallevelson each channel, these metershelp you ensure that the appropriate routingshave been made.

Default Device I/O Setup We recommend that you create a default Audio I/OSetup that can be a starting point for allnew Songs. Thisletsyou immediatelybegin working in your new Song, with little or no preliminarysetup. To do so, create software I/Ochannelsfor allof your audio device’scommonlyused inputsand outputsand name them appropriately. Then, clickon the [Make Default] button in the Audio I/OSetup menu, and a pop-up window appearsto confirm that you wish to make the current I/Osetup the default for new Songs. Clickon Yes, and from that point forward, allnew Songsare created with thisaudio I/Osetup.

Audition Channel The Preview Player in the Browser and in the Import File menu usesthe Audition channelfor audio playback. Anystereo Output Channelcan be used asthe Audition channel, allowing you to audition soundsfrom an output other than your main output.

Set Up Your MIDI Devices AllMIDI-capable hardware devicesare collectivelyreferred to asExternalDevicesin Studio One. There are three typesof ExternalDevices: Keyboards, Instruments, and ControlSurfaces. While each device type functionsin a slightlydifferent way, there isone menu to add and configure anyExternalDevice. The menu can be found bynavigating to Studio One/Options/External Devices/Add Device (Mac OS X: Preferences/External Devices/Add Device).

Set Up MIDI Keyboards A MIDI keyboard controller isa hardware MIDI device that isgenerallyused for playing and controlling other MIDI devices, virtualsoftware instruments, and software parameters. In Studio One, these devicesare referred to asKeyboards. Before recording a performance with a Keyboard, the MIDI keyboard controller must first be set up in Studio One. Once a Keyboard isset up, it isavailable at alltimesfor use in Studio One.

CHAPTER 2│Studio One Reference Manual To set up your Keyboard, navigate to Studio One/Options/External Devices (Mac OS X: Preferences/External Devices) and follow these steps: 1. In the Options/External Devices menu (MacOS X: Preferences/External Devices), clickon the [Add...] button. 2. Choose your device from the predefined device list or set thisto New Keyboard if you do not see your device in the list. If set to New Keyboard, you maywish to type in a Manufacturer Name and a Device Name in the appropriate fields. Thismakesidentifying your Keyboard easier. 3. Specifywhich MIDI channelsto used to communicate with thisKeyboard. AllMIDI channelsare selected by default. If you are unsure of the appropriate MIDI channelsto use, just leave thisat the default setting.

4. Engaged Split Channelsif you would like to create a separate Instrument Trackinput for each MIDI channelfrom the Keyboard. 5. Specifythe device to which the Keyboard issending and the device from which it isreceiving via Studio One. Select your device driver name from the drop-down menu for both Receive From and Send To. 6. You can choose to use thisKeyboard asyour Default VirtualInstrument Input bychecking the appropriate box. If you are using onlyone Keyboard with Studio One, you should checkthisbox. 7. Your Keyboardisnow readyfor useinStudioOne. Clickon the "+" button in the Externalwindow of the Console to quicklyset up a new Keyboard or other External Device.

Set Up External Hardware Instruments In Studio One, an ExternalInstrument isan externalMIDI hardware synthesizer, workstation, or other device that can generate or manipulate sound. Externalinstrumentsare set up globallyand then are available for use in anySong.

14│Studio One Reference Manual To set up your Instrument, navigate to Studio One/Options/External Devices (Mac OS X: Preferences/External Devices) and follow these steps: 1. In the Options/External Devices menu, clickon the [Add...] button. 2. In the left-hand browser, choose your device from the predefined device list. Set thisto New Instrument if you do not see your device in the list. If set to New Instrument, you maywish to type in a Manufacturer Name and a Device Name in the appropriate fields. Thismakesidentifying your New Instrument easier. 3. Specifywhich MIDI channelsto use to communicate with thisInstrument. MIDI Channel1 isselected bydefault. If you are unsure of the appropriate MIDI channelsto use, just leave thisat the default setting. 4. Specifythe device to which Studio One issending MIDI and the device from which the software isreceiving MIDI. Select the appropriate MIDI device from the drop-down menu for Send To and (optionally) Receive From. It is likelyyour externalinstrument isnot connected directlyto your computer. In thiscase, your externalinstrument must be physicallyconnected to another MIDI device (such asa MIDI interface) that doesconnect to your computer; you need to select the driver for that device. 5. You can choose to send MIDI Clockto thisInstrument and/or use MIDI ClockStart bychecking the appropriate boxes. You should send MIDI Clockto your Instrument if it hasa built-in sequencer or components(such as LFOs) that need to syncto Studio One. Enabling MIDI ClockStart sendsMIDI ClockStart signalsto your Instru- ment. 6. You can choose to send MIDITime Code to thisInstrument.You can seta DisplayOffsetunder Song/Song Setup/General to correct for time-code varianceswith externaldevices. 7. You can varythe speed at which Automated MIDI CC messagesare transmitted, using the CC Automation Inter- valslider. You can varythe value between 10-100ms, with the default value being 10ms. Your externalinstrument isnow available for use in anySong. To use an externalinstrument in a Song, be sure that an Instrument Trackisrouted to it and that the appropriate Audio Trackshave been added and configured. Refer to Monitoring an External Instrument for more on thistopic. Note that if your instrument isalso a controller (such asa keyboard workstation), you need to set it up twice. First, set it up asan ExternalInstrument without a Receive From selection, and then set it up asa Keyboard, without a Send To selection. Thisallowsthe keyboard-controller section of the workstation to be used asa source for Instrument Tracks, while allowing the synthesizer section to be used asan externalinstrument.

CHAPTER 2│Studio One Reference Manual Set Up Control Surfaces In Studio One, a ControlSurface isa hardware device that includestransport controls, faders, and other specialized controls. The controlsurface might use MIDI directlyor via a specialcontrollayer such asMackie Control.

To set up a ControlSurface, do the following: 1. In the Options/External Devices menu (MacOSX: Preferences/External Devices, clickon the [Add...] button. 2. Choose your device from the predefined device list. Set thisto New ControlSurface if you do not see your device in the list. If set to New ControlSurface, you maywish to type in a Manufacturer Name and a Device Name in the appropriate fields. Thismakesidentifying the ControlSurface easier. 3. Specifythe device to which the ControlSurface issending and the device from which it isreceiving via Studio One. Select your MIDI device driver name from the drop-down menu for both Receive From and Send To. 4. You do not need to specifythe MIDI channelsyour ControlSurface should use, ascontrolsurfacesuse alternative protocols, such asMackie Control, to communicate with Studio One. 5. Your ControlSurfaceisnow readyfor useinStudioOne. For more information on using Mackie Controldeviceswith Studio One, see Mackie Control.

Custom Placement of Control Surfaces If you are using multiple surfaceswith motorized faders, you can customize the placement of the fader banksso that Channelsin the Studio One Console are spread acrossyour surfacesin the desired order.

16│Studio One Reference Manual To customize this placement, click on Placement in the Options/External Devices menu after adding your surfaces. All ungrouped surfacesappear under the Ungrouped tab. To place a surface in a group, select a Group tab, then click-and- drag the surface from the Ungrouped area to the selected group area. To adjust the order of the grouped surfaces, click- and-drag them left or right. Channelsin the Console appear in order acrossthe surfacesfrom left to right. Up to four Groupscan be created, to allow for mirroring of Channelsacrossmultiple surfaces. Thisishelpfulif you have more than one location in the studio where you wish to use controlsurfaces(e.g., an Aroom and Broom or a controlroom and live room). Onlysupported and predefined ControlSurfacesappear in the Placement window. User-defined devicesdo not appear in this window.

Use Your Computer Keyboard as a MIDI Keyboard You can use your regular QWERTY computer keyboard asa MIDI Keyboard to playvirtualinstrumentsand record musicaldata in Studio One. To do this, add a new device in the Studio One/Options/External Devices/Add Device menu (Mac OS X: Preferences/External Devices/Add Device), choosing the QWERTY Keyboard device from the PreSonus device folder.

CHAPTER 2│Studio One Reference Manual With the device added, to use your keyboard asa MIDI Keyboard, open the interface for the QWERTY Keyboard device bydouble-clicking on it in the Externalpanelof the Console. Anyrecord-enabled Instrument Trackthen receivesinput from the QWERTY Keyboard, asshown in the QWERTY Keyboard device interface. Your keyboard onlytransmitsdata to Instrument Trackswhile the QWERTY Keyboard device interface isopen.

Using the PreSonus FaderPort If you have a PreSonusFaderPort connected to a computer running MacOS X or Microsoft Windows, Studio One automaticallyrecognizesit and configure it for use. Just open a Song or Project to use the FaderPort immediately.

Reconnect Devices In most applications, when MIDI devicesbecome disconnected while the application isrunning, you usuallyhave to restart the application, and the software maycrash. In contrast, if an externalMIDI device becomesdisconnected while Studio One isrunning with a Song or Project open, the device can be reconnected without restarting Studio One. If thisoccurs, navigate to Studio One/Options/External Devices (Mac OS X: Preferences/External Devices) and click on Reconnect at the bottom of the menu. Then reconnect your devicesand clickOK. The devicesshould now worknormally in Studio One. If an externaldevice isnot present when Studio One isstarted—for instance, if you’re traveling and don’t have some of your gear with you— the application stillrunsnormally. You should see a warning message that makesyou aware of the situation. If your setup frequentlychanges, you maywish to turn off thiswarning message bydisengaging the NotifyMe If DevicesAre Unavailable When Studio One Startsoption. Later, when you start Studio One with the device connected to your computer, Studio One recognizesthe device automatically, and it can be used exactlyasbefore, with no further setup required.

Managing Your Content Content management and file management can become unwieldywhen working with digitalaudio workstation software due to the sheer volume of loops, effects, song ideas, individualtracks, and so on. In Studio One, you onlyneed to locate your preexisting content once, after which allof the locationsare remembered. Anycontent you create using Studio One is similarlymanaged. In Studio One, your content iskept in distinct categories.

18│Studio One Reference Manual The following describesthe processof managing your content using the Studio One/Options/Locations (Mac OS X: Preferences/Locations) menu.

User Data Anycontent you create using Studio One isautomaticallystored in the location you specify. ThisincludesSongs, Projects, EffectsPresets, and allof the filesthese categoriescontain. Allof your creative output can be logicallyorganized and kept in a single place, which makesfuture location and backup a breeze. When creating a new Song or Project, the User Data folder isthe default save location. While we recommend using this location, you can specifyanysave location when creating anynew Song or Project. Engage the Auto Save Documents option to automaticallysave anyopen document at a specified intervalof time. Engage the Ask to Copy External Files when Saving Song feature to be given the option to consolidate anyoutside filesto the centraldata folder when saving a Song.

File Types Allsupported file extensionsare listed in the Studio One/Options/Locations/File Types (Mac OS X: Preferences/Locations/File Types) menu. Onlythese supported file typesare displayed in the Browser. It ispossible to add file extensionsto thislist byclicking on the [Add...] button. In the pop-up menu, you can choose an icon, enter the file extension, and provide a description for the file type. Select a user-added extension from the list and clickon Remove to remove it.

Sound Sets Preconfigured packagesof loopsand samplesare bundled with Studio One. The Browser’sSound Setsfolder makes finding thiscontent quickand easy. These packagesalso contain information about each content vendor, which is displayed in the Browser when a package isselected. Clickon the Visit Website linkin the Browser for more information about the vendor and the content theysupply.

Instrument Library Studio One includesa native virtualinstrument called Presence XT that utilizesa cross-platform sample libraryformat, as wellasstandard librariesin Giga, EXS, Kontakt (version 4 and below), and Sound Font (SF2 and SFZ) formats. Using the Instrument Libraryfunction, you can tellStudio One where your sound setsare located, giving you accessto them as presets in Presence XT. To add sound libraryfile locationsto your Instrument Library, in the Studio One/Options/Locations/Instrument Library (Mac OS X: Preferences/Locations/Instrument Library) menu, clickon the [Add...] button and specifya file location, then click OK. You can specify as many locations as you need. For more information on the Presence XT built-in virtualinstrument, refer to the Presence XT section.

VST Plug-ins When Studio One startsfor the first time, most of your plug-insare located automaticallyand are readyto use immediately. If Studio One failsto find certain plug-ins, adding them iseasy. To add anymissing VST plug-ins, navigate to the Studio One/Options/Locations/VST Plug-ins (Mac OS X: Preferences/Locations/VST Plug-ins) menu and clickon the [Add...] button, then specifya location and clickOK. You can also drag-and-drop anyfolder from the Explorer/Finder into the Locationslist. Studio One then scansthese locationsat startup, including searching for new plug-insyou’ve added. You can alwaysadd more locationsif needed. AU, VST 3, and ReWire-enabled plug-insand applicationshave their own pre-set file path in the OSand do not have to be located manually.

CHAPTER 2│Studio One Reference Manual Failed Plug-ins

If anyplug-in failsto start correctlywhen scanned at startup, a notice appearsnext to itsname in the startup message list, and a warning message isshown. If the plug-in continuesto failat startup—for instance, if it isnot authorized correctlyor a required iLokkeyisnot present—Studio One putsthe plug-in in a blacklist and ignoresit at startup from that point on. To reset thisblacklist and force Studio One to scan missing plug-insagain at startup, navigate to Studio One/Options/Locations/VST Plug-ins (Mac OS X: Preferences/Locations/VST Plug-ins) and click on [Reset Blacklist]. The next time you start Studio One, the previouslyblacklisted plug-insare scanned again. If the issuesthat caused the plug-ins to failthe scan have been resolved, the plug-insare made available.

VST Format Support

Studio One Producer and Professionalsupport VST 2.4 (including VSTXML for hierarchicalparameter structure) and VST 3.

Creating a New Song A Song iswhere allrecording, editing, arranging, and mixing takesplace. To create a New Song, do one of the following: From the Start page, clickon the Create a New Song link.

Navigate to File/New Song.

Press[Ctrl]/[Cmd]+N on the keyboard.

If no Song iscurrentlyopen, clickon the Song quick-accessbutton.

The default name of each new Song isderived from today'sdate and the Artist name you've set in the Artist Profile on the Start page. You can set your own title byediting the text in the Song Title field.

Song Templates On the left side of the New Song creation menu, there isa list of preconfigured Song templates, which are designed to help get you started quicklywith variousrecording tasks.

20│Studio One Reference Manual The templatescan include particular I/Oand Tracksetups, effectsplug-in and virtualinstrument processing, and allother aspectsof a Song. Bydefault, the EmptySong template isselected, which createsa completelyemptySong with no Tracksor preconfigured I/Osetup.

Create a Song Template If there isa particular Song setup you use again and again, it can be helpfulto create a template. To do so, first create a new EmptySong. Next, configure the I/Oand create and configure allTracks, and virtualinstruments, effectsplug-ins, and anyother aspectsof the Song that you need in your template. Then, in the File menu, select Save asTemplate. Type in a title and description, choose an image for the Template icon, if you like, and select OK. You can also drag an image from WindowsExplorer or MacFinder onto the image icon to use that image. The exact current state of the Song is now available asa template in the New Song creation menu.

Song Location New Songsand allrelated data are saved to your User Data location, set in Studio One/Options/Locations/User Data (Mac OS X: Preferences/Locations/User Data). If you like, you can choose a different file location byclicking on the [...] button in the New Song dialog, and browsing to your chosen location.

CHAPTER 2│Studio One Reference Manual Sample Rate “Sample rate” refersto the rate at which incoming analog audio issampled per second during conversion to a digital signal. The most common setting isthe standard sample rate for audio CDs: 44.1 kHz, meaning 44,100 samplesper second. The Studio One sample rate should match the sample rate of your audio interface, so bydefault, the sample rate isset to your current audio interface’ssample rate, and changing thissetting initiatesa sample rate change in that device. If the sample ratesdon’t match, Studio One resamplesallaudio filesto match the sample rate of the hardware, but thiscan cause performance problemsand should be avoided. Studio One iscapable of recording at anysample rate your hardware audio device offers. Not alldevicesallow a third-partysoftware application to change the hardware sample rate. The desired sample rate should be set before creating a New Song. File size isdirectlyproportionalto the sample rate and resolution. The higher the sample rate and resolution, the larger the resulting audio file is.

Resolution “Resolution” refersto the bit depth of digitalaudio, which isrelated to the audio’sdynamicrange. Standard CD audio hasa 16-bit resolution, which resultsin roughly96 dB of dynamicrange. Thus, with “CD-quality” audio, the difference between the quietest and loudest soundspossible is96 dB. The most common resolution setting in professionalrecording is24-bit, which producesa dynamicrange of approximately144 dB. Studio One can record audio with 16, 24, or 32-bit (floating point) resolution. Which resolution to use isa matter of preference. If you are unfamiliar with these concepts, tryexperimenting with recording at each resolution and comparing your results.

Timebase The timebase of your New Song determinesthe waythe timeline isrepresented. The timebase selection can be changed at anytime. You have the option of the following: Seconds The timeline division is an expression of hours : minutes : seconds : milliseconds.

Samples The timeline division is an expression of samples.

Bars The timeline division isan expression of musicalbarsand beats.

Frames The timeline division is an expression of frames.

Song Length Here, you can specifya length for your new Song, or go with the default setting of five minutes. If you wish to change the length of a Song once in progress, you can move the Song End marker to the desired end point, asdetailed in the Song Start and End Markers section. You can also change the length of the currentlyopen Song byopening the Song/Song Setup dialog and setting the Song End parameter to your desired end point.

Tempo Here, you can specifya starting tempo for your Song, or go with the default setting of 120 BPM.

Time Signature Here, you can specifya starting time signature for your Song, or use the default setting of 4/4.

22│Studio One Reference Manual Stretch Audio Files to Song Tempo Enable thisoption to automaticallytimestretch imported audio files(that have tempo information) to match your Song’s current tempo. Thisishighlyrecommended to avoid having to manuallystretch audio or place Tracksin Timestretch mode. However, if you do not intend to workwith Timestretching in your Song and want to ensure that nothing getstimestretched automaticallyby mistake, make sure this option is deselected. Onlyaudio fileswith encoded tempo information are stretched automaticallywith thisoption engaged. Studio One rememberstempo information you specifywithin the Inspector view for anyaudio file.

General Options The following optionsgive you a varietyof controlsover how Studio One looksand operates. Clickon each tab in the Studio One/Options/General (Mac OS: Preferences/General) menu to accessthese options.

General When Studio One starts Choose the default action to be done upon startup. Do Nothing No Song or Project opensbydefault.

Open Last Song/Project The most recent Song or Project opens.

Open Default Song/Project The default Song or Project opens. To set the Song or Project to open by default, set up a Song or Project and save it, with the name “default,” to the Songsor Projectsfolder located at the current User Data location set in Options/Locations. Create a New Song Anew Song iscreated and opened.

Check for Updates Checkfor software updateson startup.

Language Choose your language from the list.

Enable High-DPI Mode (Windows only) Enable thisoption to switch Studio One to high-resolution mode, best for use with high-resdisplays. To complete the switch to or from high-resolution mode, restart Studio One.

Appearance Set the color balance for the user interface in Studio One, with separate controlsfor Background and Arrangement elements. Color settingscan be stored asfileson diskand loaded from disk, allowing trading with other usersor archiving for personaluse. Press[Reset] to set the color balance backto factoryspecs.

Keyboard Shortcuts Thispanelletsyou assign and change keyboard shortcutsfor featuresand functionsin Studio One. For more information, see Key Commands.

Network Toggle the "Allow remote controlappsto discover thisDAW" option on to let compatible networked controllersconnect to Studio One.

Touch Input Here, you can enable multi-touch operation (if you have a compatible displayattached to your system), aswellasspecify which monitor isto be used for touch input. To specifythe current monitor, clickthe [This] button.

CHAPTER 2│Studio One Reference Manual Advanced Options Studio One offersthe following waysto customize your workflow. Clickon each tab in the Studio One/Options/Advanced (Mac OS: Preferences/Advanced) menu to accessthese options. Manyof the following optionsthat pertain to editing in Arrange view can be accessed and toggled on or off byclicking the Optionsbutton in the Arrange view toolbar.

Editing Clickon the Editing tab to accessthe following options: Enable Crosshair Cursor for Tools isengaged bydefault. It enablesa large, white, vertical-and-horizontal crosshair in the Arrange view that aidsin displaying the exact position of the variousmouse tools. Locate When Clicked in Empty Space isdisengaged bydefault. When engaged, it allowsthe timeline cursor to be located based on clicking in emptyspace or clicking where there are no Events. Apply Folder Track Color to Content isdisengaged bydefault. When engaged, it causesallcontent contained in a Folder Trackto be color-coded with the same color you choose for the Folder Track. Don’t Show Event Names removesthe name labelsfrom Eventsin the Arrangement view. Thisispurelyan aestheticdifference and doesnot change anyfunctions. Draw Events Translucent isnot engaged bydefault. It enablesthe Timeline grid in the Arrange and Edit view to be seen in the background, through Events. Seeing the grid mayhelp with variousediting tasks.

Automation Clickon the Automation tab to accessthe following options: Automation Follows Events isengaged bydefault. Thismeansthat automation envelopeslockto Eventsso that moving an Event with automation “under” it also movesthe automation. Disable Events Under Automation Envelopes isalso engaged bydefault. ThismakesEventsunavailable to the mouse toolswhile viewing an automation envelope, which helpsprevent you from unintentionallyediting underlying Events while editing automation. Automatically Add Envelopes for all Touched Parameters isdisabled bydefault. Engaging thisoption addsan automation envelope for anyautomation-friendlyparameter when you touch itscontrol. The Default Envelopes for new Audio Tracks selectorslet you specifywhich typesof automation envelopes are created for each new trackbydefault. You can enable or disable Volume, Pan, and Mute.

Audio Clickon the Audio tab to accessthe following options: Use Cache for Timestretched Audio Files isengaged bydefault. It isdescribed in depth in the Using Timestretch Cache section of the Editing chapter. Record Tempo Information to Audio Files isengaged bydefault. When engaged, thisoption enablestempo tagging for anyaudio file recorded in Studio One. The Song tempo at the time position of the recording issaved with the file, so that automatictimestretching can be accomplished. If another application hasissuesreading audio filesfrom Studio One, trydisabling thisoption. Use Dithering for Playback and Audio File Export isengaged bydefault, and meansthat triangular dithering (with no noise-shaping) isapplied when the audio signal’sbit depth isreduced from a higher bit depth bya device or during file export. Turn thisoff if you would like to use a third-partydithering solution, such asa limiter Insert effect on the main output that hasbuilt-in dithering with characteristicsyou prefer. Use Realtime Processing to Update Mastering Files ensuresthat real-time processing isused when the mastering file for a given Song isautomaticallyupdated. Thisisnecessarywhen Songsutilize certain devices, such asExternalInstruments, that require a real-time mixdown in order to be included in the mix.

24│Studio One Reference Manual Pre-record Audio Input createsa buffer of a length you can specify, which recordscontinuously, even when the transport isstopped. Thissavesthe audio you create before recording begins. Once recording concludes, the number of secondsof audio you've specified are available before the point at which recording started. The recorded data iscollected in the Input Channelsaslong asphysicalinputsare connected. After recording with Pre-Record enabled, you can revealthe pre-recorded data bypulling the Event-start handle to the left. If recording restartson the same Track, the Pre-Record data islimited to the last recording’send, so that data isnot repeated and a seamlessjoin between the two recordingsispossible. Record Offset allowsyou to input a value, in samples, bywhich anyrecorded audio should be offset in the arrangement, thereby compensating for device/driver latency. Release Audio Device in Background isdisabled bydefault. When engaged, the currentlyused audio device ismade available to other applicationswhen Studio One isminimized. Process Audio in Safe Mode isdisabled bydefault. When engaged, more processing bandwidth isgiven to audio-processing tasks, resulting in higher latency. Thisoption maybe usefulon low-powered computersor on computers that exhibit performance issues.

MIDI Clickon the Miditab to accessthe following options: Timecode Follows Loop isengaged bydefault and allowsMIDI Timecode to remain in syncwhen Loop isactive in a Song or Project. With thisdisengaged, MIDI Timecode continuesto run linearly(counting up) while Studio One's transport is looping. Reveal Precount Notes isdisengaged bydefault. Engage thisoption to retain anyMIDI notesplayed during the count-in when Precount isenabled. Thiscan be helpfulwhen playing in partsthat start just before the downbeat. Chase Long Notes isengaged bydefault. When engaged, if playbackstartsafter a note start, the note isplayed asthough itsstart time were at the position at which playbackstarted. For instance, if a synth pad note startsat bar 1 and laststhrough bar 8, and playbackisstarted at bar 4, the note playsfrom bar 4 asit would normallyfrom bar 1. With thisoption disengaged, in the above example, the note would not playat all. Cut Long Notes at Part End isnot engaged bydefault. When engaged, thismeansthat notesare cut at the end of a Part where it would otherwise extend beyond the Part end. Thiseffectivelyplacesthe note-off at the Part End. Record Offset allowsyou to input a value, in milliseconds, bywhich anyrecorded musicalperformance should be offset in the arrangement, therebycompensating for device/driver latency.

Windows MIDI options:

Hide Emulated DirectMusic Ports isengaged bydefault and eliminatespossible redundanciesin how MIDI device portsare presented in Studio One. Use Legacy MIDI instead of DirectMusic isnot engaged bydefault. Engaging thisoption meansthat Studio One ignoresDirectMusicMIDI devicesand accessesMIDI devicesthrough LegacyMIDI instead. Ignore MIDI Timestamps isnot engaged bydefault. Thisoption isusefulwhen a MIDI device exhibitstiming issues, such asdrift or a generaloffset.

Console Clickon the Console tab to accessthe following options: Colorize Channel Strips Enable thisoption to applychannelcolor coding to fullchannelstripsin the Console. Normallythe color onlyshowson the channellabels. Thissort of enhanced visualreference can be helpfulwhen trying to navigate large Songs.

CHAPTER 2│Studio One Reference Manual Solo Follows Selection With thisoption enabled, once a trackissoloed, selecting a different trackcausesthe newlyselected trackto be soloed. When thisoption isdisabled, tracksstaysoloed untilsolo isdisengaged. Channel Editor follows Selection isengaged bydefault and causescurrentlyviewable channeldevices, such asvirtualeffectsor instruments, to automaticallyswitch when a Channelisselected. Thisensuresyou are only viewing the devicesrelated to the selected Channel. Audio Input follows SelectionEnable thisoption to automaticallyengage Record and Monitor mode for any Audio Track you select. If you would like Audio or Instrument Trackmonitoring to be enabled automaticallywhen recording isenabled on a Track, engage the Audio Track Monitoring Follows Record and Instrument Track Monitoring Fol- lows Record options. Audio Track Monitoring Mutes Playback (Tape Style) mutesplaybackof anypre-existing audio on Audio Tracksthat have monitoring enabled. Instrument Input follows Selection Enable thisoption to automaticallyengage Record and Monitor mode for anyInstrument Trackyou select. Fader Mode Thissetsthe mouse behavior for channelfadersin the Console. Choose Touch to require clicking on the fader handle itself before dragging it to the desired position. Choose Jump to allow clicking anywhere on the travelof the fader to set itsposition.

Services Studio One gives you the ability to selectively enable and disable particular services, or modules, that enable specific features. Thismaybe helpfulwhen troubleshooting. For instance, if a ReWire device seemsto be causing a problem, you can disable the ReWire service to see if that resolvesthe issue. Thiskind of troubleshooting enablesthe Studio One technical-support team to quicklylocate and resolve specificissueswith your computer system and to identifyany previouslyunknown problemsin the program. Allservicesare enabled bydefault. To disable anyservice, clickon the Servicestab in the Studio One/Options/Advanced menu (MacOS X: Preferences/Advanced) and clickon the confirmation button, paying specialattention to the disclaimer message. Then clickon anyservice in the list and clickon the Disable button to disable that service. You must restart Studio One for these changesto take effect. If a service hasbeen disabled, follow the instructionsabove, and clickon the Enable button for the service in order to re- enable it. Again, Studio One needsto be restarted for anyof these changesto take effect.

26│Studio One Reference Manual Fundamentals

The following chapter presentsimportant, fundamentaldesign aspectsof Studio One. Familiaritywith these aspectsof Studio One helpsto ensure that your experience isasenjoyable and creativelystimulating aspossible.

Nondestructive Editing and Undo/Redo Almost everyediting action in Studio One can be undone and redone. There isno limit to how far backactionscan be undone and to how far forward actionscan be redone once theyhave been undone. Most actionsthat cannot be undone or redone are accompanied byverification dialog boxes. Even Console and plug-in changescan effectivelybe undone by using the Console’s Trash Bin. So, feelfree to explore without fear that you might permanentlyalter anything. In fact, playing freelywith the controlsisa fast wayto learn, and it often leadsto unexpected results. Undo/redo historyiscleared when you save a Song or Project, or exit Studio One.

High-Precision Mix Engine Studio One featuresa cutting-edge high-precision mixengine. A mixengine isthe “number cruncher” that doesthe mathematicalsumming required to mixmultiple sourcesof digitalaudio. Studio One employsa floating point, mixed-mode engine.

64-Bit Mix Engine Studio One Professionaloffersboth 32-bit and 64-bit mixengine modes. Thismeansthat the audio engine can automatically switch between using 32-bit, single-precision floating-point and 64-bit, double-precision floating-point math on the fly, depending on the capabilityof the plug-ins(VST/AU effects, etc.) inserted into the signalchain. In Studio One/Options/Audio Setup (Mac OS X: Preferences/Audio Setup), set ProcessPrecision to Double (64-bit) to activate 64-bit processing. Otherwise, allprocessing is done in single precision (32-bit).

Automatic Delay Compensation Studio One automaticallycompensatesfor the time delaythat resultsfrom some VST and AU processing. Thisletsyou avoid having to manuallyrealign Tracksto compensate for that delay, and keepsallTracksperfectlyin syncregardlessof the number of virtualplug-insand effectsyou run. For more information on thistopic, refer to the Automatic Plug-In Delay Compensation section.

Look Mom, No MIDI! The MusicalInstrument DigitalInterface (MIDI) specification wascreated in 1983. While it hasserved musicianswellfor more than 25 years, it hassome limitationsin termsof resolution and speed. We circumvent manyof those limitations within Studio One bysubstituting our own high performance controlsystem in place of MIDI when controlling certain vital internal parameters. Asan example, fine-grained parameter automation isprovided within virtualinstrument parts, rather than much lower- resolution (128 steps) MIDI control-data automation. The ControlLinksystem isalso made possible byabstracting MIDI from Studio One'sinternalprocesses. AsMIDI evolvesand new potentialstandardsare developed, Studio One remains prepared for the innovationsof the future.

CHAPTER 3│Studio One Reference Manual Drag-and-Drop Manyfunctionsin Studio One have integrated drag-and-drop support. Thismeansthat objectscan be clicked on and then dragged to variouslocations, and over other objects, in order to accomplish certain tasks. For example, you can find an audio effect in the Browser, and then click-and-drag it directlyonto a Trackto insert the effect onto that Track. You can then click-and-drag that effect onto another Trackto copythat effect and itssettingsto a new Track. You can drag a virtualinstrument from the Browser and drop it into blankspace in the Arrange view to create a new Instrument Trackwith that virtualinstrument. You can also drop the virtualinstrument on top of an Instrument Trackto replace the existing virtual instrument. If, while in mid-drag, you decide you no longer want to drag the object in question, press[Esc] on the keyboard to cancel the drag action. These, and manyother drag-and-drop features, allow you to workveryquickly, without having to stop for menu navigation or other distracting processes.

Transport Controls

The Transport Controlsare a centralset of buttonsthat give you controlover playback, navigation, and recording in Studio One. Transport Controlsare present in both the Song and Project pages. The following controlsare available: Play Start playbackat the current cursor location. You can also Playbyhitting the spacebar on your keyboard, which also worksto stop the transport, when it isin playback. Stop Stop playback. You can also Stop byhitting the spacebar on your keyboard, or [0] on the numericalkeypad.

Record Begin recording at the current cursor location. You can also activate recording bypressing [*] on the numeric keypad. Loop Pressto enable/disable Loop mode. You can also toggle looping bypressing [/] on your keyboard.

Rewind and Fast Forward Pressthese buttonsto move the cursor backor forward in time.

Go To Previous/Next Marker Pressthese buttonsto shuttle to the previousor next marker on the Marker Track. Return to Zero (RTZ) Return the playbackcursor to the beginning of the timeline. You can also zero the transport bypressing [,] on the keyboard.

Key Commands Manyoperationsin Studio One have associated keycommands, or keyboard shortcuts, that can be used in lieu of navigating menuswith the mouse. Some keycommandsuse modifier keys, and some modifier keysdiffer depending on the operating system. In thismanual, keycommandswith modifier keysare shown with the Windowsmodifier keyfirst, asfollows: [Win modifier key]/[Macmodifier key]+[key]. For example: [Ctrl]/[Cmd]+[C] means“press[Ctrl]+C in Windows, or press[Cmd]+C in Mac OS X.” Where there isno difference between the Windowsand Macversion of a keycommand, onlyone keycommand is displayed. Example: [F3]. In severalinstances, optionsare located in the Studio One menu in the Windowsversion but in Preferencesin the MacOS X version. In these cases, the Windowslocation isgiven first, and the Maclocation followsin [brackets].

28│Studio One Reference Manual A complete list of key commands is always available via Help/Keyboard Shortcuts, which rendersan HTML document and opensit in your browser with the currentlyconfigured keycommands.

Key Commands for Migrating Users If you are migrating from another DAWto Studio One, you might find it helpfulto switch the keycommand set to one specificallycreated to make the transition from another DAW easier. In the Studio One/Options/General/Keyboard Shortcuts (Mac OS X: Preferences/General/Keyboard Shortcuts) menu, you can see a heading called Keyboard Mapping Scheme. Here, you can select from keyboard mapsfor severalDAWs; select a map, and Studio One recognizesand appliescommon keycommandsfrom that DAW. You can then customize the keycommandsto fit your workflow. The keycommandsused for each DAWcan be viewed in the KeyCommand menu and can be exported in severalfile typesfor externalviewing.

Mapping Custom Key Commands In the Studio One/Options/General/Keyboard Shortcuts menu (MacOSX: Preferences/General/Keyboard Shortcuts), you can modifythe existing keycommandsto be anything you like, aswellasadding commandsfor functionsthat don’t have default key commands. Note that allmentionsof keyboard shortcutsin thismanualrefer to the standard settings.

To modify any key command:

CHAPTER 3│Studio One Reference Manual 1. Find the function for which you wish to editthe keycommandbytyping in the name ofthe function in the Search field. 2. When the function isfound,selectit byclicking on it in the liston the left. 3. Clickin the Enter Keyfield and input anykeycombination using your computer keyboard. Your keycombination is displayed. 4. ClickAssign to assign thiskeycommand to the selected function. 5. If the keycommand you are trying to assign isalreadyin use, the current use isdisplayed below the Enter Key field, along with a Show linkthat selectsthat function for you so that you can change it. 6. Clickon the Keyboard Mapping Scheme selection boxto choose from the following options: Import Select to import a Studio One Keyboard Mapping Scheme.

Export Select to export your Studio One Keyboard Mapping Scheme.

Export as Text Select thisto export your Studio One Keyboard Mapping Scheme asa text file so that you can create a reference guide to your custom mappings. A complete list of keycommandscan be viewed via Help/Keyboard Shortcuts, which rendersan HTML document that showsthe currentlyconfigured keycommandsand opensthe document in your browser.

Studio One Help and Information We have worked to make Studio One aseasyto learn and use aspossible, but anytoolwith asmanycapabilitiesasa modern DAW isbound to come with a learning curve. To help you on your way, thismanualcontainsinformation on of everyfeature in Studio One. You can accessthismanualat anytime bynavigating to Help/Studio One Reference Manual, or bypressing the F1 keyon your keyboard. If you have one of the built-in Studio One plug-insopen and need help with itsfunctions, pressing F1 takesyou to the relevant section of thismanual.

Info View The Info View panel, accessed via the Question Markicon in the top toolbar on the Song and Project pages, displaysall possible actionsfor the selected mouse tool, aswellasshowing the possible modifiersand their related actions. Various controlsin the Studio One interface and included plug-insalso displayinformation in the Info View when you hover the mouse pointer over them. From Info View, you can pressF1 on your keyboard to jump directlyto related sectionsof the Studio One reference manual.

Tooltips Manycontrols, tools, and windowsin Studio One have associated tooltipsthat displaywhen you hover your mouse pointer over the control. These short descriptionscan help you quicklyorient yourself to the functionsavailable in Studio One.

PreSonus.com Our website, http://presonus.com, containsa wealth of information about Studio One and how best to use it. You can also get information and answersfrom fellow usersat our forumsat http://forums.presonus.com/

Flexible Parameter Control Manycontrolsand parametersthroughout Studio One let you adjust their settingswith the mouse and keyboard in several useful ways:

30│Studio One Reference Manual Scrollwheel Hover your mouse pointer over the desired controlor parameter and move the scrollwheel(or other scrolling mechanism) on your pointing device. In thisway, you can smoothlyadjust variable controls(such asmixer fadersor plug-in parameters) and scrollquicklythough listsof options(such assetting Quantize Value or channel I/O assignments). Click and Drag While moving knobsand linear fadersbyclicking and dragging mayseem obvious, also note that manynumericalsettings(such asTranspose or Start and End times) can be adjusted byclicking the center of the setting'sdisplay, and dragging up or down to the desired value. Double-Click and Type Manynumericalparameterscan be preciselyset bydouble-clicking the currentlyset value and typing in the desired value. Press[Enter] to lockin the new value.

Control Link Controlling DAW software with hardware MIDI controllerscan sometimesbe a complextask. To make thingssimpler, Studio One providesthe ControlLinksystem, a clear and easyMIDI mapping protocol. With minimalconfiguration, you can achieve effective controlover your software and externalequipment. For more on the ControlLinkSystem, refer to the Control Link chapter.

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32│Studio One Reference Manual Pages

The functionsin Studio One are organized into two main pages: Start and Song. Each page isdesigned to help you accomplish a specific set of tasks, and each page is accessible at all times. The functionsin Studio One are organized into three main pages: Start, Song, and Project. Each page isdesigned to help you accomplish a specific set of tasks, and each page is accessible at all times. In thischapter, we discussthe generallayout of the user interface for each page.

Start When Studio One islaunched, the Start page isdisplayed.

On thispage, you can find document management and device configuration controls, aswellasyour artist profile, a news feed, and linksto demosand tutorials. The following section providesa brief description of the Start page.

Tasks In the top portion of the Start page, you can find two options: Create a New Song and Open an Existing Document.A Song iswhere you can record, edit, arrange, and mixaudio and musicaldata. Songsare accessed in the Song page. In the top portion of the Start page, you can find three options: Create a New Song, Create a New Project and Open an Existing Document. ASong iswhere you can record, edit, arrange, and mixaudio and musicaldata. AProject is where multiple Songsor audio filescan be arranged and mixed on a single timeline for mastering purposes. Songsare accessed in the Song page, and Projectsare accessed in the Project page.

CHAPTER 4│Studio One Reference Manual Recent Files and SongsFiles, Songs, and Projects The Recent Fileslist includeslinksto the most recentlyaccessed documents. Clickon anyof these linksto quicklyopen the associated Song or Project. Floating the mouse to the left of anylisted document revealsa Pin icon that, when clicked, pins that document to the Recent Fileslist untilit isunpinned. To open an auto-saved version of a document, [Right]/[Ctrl]-clickthe name of the document and choose the desired revision from the pop-up list. Thisright-clickmenu also offersthe abilityto displaythe selected document in the Windows Explorer, or MacOS Finder. The Songsand Projectslist displaysallSongsand Projectscontained in the User storage location.

Setup Thisarea displaysyour currentlyselected audio device and containslinksto configure your audio device, configure externaldevices, checkfor updates, and view information about Studio One.

Configure Audio Device

Studio One automaticallyselects, from a list of devicesinstalled on your computer, an audio device (such asan audio interface) to use for audio input and output. To select a different device, clickon the Configure Audio Device linkto access the Audio Setup tab in the Optionsmenu. For in-depth information on how to set up your audio device, refer to the Set Up Your Audio Device section.

Configure External Devices

Studio One can send and receive musicaldata to and from anyMIDI device connected to your computer. Studio One’s advanced use of MIDI devicesrequiresyou to tellit a few thingsabout your devices. For detailson how to set up these devices, refer to the Set Up Your MIDI Devices section.

Check for Updates

From time to time, PreSonusissuessoftware updatesfor Studio One to incorporate bug fixesand add features. To manuallycheckfor updates, clickon the Checkfor Updateslink. Your version number, aswellasthe most current version number, isdisplayed. If a newer version of Studio One isavailable, a linkto download the new version isalso displayed.

About Studio One

Clickon the About linkto view your current license and version information, aswellasinformation about the Studio One development team.

Artist Profile Here you can specifycertain meta-information that isused to tag your Songs, including an image, artist name, genre, and artist Web URL. To add an image to the artist information, clickthe [...] button to choose a file, or drag-and-drop an image onto the image icon from anylocation on your computer. To remove the current image, clickthe button marked X. In addition to enabling you to personalize Studio One, thisfeature savesyou the effort of filling in meta-information for every Song.

34│Studio One Reference Manual SoundCloud Dashboard

[Screenshot] StartPageSoundCloud - Start page: Soundcloud pane Once you’ve set up an account, the SoundCloud dashboard letsyou have direct interaction with your fansand customers, aswellasview variousstatistics, such asplayand download numbers, and the number of followersyou have. [Screenshot] Add SoundCloud button shots to each item below: SoundCloudTracks SoundCloudFollowers SoundCloudPlays SoundCloudDownloads SoundCloudFavorites SoundCloudComments

Showsyou the number of soundsyou have posted.

Showsyou how manyfansyou have.

Showsyou the number of playsyou have.

Showsyou the number of downloadsyou have.

Showsyou the number of heartsyou've been given.

Showsyou the number of commentsleft bylisteners.

CHAPTER 4│Studio One Reference Manual News Feed The Studio One newsfeed comesdirectlyfrom PreSonus. Thisnewsfeed containshelpfulinformation related to Studio One and updatesautomaticallyif your computer isconnected to the Internet.

Demos and Tutorials Anyinstalled demo or tutorialsongsappearsin the Demoslist, which can be launched byclicking on the demo-song name. Use these demo songsto checkout variousaspectsof Studio One.

Song When a new Song iscreated, or an existing Song isopened, you are taken to the Song page. Thispage containsallof the necessarytoolsto record, edit, arrange, and mixmultitrackaudio and instrument data.

Song Page Workflow The Song page isa complete multitrackproduction environment with a single-window interface. On thispage, anynumber of audio and instrument Trackscan be recorded, edited, and arranged. Anynumber of audio effects, virtualinstruments, and externaleffectsand instrumentscan be used, and most parameterscan be automated using Trackor Part automation. An integrated Browser makesit fast and easyto find and import audio and musicaldata files, VST/AU audio effects, and VST/AU virtualinstrumentsand applications. Audio filescan be imported and automaticallytimestretched to fit the current tempo. Virtualinstrumentscan be dragged from the Browser directlyinto the Song for instant setup of allparameters, allowing a fast workflow when inspiration hits.

Project When you create or open a Project in Studio One Professional, you are taken to the Project page. Thisarea containsthe toolsyou need to master and publish audio.

36│Studio One Reference Manual Project Page Workflow The Project page isa dedicated mastering solution integrated into Studio One Professional. Here, you can burn industry- standard Red Bookaudio CDs, create high-qualityMP3 albums, and standard discand DDP images. Songsand audio filesare arranged asa sequence of Trackson a continuoustimeline. You can applyeffectsto individualTracks, aswellasto the master output Track, in order to achieve soniccontinuity throughout the Project. An integrated Browser makesimporting Songs, audio files, and audio effectsquickand simple. High-qualitymaster output metering isdisplayed at alltimes, including Spectrum, Peak/RMS, and Phase meters. These toolshelp you know at a glance exactlywhat isgoing on sonicallyin your Project. Asmentioned, Songscan be imported directlyinto your Projectswithout having to export a Song mix. After importing a Song into a Project, you can go backand change the Song mix, and the Project isautomaticallyupdated. For detailed information on the Project page, refer to the Mastering chapter.

Quick Switch In Studio One Professional, you can have multiple Songsand Projectsopen simultaneouslyand can switch between them quickly. The fastest wayto switch between anyopen Song or Project, aswellasthe Start page, isto press[Ctrl]+[Tab] and continue to hold [Ctrl] on the keyboard. Thisdisplaysa pop-up list of allopen documents. While holding [Ctrl], press[Tab] to cycle through the open documents. Release [Ctrl] when the desired document is selected. Now, you can view that document.

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38│Studio One Reference Manual Recording

The following chapter discussesaspectsof recording in Studio One, including Audio and Instrument Tracks, recording modesand formats, and recording tips.

Audio Tracks Before recording can take place, you need at least one Trackon which to record. Studio One hastwo typesof Tracksfor basicrecording: the Audio Trackand the Instrument Track. Audio isrecorded to Audio Tracks, while musicalperformance data isrecorded to Instrument Tracks.

Creating an Audio Track To create an Audio Track, navigate to Track/Add Tracks or press[T] to open the Add Tracksmenu.

The following optionsare available in thismenu: Name Clickhere and type in a name for the new Track.

Count Choose the number of Tracksyou would like to create.

Type Choose Audio.

Color Choose a color. Auto-Color Checkthisboxif you would like your Tracksauto-colored.

Format Choose mono or stereo.

Preset Choose an FX Chain to be pre-loaded on the Tracks.

CHAPTER 5│Studio One Reference Manual Input Assign an audio Input to the new Track(s). When creating multiple Tracks, you can engage the Ascending option to assign Inputsto each Trackin ascending order (Track1, Input 1, Track2, Input 2, etc.). Output Assign an audio Output to the new Track(s). When creating multiple Tracks, you can engage the Ascend- ing option to assign Outputsto each Trackin ascending order (Track1, Output 1, Track2, Output 2, etc.). Once these optionsare configured, clickon OK, and the Tracksappear in the Arrange view, below the currentlyselected Track. Navigate to Track/Add Audio Track (mono or stereo) to quicklyadd an audio Track. [Right]/[Ctrl]-clickin blankspace in the TrackColumn and select Add TracksFor AllInputsto quicklyadd a Trackfor every configured input in Audio I/OSetup. Alternatively, you can [Right]/[Ctrl]-clickin anyblankspace in the TrackColumn of the Arrange view and select Add Audio Track(Mono) or Add Audio Track(Stereo) to quicklyadd an audio Track.

Use and Create Presets In Studio One, you can store presetsof an entire chain of effectsplug-insasan FX Chain, allowing quickrecallof complex effectssetupson anyTrack. Anyfactorypreset or user-created FX Chain can be selected asa Preset when creating a Track. For more information, refer to the FX Chains section of the Mixing chapter.

Configuring an Audio Track Thissection describesthe editable Audio Trackparameters.

Input/Output Selection

An Audio Track’sI/Ochannel(s) can be selected from three places: the TrackColumn, the Console, and the Track Inspector. To select an Input Channelfrom the TrackColumn: If needed, expand the Track'scontrolarea to expose the input selector.

Clickthe Input Selector immediatelybelow the horizontalTrackfader to choose from anyconfigured Input Chan- nel. To select an Input or Output Channelfrom the Console: Open the Console byclicking the [Mix] button, or press[F3] on the keyboard.

Clickthe selectorsabove each Track’sFader and Pan controlsto choose an Input and/or Output Channel. The Input Channelselector ison top, with the Output Channelselector beneath. To Select an Input or Output Channelfrom the Inspector: Open the Inspector window byclicking on the [I] button above the TrackColumn or pressing [F4] on the keyboard. In the Channelarea of the Inspector window, you can find the currentlyselected Track’sChannelMode toggle (mono or stereo) and Input and Output Channelselectors. Clickon the Input or Output Channelselector to choose a Channel.

Stereo Trackscan select from both mono and stereo Input Channels, while Mono Trackscan onlyselect from mono Input Channels.

Tempo Mode

The Tempo mode, found in the Inspector, affectsthe wayin which Audio Eventsare handled on anyaudio Track.

40│Studio One Reference Manual CHAPTER 5│Studio One Reference Manual There are three Tempo modes: Don’t Follow Audio Eventson the selected Trackare not affected bySong tempo.

Follow The start position of Audio Eventson the selected Trackisadjusted with tempo changes, so the Events stayin syncwith their Bars(barsand beats) position. The length of the Event isnot affected. Timestretch Assuming that the Song file containstempo information, tempo changescause Audio Eventson the selected Trackto be dynamicallystretched so that the Events’start and end timesstayin syncwith their Bars (barsand beats) positions. The length and internaltiming of the Event isaffected in the stretching processbut the pitch of the audio remainsunaffected. If the Stretch Audio Filesto Tempo option isselected when creating a new Song, Timestretch isset asthe default tempo mode for allnew Audio Tracks.

Re-Recording

Instrument Output, Bus, and ReWire channelscan be selected asthe input to anystereo Audio Track. These Channels are grouped in branchesin the input selection menu for the Audio Track.

Thisisveryusefulin a number of situationsin which you would like to “print” the live output of one of those Channeltypes (live virtualinstrument recording to audio, hybrid analog mixing, etc.).

Record-Enabling an Audio Track To record to an Audio Track, the Trackmust be record-enabled. To record-enable an Audio Track, clickon the Track’s Record Enable button once or select the Trackand press[R] on the keyboard. Select multiple Tracksand record-enable anyof them to record-enable allselected Tracks. The Record Enable button turnsred when active, and the Track’smeter beginsto move up and down if there islive audio input on the Track’sselected Input Channel.

Alternatively, if you pressand hold [Alt]/[Option] on the keyboard, and then clickon Record Enable, you both record- enable the related Trackand disarm record-enable for allother Tracks.

42│Studio One Reference Manual You can find the Audio Input FollowsSelection in the Studio One/Options/Advanced/Console options list (Mac OS X: Preferences/Advanced/Console). Engaging thisautomaticallyrecord-enablesthe last Trackselected in the Arrange view. Monitor-enable is, bydefault, automaticallyengaged when Record Enable isengaged. When an Audio Trackisrecord-enabled, a clip indicator appearsat the top of the input-levelmeter for that Trackin the Arrange view. If clipping occursat the input, the clip indicator turnson. When clipping occurs, you should adjust the input gain/levelon your audio interface, asonce the distorted signalisrecorded, it cannot be fixed. Once an Audio Trackisrecord-enabled, you are readyto record. Refer to Activating Recording for more on thistopic.

Software Monitoring To monitor (listen to) live audio input on an Audio Track, clickon the Monitor enable button once. Thisbutton should turn blue, and you should begin to hear your live audio input and see itsinput levelon the Trackmeter. You can also hold [Alt]/ [Option] on the keyboard and then clickon the Monitor enable button to simultaneouslyengage monitoring on a Trackand disengage monitoring on allother Tracks. It maybe helpfulto picture the signalpath to understand exactlywhat ishappening. For example, if you are listening to a guitar plugged into channel1 on your audio interface, then Studio One receivesthe guitar input on Hardware Input 1. In Audio I/OSetup, you willhave created a mono Input Channelwith Hardware Input 1 asitssource. Your Audio Trackhas that Input Channelselected asitsinput. The Output of your Audio Trackislikelyto be the Main Output, which isa stereo Output Channel. The Output Channelsendsto a designated stereo pair of outputson your hardware audio interface, which presumablyare connected to your monitor speakersor headphones. When monitoring live audio input from a microphone, avoid listening with speakersthat are in close proximityto the microphone. Otherwise, you might create a feedbackloop that could quicklygenerate dangerouslyloud audio levels, possiblyharming your earsand your speakers.

Hardware Monitoring Some audio interfacesfeature the abilityto monitor the hardware inputsand outputsdirectly, asopposed to monitoring through software. Thisisreferred to as“hardware monitoring” or “zero-latencymonitoring.” When using thistype of interface, we recommend that you monitor live audio input via the hardware, rather than through the software. Thiscan help you to avoid common problemsthat result from software latency, such ashearing a delaywhen you record vocals, or recording off-beat.

Setting Input Levels Setting good input levelsiscriticalto making a good recording. Thisbeginswith the hardware audio interface. If the hardware’sinput levelisset too low, and you increase the levellater in Studio One to compensate, you also raise the level of anynoise in the signal. If the levelistoo high, you can overload the hardware input, causing unpleasant clipping distortion that cannot be fixed. Therefore, you should set the input gain on your audio interface ashigh aspossible without overloading the input. There isusuallya clip indicator for each input on the audio interface to assist you in detecting overloads. Aslong asthe input levelsare not clipping in your audio interface or on the Trackto which you are recording in Studio One, you can alwaysadjust the levelsof recorded materialafter the recording ismade. To visuallymonitor the input levelsfor anyinput in Studio One, it isbest to view the Input Channelsin the Console byclicking on the Inputstab in the Console.

Instrument Tracks Instrument Tracksare where performance data isrecorded, drawn, and edited. Thisdata usuallycomesfrom a Keyboard, which isused to playa virtualinstrument or hardware sound module. Performance data isnot audio; the virtual instrument or sound module isthe audio source. In Studio One, MIDI controllersare referred to asKeyboards. If you have not set up a Keyboard, refer to the Set Up Your MIDI Devices section of the Setup chapter.

CHAPTER 5│Studio One Reference Manual Creating an Instrument Track To create an Instrument Track, navigate to Track/Add Tracks or Press[T] to open the Add Tracksmenu.

The following optionsare available in thismenu: Name Clickhere and type in a name for the new Track.

Count Choose the number of Tracksyou would like to create.

Type Choose Instrument.

Color Choose a color. Auto-Color Checkthisboxif you would like your Tracksauto-colored.

Input Assign a MIDI input Device to the new Track(s). Choose AllInputs| Anyto accept input from anycon- nected MIDI Device. When creating multiple Tracks, you can engage the Ascending option to assign inputsto each Trackin ascending order of device and MIDI channel. Output Assign an Instrument to the new Track(s). To create a new instance of a software instrument for each new Track, choose New Instrument and select an instrument from the provided list. To assign the new Tracksto a hardware instrument or to a software instrument alreadyin use in the Song, choose Existing Instrument, and select from the provided list. When creating multiple Tracks, you can engage the Ascending option to assign Outputsto each Trackin ascending order of Instrument and MIDI channel. Once these optionsare configured, clickOK, and the Tracksappear in the Arrange view, below the currentlyselected Track. It isimportant to note that Instrument Tracksdo not appear directlyin the Console, astheydo not output audio. The virtualinstrumentsgenerate sound and are represented in the Console byInstrument Channels. Alternatively, [Right]/[Ctrl]-clickin a blankspace in the TrackColumn of the Arrange view and select Add Instrument Track from the pop-up menu to quicklyadd an Instrument Track.

44│Studio One Reference Manual Configuring an Instrument Track In Studio One, an Instrument Trackcan onlyreceive input from a Keyboard that hasbeen set up in the ExternalDevices menu.TosetupaKeyboard,refer tothe Set Up Your MIDI Devices section of the Setup chapter. If you have a Keyboard set up asthe default Instrument Trackinput, allInstrument Tracksdefault to using that Keyboard. An Instrument Trackcan trigger a virtualinstrument that hasbeen set up in a Song or an externalinstrument. The Instrument TrackInput and Output can each be selected in one of two places: Selecting an Instrument TrackInput or Output from the TrackColumn: Set the Arrange view Tracksize to medium or larger to be able to accessthe current Instrument TrackInput.

There are two I/Oselectorson each Instrument Track. Clickthe top selector to choose an output to anypreviously set up virtualor externalinstrument. Clickthe bottom selector to choose from anyconfigured Keyboard input. Selecting an Instrument TrackInput or Output from the Inspector: Open the Inspector window byclicking on the [I] button above the TrackColumn or bypressing [F4] on the keyboard. Clickthe Input or Output selector to select from anyconfigured Keyboard input or to trigger anypreviouslyset up virtualor externalinstrument.

Press[F11] to open the instrument editor for the selected Instrument Track. Note that it ispossible to select AllInputsasthe input for Instrument Tracks, which combinesthe input of alldefined keyboard devices. If Default Instrument Input isnot checked for anyKeyboard device, new Instrument Tracks automatically use All Inputs. Thisitem isalwaysin the inputslist, even if no keyboard device isdefined. However, for anyMIDI input to be received on an Instrument Track, your MIDI input device (Keyboard Controller, etc.) must first be set up in the ExternalDevicesmenu as a Keyboard.

Set Up a Virtual Instrument Studio One supportsVST and AU virtualinstruments, ReWire applications, and Studio One'sNative virtualinstruments. The difference between these typesof virtualinstrumentsistransparent to the user in Studio One, astheyare allhandled in the same manner. To use anyVST or AU virtualinstrument, you need to be sure Studio One knowswhere theyare installed on your computer. Refer to the VST Plug-ins section of the Setup chapter for more information on locating your plug-ins.

Add a Virtual Instrument from the Browser To add anyVST, AU, ReWire, or built-in virtualinstrument to your Song, open the Browse view and clickon the Instrumentstab to view your virtualinstrument. Then do one of the following:

CHAPTER 5│Studio One Reference Manual Clickon and drag anyvirtualinstrument to an emptyspace in the Arrange view to simultaneouslyadd the virtual instrument to your Song and create an Instrument Trackwith itsoutput routed to the virtualinstrument. The Instrument Trackconvenientlyinheritsthe name of the virtualinstrument. Clickon and drag anyvirtualinstrument on top of an existing Instrument Trackto replace the Track’scurrent virtual instrument. Clickand drag anyvirtualinstrument from the Instrumentstab to the Console to simplyadd the virtualinstrument to your Song. In order to controlor playthisvirtualinstrument, you need to select it asthe output for an Instrument Track. The virtualinstrument isnow set up and readyto playand hasone or more dedicated Audio Channelsin the Con- sole. Once a virtualinstrument isadded to your Song, be sure that an Instrument Trackisrouted to it so that the instrument can be played.

Set Up Multiple Virtual Instrument Outputs Manyvirtualinstrumentshave the capabilityto send audio on more than one channel. In Studio One, onlythe first output or output pair of anyvirtualinstrument isactive bydefault.

To activate the other possible virtualinstrument Output Channelsin the Console: Open the Console bypressing [F3] on the keyboard, then open the Instrumentspanel(open bydefault) byclicking on the Instr. button to the far left of the Console. Clickonce on the virtualinstrument in the Instrumentspanel, and the Output Channelactivation menu expands.

Clickon the checkboxnext to anyoutput to activate that output for the virtualinstrument.

Each active virtualinstrument output hasa dedicated Audio Channelin the Console.

You can also activate virtualinstrument outputsin the plug-in window. Anyvirtualinstrument plug-in that offersmultiple Output Channelshasan Outputsbutton near the top of the plug-in window. Clickon thisbutton to view and activate the available outputs.

Set Up a ReWire™ Application ReWire applicationsare set up in a similar wayto virtualinstruments. AnyReWire applicationsknown to Studio One Professionalare listed in the Browser Instrumentstab, along with allknown virtualinstruments. You can drag in the ReWire application just like an instrument, and Studio One hasa specialReWire object to represent the application.

46│Studio One Reference Manual The ReWire interface window issimilar to the virtualinstrument interface windows. There are also two specialcontrols, Open Application and Close Application, which can open and close most ReWire applications, so you do not need to leave Studio One to open or close the ReWire application. If clicking on Open Application doesnot immediatelylaunch your ReWire application, thismeansthat the ReWire application doesnot support thisfunction, so you need to manuallylaunch the application. The application should launch in ReWire slave mode. Engaging the Allow tempo/signature changesoption in the ReWire interface window allowsthe ReWire application to make tempo and time signature changeswithin Studio One. To suppressthese changesfrom the ReWire application, disable this option.

Record Enabling an Instrument Track To record musicalperformance data to an Instrument Track, the Trackmust be record-enabled. To record-enable an Instrument Track, clickon the Record Enable button once; it should turn red.

Also, note that monitor-enable is, bydefault, automaticallyengaged when Record Enable isengaged. Thisbehavior can be configured in the Studio One/Options/Advanced/Devices menu (MacOS X: Preferences/Advanced/Devices). If musicaldata arrivesfrom the Track’sselected Keyboard, the Instrument Track’smeter movesup and down, corresponding to that input. Once an Instrument Trackisrecord-enabled, you are readyto record musicalperformance data to that Track. Refer to Activating Recording for more on thistopic.

CHAPTER 5│Studio One Reference Manual Monitoring an Instrument Track Instrument Tracksrecord and output musicalperformance data, not audio. The virtualor externalinstrument to which the Instrument Trackisrouted generatesthe audio. The following describeshow virtualand externalinstrument audio output is monitored.

Monitoring a Virtual Instrument Virtualinstrumentsusuallyload with a default sound; however, you should be sure that the virtualinstrument you wish to monitor isset up correctlyto generate audio. With the Output of an Instrument Trackrouted to the virtualinstrument you wish to monitor, clickon the Monitor button, and it turnsblue. You should now be able to playthe Keyboard that you selected asthe input to the Instrument Trackand should see the Trackmeter moving, aswellashear the audio output of the virtualinstrument. If you cannot hear the audio output of the virtualinstrument, make sure that your virtualinstrument isset up correctlyand that the corresponding Audio Channelsin the Console are not muted. If you select the Instrument Input FollowsSelection option in the Optionsmenu, anyInstrument Trackyou select automaticallyhasMonitor and Record enabled, and allother Instrument Trackshave these disabled.

Monitoring an External Instrument To monitor and record the hardware audio output of an externalinstrument, one or more Audio Tracksneed to be created to receive that output. Thismeansthat your externalinstrument needsto be physicallyconnected to one or more inputson your audio interface. Thus, monitoring an externalinstrument involvesthe following: The Output of an Instrument Trackisrouted to the externalinstrument, which hasbeen set up to receive MIDI input from Studio One. The Instrument Trackismonitor-enabled.

One or more Audio Trackshave been created and configured to use the Input Channelsto which the external instrument’s audio output is connected. The Audio Tracksare monitor-enabled.

With the above conditionsmet, you can playyour Keyboard and see the Instrument Trackmeter moving. You willalso see the related Audio Trackmetersmoving, aswellashear the live audio input from the externalinstrument.

Activating Recording Once you have the desired Trackscreated, setup, and record-enabled, the next step isto record. The following illustrates severalwaysto activate recording, each associated with a different purpose.

Manually Manuallyactivating recording isthe most basicwayto record. Recording startsat the current playback-cursor position and continuesuntilyou manuallystop recording. To manuallyactivate recording, clickon the Record button in the Transport or press[NumPad *] on the keyboard.

The Record button in the Transport turnsred, the playbackcursor startsto scrollfrom left to right, and new Eventsare recorded to anyrecord-enabled Tracks. Recording continuesuntilyou manuallystop it.

48│Studio One Reference Manual Precount and Preroll When recording audio or Instrument Parts, it isoften usefulto give the performer a count-in before recording begins, to alert them that recording isstarting, and present the tempo of the Song so that theycan playon-beat from the start. Studio One offerstwo waysto do this: Precount and Preroll. Engaging Precount letsyou specifya number of barsof metronome clicksto be played before recording begins. Preroll letsyou specifya number of barsin the Song to playbefore recording begins. Choose the mode that best meetsyour needsasyou record.

Follow these stepsto use Precount or Preroll: 1. ClickontheMetronomeSetupbuttontoopentheMetronomeSetupmenu. 2. SelectPrecountor PrerollintheMetronomeSetupmenu,andenter anumber intheBarsfieldfor thenumber of barsyou wish to playbefore recording begins. You can also enable the selected mode byclicking on the Precount or Prerollbutton in the Transport, or bypressing [Shift] +[C] on the keyboard to engage Precount, or [O] to engage Pre-Roll. 3. Set the playbackcursor to the timeline position at which you wish to begin recording. 4. Clickon the Recordbutton in the Transportor press[NumPad*]to begin recording. In Precount mode, the Metronome clicksfor the specified number of bars. The number of beatsremaining before recording startsisdisplayed in the Record button in the Transport. In Prerollmode, playbackbeginsa specified number of barsbefore the position you chose, with the playbackcursor moving from left to right. 5. Recording automaticallyactivatesat the position you chose. The Record button in the Transport turnsred, the playbackcursor scrollsfrom left to right, and new Eventsbegin recording to anyrecord-enabled Tracks. 6. Recording continuesuntilyou manuallystop it bypressing [Space Bar] on the keyboard or clicking Stop in the Transport.

Auto Punch It issometimesusefulto automate the point at which recording beginsand ends. For example, if you wish to record over a specificphrase of a vocalpart, but not before or after that phrase, you can automaticallybegin and end recording at specified points. Thisprocessiscommonlyreferred to as“punching in and out,” and the resulting new Audio Event is referred to asthe “punch-in.”

In Studio One, punching in/out isachieved with the Auto Punch feature. Follow these stepsto engage Auto Punch: 1. Setthe LeftLocator in the Timeline Ruler of the Arrange view at the position you wish to punch in—thatis,where recording should begin. 2. Setthe RightLocator in the Timeline Ruler ofthe Arrange view atthe position you wish to punch out,thatis, where recording should stop. 3. Clickon the Auto Punch button in the Transport,or press[I](the letter ‘i’) on the keyboard. 4. With Tracksrecord-enabled, begin recording at anypoint before the Left Locator position.

CHAPTER 5│Studio One Reference Manual 5. Playbackbeginsand recording automaticallyactivatesat the Left Locator position. The Record button in the Transport turnsred, the playbackcursor continuesto scrollfrom left to right, and new Eventsbegin recording to any record-enabled Tracks. 6. Recording automaticallystopsat the Right Locator position. However, playbackcontinuesbeyond the Right Loc- ator position untilyou manuallystop it bypressing [Space Bar] on the keyboard or byclicking Stop in the Trans- port. If you use the Auto-Punch feature in Studio One to record your punch-ins, or if you punch in manually, the newlyrecorded audio isautomaticallycrossfaded at itsedgeswith the existing Audio Event, so the transition between the old and new audio isnot audible. The crossfade time isverysmalland not audible; however, you can edit the crossfade manually.

Metronome Control A metronome makesaudible clicksor other soundsthat correspond to beatsat a selectable tempo, providing the musicianswith a tempo reference while recording. Thisisespeciallyusefulwhen recording drumsor other rhythm- intensive tracks, asthe editing and arranging processesare made much easier when the recorded audio linesup with musicalbarsand beats. In Studio One, the metronome can be engaged and disengaged both globallyand for each hardware output in the Console, including the Main Out and anySub Outs.

Turn the Metronome On/Off Manually In the Transport, the Metronome button isto the left of the Master Volume fader and meter. Clickon the Metronome button, or press[C] on the keyboard, to globallyengage and disengage the metronome. The metronome isglobally disengaged by default.

The Output Channelsin the Console also feature Metronome buttonsand levelcontrolsabove the volume fader. These controlsallow you to choose, for each output, whether or not the metronome isheard, and itslevel.

Metronome Setup Clickthe Metronome Setup button (next to the Metronome button in the Transport) to accessthe Metronome Setup menu. In thismenu, you can configure soundsand behavior for the metronome, aswellasPrecount and Preroll.

50│Studio One Reference Manual Here, you can choose an individualsample and volume levelfor Beats, Accents, and Offbeats. Accentsplayon the downbeat, or first beat, of each new bar. Offbeatsplayin the space between each Beat. You can choose from seventeen default samplesfor each, including Click, Clave, Rim Shot, and Tambourine. Bydefault, the Accent Levelsetting ishigher than the Beat Levelsetting, asmost musicianslike to have the downbeat of each bar emphasized to help keep time.

Metronome Presets

Once you have configured the Metronome, you can save the current setup asa preset byclicking the [Store] button. These presetscan be recalled at anytime byclicking the [Load] button.

Precount and Preroll

Precount and Prerollare two methodsyou can use to signalthe start of recording and give a sense of the song'stempo to a musician before recording begins. When you clickRecord with Precount enabled, the metronome clicksfor the number of barsspecified in the Barsparameter, before recording starts. When you clickRecord with Prerollenabled, Studio One startsplaybackbehind where the cursor isplaced, bya number of barsspecified bythe Barsparameter. When playback passesthe cursor position, recording starts. When Precount isenabled, pressing record showsa countdown in the record button, of the number of beatsremaining before recording starts. Precount can also be enabled byclicking the Precount button, to the left of the Metronome buttonsin the Transport, or by typing [Shift] +[C]. Prerollcan also be enabled bytyping [O].

Repeat Accent

Thissetting repeatsthe Accent sound when using a time signature with more than one accent per bar, such as12/8. You can trythisout bydoing the following:

CHAPTER 5│Studio One Reference Manual 1. Open the Metronome settings,and chose a sound for the Accent that isdifferentfrom both the Beat and the Off- beat. 2. Leave the Repeat Accent checkboxempty. 3. Make sure the Clickin Playoption isactive, so that you can hear the Metronome during playback. 4. Setthe time signature to 12/8,and either clickthe Playbutton or pressthe Space Bar. You’llnotice the Accent isonlyheard every12 beats. However, if you go through steps3 and 4 with the Repeat Accent function switched on, the Accent isheard every3 beats.

Click in Precount Only

When recording istriggered with Pre-Rollengaged, asdiscussed in the Precount and Preroll section of thischapter, a specified number of Precount barsplaybefore reaching the current playbackcursor position. The number of Precount barsisspecified in the Metronome Setup menu. In thissame menu, there isa checkboxto engage the ClickOnlyin Precount option, which isdisengaged bydefault. With ClickOnlyin Precount engaged, the metronome providesa traditionalcount-in during the Precount barsand isnot heard beyond those bars.

Click in Play

The Clickin Playoption in the Metronome setup menu allowsyou to enable/disable the Metronome during playback, as opposed to while recording. Disabling Clickin Playallowsyou to leave the Metronome engaged in the Transport at all times, so that if you are recording, you hear a click, but if you are playing back, you do not hear the click. Clickin Playis engaged bydefault; clickon the Clickin Playcheckboxto disengage the Metronome during playback.

Render Metronome

You can create an Audio Trackof the Metronome byclicking the [Render] button located in the upper-right corner of the Metronome Setup window, and choosing one of the Render range options. These optionsallow you to create a clicktrack that iseither the fulllength of your Song, or just the length of a looped range within it, such as4, 8, or 16 bars.

Loop Recording on Audio Tracks It can be veryusefulto loop a specificsection while recording in order to capture multiple performancesor takesof the same musicalpassage. In Studio One, thisiscalled “Loop Recording.” Follow these stepsto accomplish Loop Recording: 1. Set the Left and Right Locatorsin the Timeline Ruler at the beginning and end, respectively, of the area in which you wish to record. 2. Clickon the Loop button in the transportor press[NumPad/]on the keyboardto engageLooping. 3. Activate recording manuallyor via Pre-Rollor Auto Punch. 4. When the playbackcursor reachesthe Right Locator position, it loopsbackto the Left Locator Position. 5. Recording continuesuntilyou manuallystop it bypressing [Space Bar] on the keyboard or clicking Stop in the Transport. When Loop Recording with Audio Tracks, multiple Takesare created. These Takesrepresent each recorded passover the looped region. If Record Takesto Layersisengaged in the Record panel, opened from the View menu or with [Shift]+ [Alt]+[R] on the keyboard, the takesare automaticallyplaced in separate layerswhich are expanded when recording is stopped. Refer to the Comping section of the Editing chapter of thismanualfor more information.

Selecting Takes of an Audio Event When there are multiple Takesavailable for an Audio Event, the Take icon appearsin the lower left corner of the Event in the Arrange view.

52│Studio One Reference Manual Bydefault, the last recorded Take isselected. To select anyother take, [Right]/[Ctrl]-clickon the Audio Event to expose a list of Takes. Clickon anynumbered Take to select it. Takesare edited asa single Audio Event, so sizing or splicing any Take splicesallof the Takescontained in the Audio Event. It ispossible to splice an Audio Event that containsmultiple Takes, then select a different Take for each splice of the original Event. For example, if you recorded three Takesfor a vocalverse, you could split that Audio Event in between each vocal phrase, and then, for each phrase, select the best of the three Takes.

Unpack Takes When two or more Takesexist for an Audio Event, it ispossible to unpackthe individualtakesto separate Eventson new Tracks, new Layers, or existing Layers. To do this, [Right]/[Ctrl]-clickon the Event and clickon UnpackTakesin the contextual menu. Choose Unpackto Tracksto place each Take at the appropriate time on itsown new Track. Note that the settingsof the originating Trackare not duplicated for the new Tracks. Choose UnpackTakesto New Layersto place each Take on itsown Layer. Thisisusuallydone for comping, discussed in detailin the Comping section of the Editing chapter. Choose UnpackTakesto Existing Layersif you would like to unpack the Takesto existing Layers.

Set and Shift Loop Severalkeycommandsthat you mayfind helpfulwhen loop recording are available in the Keyboard Shortcutsmenu and bydefault have no keycommand assigned. Set Loop Start and Set Loop End allow you to place the left and right locatorsat the current playback-cursor position. The same commandsmight be used when setting left and right locatorsfor a punch-in using Auto Punch. Shift Loop and Shift Loop Backwardsallow you to move the loop range to the next or previousrange of equaltime. For instance, if you have eight barslooped, Shift Loop would move the loop range to the next eight bars.

Instrument Track Recording Modes

There are severalmodesfor recording to an Instrument Track. To switch between these modes, navigate to the View menu and select Record panel, or press[Shift]+[Alt]+[R] on the keyboard. In the Record panel, you can choose between a range of recording modes, and accesscreative recording tools. The following describeseach of the Record Panelmodes and functions.

CHAPTER 5│Studio One Reference Manual Record Mode Options

Replace and Overdub

When in the Replace recording mode, recording over anyexisting Instrument Part resultsin the new materialbeing recorded to a new Event, which replacesthat portion of the originalEvent. While recording, you do not hear the previously recorded Event playing back, asthe purpose of thismode isto replace the existing material. When Replace isdisabled, you are in Overdub recording mode. In thismode, recording over anyexisting Instrument Part resultsin the newlyrecorded materialbeing overdubbed, or added to, the existing material. While recording, you hear the previouslyrecorded Event playing, along with the materialcurrentlybeing recorded, assuming that you are monitoring the Instrument Track.

Takes to Layers

Engage the Record Takesto Layersoption to move the contentsof each Take created while recording in loop mode to its own Layer below the current Track. If you engage thisoption while Record Takes isenabled, the notesfrom each run- through of the loop are moved to their own new Layer. Engaged while Record Mix isenabled, a new Layer iscreated each time recording isstarted and stopped, containing allnotesfrom the entiretyof the most recent recording pass.

Input Quantize

Engage Input Quantize to snap recorded notesto the rhythmicvalue set bythe Quantize parameter. When recording partsthat are destined to be heavilyquantized (such assynth arpeggiosor drum-machine-style beats), thissavesyou the step of later Quantizing the contentsof your loop.

Instrument Loop Record Options

Record Takes and Record Mix

If Loop isengaged in the Transport while recording, the recording mode changeseither to Loop Record Takesor Loop Record Mix, depending on the selection in the Record panel. These modesare functionallysimilar to the regular Record Mode Overdub and Record Mode Replace. When Loop Record Takesisselected, each passthrough the looped region isrecorded to a new Take within a single new Instrument Part. When recording isstopped, each Take isindividuallyselectable by[Right]/[Ctrl]-clicking on the Instrument Part and choosing one of the numbered takesfrom the top of the pop-up menu. Onlyone Take can be selected at a time for anyInstrument Part. Takeson Instrument Partscan be unpacked to new Instrument Tracks, aswith Audio Event Takes, described in the Unpack Takes section of thischapter. When Loop Record Mixisselected, each passthrough the looped region isadded to the existing materialwithin a single new Instrument Part. For instance, if you loop a four-bar region to record a new drum part, thiswould allow you to play one piece of the drum kit during each passuntilyou have recorded the whole part.

Instrument Recording Tools

Undo LastLoop and Undo All Loops

The standard Studio one Undo/Redo functionsdo not applyto individualrecord passesin Loop mode. Instead, use these two specialUndo buttons. Once you have some note information in your loop, you can clickUndo Last Loop to erase only the notesadded in the most recent run-through of the loop. ClickUndo AllLoopsto erase allnotesin the current loop, and start fresh.

Note Repeat

With Note Repeat enabled, anynotesplayed during the current recording passretrigger according to the current Quantize setting. For example, with a Quantize setting of 1/16, held notescreate a seriesof 16th notesat those note values. Thiscan come in handywhen recording drum fillsor rhythmicsynth parts. Note that thismode cannot be combined with the Note Erase mode.

54│Studio One Reference Manual If your MIDI keyboard or controller supportsaftertouch, you can varythe velocityof repeated notesbyapplying pressure to the keysor pads. The higher the pressure, the greater the velocityof the recorded notes. You can also specifya Repeat Keyin the Record panel, which functionsasa switch for Note Repeat. While thisnote is held, Note Repeat isactive. Thiscan be more convenient than using the mouse to clickon Note Repeat to switch the mode.

Note Erase

If Note Erase isselected in the Record panel, anynotesplayed during the current recording passerase existing notesof the same note value. For instance, if you start recording a drum pattern, and the kickpattern ison C1 and hasan extra eighth-note hit on beat four, you could switch to Note Erase while recording and playC1 on beat 4 for one eighth-note, and that would erase the previouslyrecorded note. It isonlypossible to engage thismode if Record Mixisengaged and Note Repeat isdisengaged; engaging Record Takes or Note Repeat disablesthismode.

Step Record Step Recording isa special, note-by-note method of recording musicalnote data. Rather than playing in realtime, or drawing in noteswith the Paint tool, you can simplyspecifya rhythmicvalue and presskeyson your MIDI controller to enter notesand chordswith ease and precision.

Step Record Toolbar

To accessStep Record mode, clickto select the Instrument Trackyou wish to record to, open the Editor byclicking the [Edit] button, then clickthe [Step] button in the Editor toolbar to displaythe Step Record toolbar. When you're finished, you can hide the Step Record controlsbyclicking the [Step] button again. The Step Record toolbar containsthe following controls: Enable Toggle thison to enter Step Record mode. When enabled, playing noteson the keyboard addsnotes and chordsto the selected Instrument Part. If you place the cursor in an emptyarea on the track, playing notes createsa new Instrument Part in that location, for notesto be recorded to. Toggle Enable off to exit Step Record mode. Follow Q Enable thisto linkthe Step Length setting to the current Quantize setting. If you change the Quantize value, the Step Length value changesto match it. Step Length With these selectors, you can choose a Step note length between whole notesand 64th notes, in the following musicalnote groupings: Straight, Triplet (3 notesin the space of 2), Quintole (a quintuplet with 5 notesin the space of 4), Septole (a septuplet with 7 notesin the space of 8), or Dotted (notesare increased in length by50%from the chosen rhythmicvalue). Back Clickthisbutton to erase the most recentlyadded note or chord and move the cursor backto where that note or chord started. PressBackmultiple timesto erase multiple notes. Rest Clickthisbutton to move the cursor forward in time, according to the currentlyselected Step Length, in effect, creating a musicalrest for that step.

Recording in Step Mode To record a Part in Step Mode, follow these steps: 1. Place the cursor at the point within the chosen InstrumentTrackthat you wish to record to. 2. Open the Step Record toolbar bypressing the [Step] button in the Editor toolbar.

CHAPTER 5│Studio One Reference Manual 3. Press[Enable]to enable Step Recording. 4. Choose a rhythmicvalue from the Step Length selectors. You can change thisvalue at anytime asyou create the Part. 5. Playa note on a connected MIDI controller to create a note with the specified length at the cursor location. When you release the note, the cursor movesahead according to the Step Length setting, and you're readyto enter the next note. If you wish to enter a chord, simplyplayand hold the notesthat make up the chord, then release. 6. When you're finished, press[Enable] again, to exit Step Record mode.

Track Layers In Studio One, both audio and instrument Trackshave optionallayersthat can be used to record multiple different ideasto a single Track. For instance, you might want to compare one set of lyricsfor a vocalTrackto another set of lyrics. In this case, you could record two different performancesto two separate layerson a single Trackand quicklyswitch between the two without needing a second Track. To create a new layer on anyTrack, [Right]/[Ctrl]+[Click] the Track'scontrolarea in the Arrange view, and choose Add Layer from the Layersmenu. You can also create a layer byopening the Inspector bypressing [F4] on the keyboard, then selecting Add Layer from the Layer selection box. The new layer iseffectivelylike having a whole new Trackwithout duplicating Inserts, Sends, and I/Osetup. You can also duplicate layersbyselecting Duplicate Layer from the Layer selection box, which enablesyou to tryout and compare two different editsof the same Eventson two layers. Layersare also used in the comping system of Studio One, asdescribed in the Comping section of the Editing chapter of this manual.

Audio Recording Format Studio One recordsin the Broadcast Wave file format. Thisisthe onlyformat supported, asit isthe most widelyused format, and it containstimestampsthat markwhen recordingsstart within a Song. When recorded Broadcast Wave audio filesget bigger than 4 GB, the RF64 file format isautomaticallyused asthe standard file format. The recommended file system for the recording partition on your computer isNTFSfor Windowsand HFS+for MacOSX.

Creating a Good Monitor Mix When recording anyperformance in the studio, take the time to build a great monitor mixfor the performers. It’scritical that theyclearlyhear their performance and that of the other musicians, and a good monitor mixhelpsinspire a better performance. Ideally, each performer should feellike theyare playing on a finished record. For instance, it iscommon in manystylesof musicfor the lead vocalsto have some reverb so that theysit wellin the space of the overallmix. Therefore, when recording vocals, it issometimesa good idea to include reverb in the vocalist’smonitor mix. Thisway, the vocalwillsound more like a finished production. Thisapproach often helpswhen recording guitars, keyboards, and other instruments, aswell. If your audio device supportszero-latencyhardware monitoring, use that asthe primarymonitor source, so that no delay isheard. In addition, you can use Sendsand FXChannelsin the Console, asyou normallywould in a mix, to build a better monitor sound. For instance, on the audio Trackto which you are recording, you could add a Send to an FXChannelwith a reverb. You could then route the FXChannelOutput to a Sub Out Channeland backto your audio interface, where it can be mixed with the zero-latencydrysignal. When adding time-based effects, such asreverb or delay, you generallydon’t have to be concerned about plug-in delay and latencythat could result from using software plug-inson a live input source. A few millisecondsof processing delayon a reverb willprobablynot be audible.

Cue Mixes and Zero-Latency Monitoring Studio One featurespowerfulhardware integration with certain audio interfacesfrom PreSonus. In thissection, we will discusshow to take advantage of thisintegration to create cue mixesand use zero-latencymonitoring.

56│Studio One Reference Manual Creating a Cue Mix Output In Studio One, it ispossible to quicklyand easilycreate multiple cue mixes. A cue mixisseparate from the main mixand is usuallyprovided to musiciansfor monitoring purposesduring recording. For instance, when recording vocals, the engineer and vocalist probablywant to hear different mixes. Most vocalistswant to hear more of their vocalsin the mix, possiblywith some reverb to make it sound natural, while the engineer might focus on how the performance balanceswith the rest of the mix. The cue mixfunctionalityin Studio One makesthistaskeasy. The first step in building a cue mixisto create another Output Channel. To do this, open the Song/Song Setup/Audio I/O Setup menu in a Song, switch to the Outputstab, and add a new Stereo Output Channel. Next, specifythat thisoutput isa cue-mixoutput byclicking on the Channel’sCue Mixcheckbox. You can create asmanycue mixesasyour audio interface has available stereo outputs.

Now that you have created a Cue Mixoutput, you can see a specialSend object in the Channelsof the Console. ThisSend object iscalled a Cue Mixobject. In the SmallConsole view, Cue Mixobjectsappear in the right column when a Channelis expanded. In the Large Console view, Cue Mixobjectsappear below the Send Device Rackon each applicable Channel.

CHAPTER 5│Studio One Reference Manual Each Cue Mixobject featuresan Activate button, horizontalleveland pan faders, and a Lockto Channelbutton. When using a PreSonusAudioBoxVSL or FireStudio-seriesinterface, on Audio Channelswith an assigned audio input, the Cue Mixobject also featuresa Zero Latencyswitch, the function of which isdescribed below.

Mixing the Cue Mix Cue mixesare built using Cue Mixobjects. Bydefault, the leveland pan valuesare locked to the channelleveland pan faders. Thismeansthat each Cue Mixisidenticalto the main mixin the Console. Changing the levelor pan in the Cue Mix object unlocksboth settings, allowing independent controlof leveland pan for each Channelin each Cue Mix. Thus, the leveland pan for Channelsin a Cue Mixcan be completelydifferent from the related leveland pan in the main mix. At anytime, you can lockthe cue-mixleveland pan backto the channelsettingsbyclicking on the Lockto Channelbutton. To completelyremove anyChannelfrom a cue mix, simplydeactivate the Cue Mixobject for that Channel.

Monitoring Live Input in a Cue Mix Cue mixesare normallyused in a recording situation in which one or more live inputsneed to be monitored. Thisiswhere the Cue Mixfeature in Studio One, integrated with a PreSonusAudioBox VSL or FireStudio seriesinterface, isveryuseful. AudioBoxVSL and FireStudio-seriesinterfacesfeature internalhardware mixersthat provide zero-latencymonitoring. While these mixersare easyto use, Studio One makesit even easier byallowing you to controlthe mixersfrom within the software. Using thisfeature onlyinvolvesclicking on one button.

58│Studio One Reference Manual Let’sreturn to our example of recording live vocals. For a vocalist to be comfortable and perform well, it isimportant that the performance sound asnaturaland aspolished aspossible. Vocalistsneed to hear themselveswell, with no audible delayof their voicesin the mix. Adding some reverb providesa little ambience so the voice isnot dryand lifeless. Here’show thisscenario would lookin Studio One: 1. SetupaCueMixoutputfor thevocalist. 2. Record-enable and monitor-enable the vocalTrack. 3. Engage the Zero Latencybutton on the Cue Mixobject for the vocalchannel. Thisenableszero-latencymonitoring straight from the hardware (asopposed to monitoring through software) for that channelin the Cue Mix. 4. CreateaSendonthevocalchanneltoanFXChannelwithyour favoritereverbeffect. 5. The vocalist hearsthe live zero-latencyinput from the hardware, aswellasthe rest of the cue mix, including the output of the reverb. Adjust the levelof the vocaland other Channelsin the cue mixto the vocalist’sliking, and you’re readyto record. In a few seconds, you can ensure that vocalistshear their voiceswith no latency, in a custom mixthat includeseffects. Simultaneously, you can listen to a completelyindependent main mix, allowing you to focuson engineering while the artist focuseson the performance. Note that when monitoring with the Zero Latencybutton engaged, you do not hear Insert effectson that channel, asyou are monitoring the signalbefore it isprocessed in software. If you need to hear Insert effects, do not engage the Zero Latency button.

The Main Output as a Cue Mix It ispossible to designate the main output in Audio I/OSetup asa cue mix. Thisishelpfulif you often record yourself with an AudioBoxVSL or FireStudio-seriesinterface and require quickaccessto zero-latencymonitoring for live inputs. When the main output isdesignated asa cue mix, a Zero Latencybutton appearson anyAudio Channelwith an assigned audio Input in the Console, below the Mute, Solo, Record, and Monitor buttons. With the Zero Latencybutton and Monitor Enable both engaged, you hear the live zero-latencyinput straight from your AudioBoxVSL or FireStudio-seriesinterface (not through the software). Assuch, you no longer hear the effectsof any Insertson the channel. However, you stillhear the result of anySendson the Channel, asBusand FX Channelsstilloutput normally.

Print Effects While Recording Some people prefer to place Insert effectson Input Channelsso that those effectsmaybe printed to the Trackwhile recording. For instance, you might place a compressor, EQ, or other effect on a vocalInput Channelin order to save time and computer resourceslater, when mixing. Thisiseasyto accomplish in Studio One. It maybe helpfulto review the Mixing chapter in order to better understand these instructions. To insert an effect on an Input Channel, open the Console and clickon the Inputstab on the far left to view the Input Channels. If you’re working in the SmallConsole view, double-clickon the Input Channelto open itsInsert Device Rack.

CHAPTER 5│Studio One Reference Manual Insert an effect in the Insert Device Rackon anyof the Input Channels, and those effectsare recorded at the input of any Trackthat usesthat source. Studio One automaticallycompensatesfor anylatencycaused bythe Insert effects. Note that when Insert effectsare used on Input Channels, and effectsare recorded to a Track, there isno wayto go back and change the sound of the recording. To avoid thisscenario, you might consider placing effectson the Audio Channels to which you are recording for monitoring purposesonlyand printing with effectsat mixdown.

60│Studio One Reference Manual Editing

After recording, the next step in production isusuallyediting the recorded Eventsto achieve a desired sound. The following chapter discussesaspectsof editing in Studio One, including Arrange view and Edit view editing, mouse tools, Event envelopes, edit groups, timestretching, comping, integrated Melodyne pitch correction, and transient detection and editing.

Events Allaudio and musicaldata that existswithin the timeline of your Song are visuallyrepresented byEvents. Eventsthat contain audio are called Audio Eventsand can onlybe located on Audio Tracks. Audio Eventsare distinct in that they displayaudio waveforms. Audio Partsare Eventsthat contain multiple Audio Events.

Eventsthat contain musicaldata are called Instrument Partsand can onlybe located on Instrument Tracks. Instrument Partsare distinct in that theydisplaymusicalperformance information.

Audio Eventsand Instrument Partsare referred to collectivelyasEventsin thismanual. Event editing can take place both in the Arrange view and the Edit view. Audio Eventsand Instrument Partscan be edited in similar ways, but each has special considerations. [Right]/[Ctrl]-clicking on any Event displays the Event contextualmenu, which contains all related Editing actions, logically grouped. At the top of the contextualmenu, you can find the Event Name, which can be edited bydouble-clicking on it and entering a new name. You can rename allEventson a Trackbyrenaming the Trackand holding [Shift] while pressing [Enter] after typing in the new name. You can also change the Event color byclicking on the color bar next to itsname and selecting a color or scrolling through the colorswith the mouse wheel.

CHAPTER 6│Studio One Reference Manual Common editing actionsare listed under the Event name, aswellasa Recent Itemslist that containsthe five most-recently used actions. In thisway, you have instant accessto the editing actionsyou most likelywant to use. Note that the available actionslisted in the Event contextualmenu depend on whether you are working with an Audio Event or an Instrument Part, and the actionsmayvaryslightlydepending on your version of Studio One.

Tool and Event Snapping Snapping allowsediting actionsto occur onlyat specified divisionsin time (such asbarsand beats), making editing easier when working with tempo-specificmaterial. For instance, Snapping makesit possible to rearrange specificbeatsfrom a bar of a drum loop while keeping the rest of the loop in time. Snap isengaged bydefault and can be disengaged byclicking on the Snap to Grid button. You can also temporarilydefeat Snapping bypressing the [Shift] keywhile moving the mouse. If Snap isengaged, the current Snap setting affectsthe behavior of toolsand Event editing, bysnapping the toolor Event to nearbytime values, asfollows: Adaptive The default setting, where snapping occursat the nearest logicalsubdivision of the current Timebase, based on the current timeline zoom level. Bar Snapping occursat the nearest musicalbar line.

Quantize Snapping occursat the nearest musicalsubdivision of the current Quantize Setting.

Frames Snapping occursat the nearest frame subdivision.

There are four optionalbehaviorsthat can be selected and applied to anyof the four modesabove: Snap to Cursor and Loop Thisoption enablessnapping to the playbackcursor and Loop locators.

Snap to Events Thisoption enablessnapping relative to Eventsin the Arrangement.

Snap to Grid Thisoption isengaged bydefault, allowing tooland Event snapping to the grid.

Relative Grid Thisoption maintainsthe time relationship relative to the grid for anyEvent, so that when the Event ismoved, the snap position maintainsthe originalposition relative to the grid, instead of snapping directlyto the grid.

Arrange View Mouse Tools The mouse toolsallow direct interaction with Events, using the mouse. It ishelpfulto remember that actionsdone using the mouse toolscan be undone at anytime, so feelfree to explore them. You can clickthe right mouse button in anyopen space in the Arrange or Edit viewsto open a list of mouse toolsand editing commands. Choose the desired toolor command byclicking it with the left mouse button. You can also clickthe middle mouse button (or scrollwheel) to displayan expanded list of toolsto choose from, including allPaint toolshapes.

In the Arrange view, the following mouse toolsand related functionsare available from left to right in the toolbar.

Arrow Tool Thistoolisselected bydefault. Clickon the Arrow toolbutton or press[1] on the keyboard to select the Arrow tool. The Arrow toolcan be used for the following purposes:

62│Studio One Reference Manual Move an Event

To move an Event using the Arrow tool, clickanywhere on the Event and drag left, right, up, or down. Dragging the Event left or right movesthe Event backward and forward in time, relative to the current Timebase and Timeline zoom. When dragging an Event left or right beyond the viewable arrangement, hold [Space Bar] on the keyboard to speed up the scrolling. Dragging the Event up or down movesthe Event to another existing Trackof the same type. If the Event isdragged to a position where no Trackcurrentlyexists, Studio One createsa new Trackof the same type. When dragging an Event from one Trackto another (up or down), the position of the Event isconstrained within an automaticsnapping range to make it easyto keep the Event at the same time position. To defeat thissnapping, hold Shift while dragging the Event up or down.

Size an Event

Eventscan be thought of aswindowsinto audio filesand musicalperformances, where what you see iswhat you hear. Sizing isa fundamentaltechnique wherein Eventsare made shorter or longer, so that onlya portion of the audio or musicaldata theycontain isseen and heard. To size anyEvent using the Arrow tool, float the mouse to the left or right edge of the Event to revealthe Sizing tool. When thistoolappears, click-and-drag left or right to size the Event. Eventscan be sized and resized nondestructivelyanynumber of times. Two adjacent Eventscan be sized simultaneouslyso that no gap iscreated between them. To do this, float the Arrow tool to the bottom of where the two Eventsmeet in the Timeline, where you can see the sizing icon with both left and right arrowsilluminated, and then click-and-drag left or right. Holding [Alt]/[Option] on the keyboard and then sizing an Event from the right edge resultsin the Event being freely timestretched. Refer to the Timestretching section of thischapter for more information.

Adjust Audio Event Volume Envelopes

AllAudio Eventsfeature a basicvolume envelope that allowsthe volume of the audio to be shaped in severalways. Using the volume envelope, you can create a fade-in and fade-out, aswellasset a constant volume levelbetween the fades. The volume envelope appliesgain changesto the audio clip in the Event and istherefore at the front end of the audio signal path.

To create a fade-in or fade-out, click-and-drag left or right on the Fade Flag in the upper left or right corner of an Audio Event. Bydefault, a linear fade iscreated over the length you have moved the Fade Flag. Fade times, aswellasEvent gain, can also be edited in the Inspector for anyselected Event.

CHAPTER 6│Studio One Reference Manual To changethe curveofthe fade,clickon the Fade Curveboxin the middleofthe fade curveand drag up or down.The fade curve determineshow quicklyor slowlythe fade occursand changesover time. If you pressand hold [Shift] while editing the fade length or the curve, you can edit both at once. Dragging up or down editsthe curve, and dragging left or right changesthe length. It isalso possible to drag a complete crossfade left or right, or up or down, in order to change the location and characteristicsof the fade. Float the mouse to the center of the crossfade untilthe Hand icon appears, then clickand drag to adjust. Dragging left or right adjuststhe location of the fade, extending or shortening the crossfaded Events. Dragging up or down altersthe shape of the crossfade. To adjust the overallvolume levelof an Audio Event, clickon the volume boxin the center of the volume envelope and drag up or down. Asyou adjust the volume envelope, the audio waveform isredrawn to approximate the effect of the adjustment.

Select Multiple Events

Multiple Eventscan be selected in order to edit them allat once, with a single action. To select multiple Eventswith the Arrow tool, do one of the following: Clickoutside of the range of an Event, and then drag over anyother Events; a grayboxisdrawn while you drag over the target-selection area. Release the mouse button once the boxisdrawn over allof the Eventsyou wish to edit, and these Eventsare selected for editing. Clickon anyEvent, then while holding [Shift] on the keyboard, clickon anyother Eventsto select them. Thisallows you to select multiple Eventsthat are not in close proximityto each other. Allselected Eventscan then be edited at once. Clickon anyEvent, then press[Shift +Home] or choose “Select from Start to Event” in the Select section of the Edit menu, to select allEventson the current Trackbetween the start of the Song to the current Event. Clickon anyEvent, then press[Shift +End] or choose “Select from Event to End” in the Select section of the Edit menu, to select allEventson the current Trackbetween the current Event to the end of the Song. Double-clickon the timeline of a Trackin the Arrange or Edit view while holding [Shift], to select allEventspresent on that Track. Normally, when you select multiple Eventsand adjust volume or fade in/out shape on one of them, allselected Events change to match the new setting. If you want to adjust an individualEvent without losing your selection, hold [Alt] while making your changes.

Alternate Arrow Tool Uses

For speed and efficiencywhen editing, a selection of modifier keyscan be applied while the Arrow toolisselected, giving temporaryaccessto the following alternate toolsand editing modes: Range Tool Hold [Ctrl]/[Cmd].

Slip Editing Hold [Ctrl]/[Cmd]+[Alt] while floating the Arrow toolover an Event.

Define Tempo Hold [Ctrl]+[Alt]/[Command]+[Option] while floating the Arrow toolover the edge of an Event.

Range Tool The Range toolisused to select a range, or area, within Events. Clickon the Range toolbutton or press[number 2] on the keyboard to select the Range tool. To select a range within an Event, using the Range tool, click-and-drag over the area to be selected; a grayboxisdrawn over the target selection area. Release the mouse button when the boxisdrawn over the range of the Eventsyou wish to select. The range you have selected isnow treated asa single, consolidated Event.

64│Studio One Reference Manual For instance, you can use the Range toolto select the content of severalAudio Eventsacrossmultiple Tracksin bar 12, and then use the Arrow toolto move that section of audio to bar 14. Another common use of the Range toolisto quickly select and delete a range of audio within an Event, rather than using the Split toolto make two splits, then select and delete the section with the Arrow tool. When you float the mouse cursor over a selected range, the Arrow tooltemporarilyappears. Thismakesit easyto quickly select and edit a range of Events. To select multiple, non-contiguousrangesacrossanyEvent, on anyTrack, hold the [Shift] keywhile using the Range tool. Continue to hold [Shift] and use the Arrow toolto select whole Events. For instance, when using the Arrow tool, if you pressand hold [Ctrl], you get the Range tool. Pressand hold [Ctrl] and [Shift] to select multiple ranges, then continue to hold [Shift] but release [Ctrl]; now you have the Arrow tooland can select whole Events. Allof your selectionsremain selected. If Snap to Grid isenabled, your selectionsusing the Range toolsnap to the value set bythe Snap Timebase parameter. To temporarilyreverse the Snap to Grid option while editing, hold the [Shift] key. Selected rangescan be sized byfloating the Range toolat the left/right edge of the selection. You also can split a selected range at the left and right edgesof the selection bychoosing Split Range from the Edit menu or bypressing [Ctrl]/[Cmd]+ [Alt]+X after selecting a Range. To temporarilyswitch to the Arrow toolwhile the Range toolisselected, hold [Alt].

Split Tool Using the Split tool, single Eventscan be split into multiple Events. Clickon the Split Toolbutton, or press[number 3] on the keyboard to select the Split tool. With the Split toolselected, a verticaland horizontalline isdrawn near the current mouse-cursor position. The verticalline indicatesthe exact time position of the Split tool, while the horizontalline underscoresthe Trackon which the Event to be split resides. The Split toolisdirectlyaffected bythe current Snap settings. Clickon anyEvent with the Split toolto split the Event at that position. Bysplitting a single Event, you create two Eventsthat can be edited independently. If multiple Eventsare selected acrossmultiple Tracks, the Split toolaffectsallof the selected Eventsin the same way. It isalso possible to split selected Eventsat the timeline cursor, without using the Split tool, bypressing [Alt]+[X] on the keyboard. To temporarilyswitch to the Arrow toolwhile the Split toolisselected, hold [Alt].

Splitting Instrument Parts

Normally, if you split an Instrument Part at a point that fallswithin one or more notes, those notesare truncated at the split point, and no longer playin the newlycreated Part to the right of the split point. Thiscan be an issue, especiallywhen splitting up Partsin which some notesare held for long periods, such aspad and string passages. For example, if you have a four-bar Part in which a chord isplayed and held throughout, splitting the Part in the middle leavesthe Part to the left of the split point mostlyuntouched. However, the held notesare now missing from the newly created Part to the right of the split point. To split an Instrument Part and split (rather than truncate) anynotesthat crossthe split point, hold [Alt]/[Opt] while you make the split.

Eraser Tool The Eraser toolisused to delete Events. Clickon the Eraser Toolbutton or press[number 4] on the keyboard to select the Eraser tool. To delete anyEvent using the Eraser tool, simplyclickon the Event. If multiple Eventsare currentlyselected, clicking one of the Eventswith the Erase toolerasesallselected Events. You can clickand drag acrossmultiple Eventswith the Eraser tool, erasing each Event you touch.

CHAPTER 6│Studio One Reference Manual To temporarilyswitch to the Arrow toolwhile the Eraser toolisselected, hold [Alt].

Paint Tool In the Arrange view, the Paint toolcan onlybe used to create an emptyInstrument Part on an Instrument Track. Clickon the Paint Toolbutton or press[number 5] on the keyboard to select the Paint tool. To create a new, emptyInstrument Part on an Instrument Trackwith the Paint tool, click-and-drag over anyemptyarea in the Tracklane of the Instrument Track. Clicking once with the Paint toolcreatesan emptyInstrument Part that variesin length according to the current timebase setting. To temporarilyswitch to the Arrow toolwhile the Paint toolisselected, hold [Alt].

Mute Tool In the Arrange view, the Mute toolisused to mute Audio Events, Audio Parts, and Instrument Parts. Clickon the Mute Tool button or press[number 6] on the keyboard to select the Mute tool. To mute or unmute anyAudio Event or Instrument Part, simplyclickon it with the Mute tool. When an Event or Part ismuted, it appearsgrayed out, and an “m” icon appears in the lower left corner of the Event or Part. Clickand drag the Mute toolto select multiple Eventsto mute. If multiple Eventsare alreadyselected, clicking one of them with the Mute toolmutesallselected Events. To temporarilyswitch to the Arrow toolwhile the Mute toolisselected, hold [Alt].

Bend Tool In the Arrange view, the Bend toolisused to manipulate, add, and remove Bend Markers. For more information on Bend Markers, refer to the Transient Detection and Editing section of thischapter.

Listen Tool In the Arrange view, clickand hold on anyTrackto instantlysolo the Trackand start playbackfrom the position you clicked. Playbackcontinuesaslong asthe mouse clickisheld. When the mouse clickisreleased, playbackisstopped, and the related Trackisun-soloed.

The Grid The Arrangement grid iscomprised of the ticksin the timeline and the verticallinesextending from those ticksthrough the background of the Arrangement. Thisgrid usesthe Timebase setting asthe basisfor itsdisplay. The Timebase settings are Seconds, Samples, Bars, and Frames, and theydetermine the behavior of Event and toolsnapping. The Timebase can be changed at anytime, without directlyaffecting the arrangement. Perhapsthe most common Timebase setting isBars, which displaytime in a musicalformat of barsand beats. With this Timebase setting, the grid isdetermined bythe settingsin the Quantize panel.

Quantize Panel

The Quantize panelcan be opened from the toolbar byclicking on the Quantize Panelbutton, or byselecting Quantize from the View/Additional Views menu. The Quantize panelcan be detached and freelyplaced on the screen. In thispanel, you can edit allsettingsrelated to the Quantize grid that are displayed in the Arrangement. From left to right in the panel, you can see areasfor Grid or Groove mode; note-value selection; note grouping and Swing amount; Start, End, Velocity, and Range percentages; and preset management.

66│Studio One Reference Manual Rhythmic Values

With Grid mode selected, you can choose a note value between whole notesand 64th notes, and the following musical note groupings: Straight (with a Swing percentage setting), Triplet (3 notesin the space of 2), Quintole (a quintuplet with 5 notesin the space of 4), or Septole (a septuplet with 7 notesin the space of 8). These settingsalso determine the lookand behavior of the grid in the Arrange view. For information on the Groove mode of the Quantize panel, refer to the Groove Extraction and Quantize section.

Swing

Swing isa rhythmicstyle you can apply, in which off-beatsare moved forward in time relative to on-beat notes, creating a relaxed, bouncyfeel. Thisoffset iscalculated based on the currentlyselected Quantize value. For example, at 100% Swing, with 16th-note quantize selected, a pattern of 16th notesplayat a 2:1 ratio; On-beat notesplayon beat, and offbeatsplayasthough theywere the final16th-note triplet in a group of three. You can set the amount of swing between 0% (straight timing) and 100%(fully swung).

Quantize Note Starts

The Start percentage defaultsto 100%, which meansthat the start of a selected note, Event, or transient snapsto the grid if quantized. Thisiseffectivelya quantize-strength parameter, where anything lessthan 100%movesthe note, Event, or transient a relative amount closer to the grid, instead of allthe wayto the grid.

Quantize Note Ends

The End percentage onlyaffectsnotesin Instrument Parts. The function issimilar to the Start percentage, except that it affectsthe note end, effectivelymaking quantized notesshorter or longer. The Velocitypercentage also onlyaffectsnotes, and adjustsnote velocityaccording to an extracted groove if the Quantize mode isset to Groove.

Velocity Sensitivity

The Velocitypercentage letsyou tie Quantize strength to note velocity, to the degree that you specify.

Quantize Range

The Range percentage setsthe relative range from grid lineswithin which notes, Events, or transientsare quantized. Notes, Events, or transientsbeyond thisrelative range are not quantized. Asthere isno displayindicating the Range, quantizing severaltimeswhile adjusting thissetting maylead to the best results. The presetsarea of the Quantize panelallowsyou to quicklyswitch between up to five Quantize panelsettings, so that working with multiple complexquantization setupsisveryeasy. You can also store and recallQuantize panelsettings, just asyou would store an effect or instrument preset.

Common Editing Actions

Cut, Copy, and Paste Aswith most software applications, Studio One supportscut, copy, and paste actions. Once you have selected an Event or a range of Events, you can perform these actions: Cut Press[Ctrl]/[Cmd]+[X] on the keyboard to cut the current selection.

Copy Press[Ctrl]/[Cmd]+[C] on the keyboard to copythe current selection.

Paste Once a selection iscut or copied, press[Ctrl]/[Cmd]+[P] on the keyboard to paste the selection. The Events are pasted on the selected Track, at the current playbackcursor position. If you select and copyEventson multiple Tracks, then select another timeline location on the first Track, and then paste, the copied Eventsare pasted in the appropriate Tracksand locations, starting with the first (selected) Track.

CHAPTER 6│Studio One Reference Manual Paste at Original Position If you want to copyand paste an Event from one Song into another Song (or another version of the Song), and want the Event to be placed at itsoriginallocation in the timeline, copythe Event and paste by pressing [Ctrl]+[Shift]+[V].

Audio Event Slip Often, after an Audio Event hasbeen sized to fit a particular region of time, the audio clip the Event containsneedsto be moved ahead or behind in time without changing the Event’slength and volume envelope. Thisaction iscommonlycalled “slipping” or “slip,” and it isoften used alongside splitting, or splicing, to correct the timing of rhythm tracks. For instance, if one snare-drum hit isoff the beat bya little bit, you could split the Event on either side of that section and then slip the audio into perfect time. To use Slip, select the Arrow tool, and then pressand hold [Ctrl]/[Cmd]+[Alt] on the keyboard, while floating the mouse over an Audio Event. The Slip toolicon appears. Click-and-drag on the Event to slip the audio left or right acrossthe timeline. Multiple Audio Eventscan be selected and slipped at once, even acrossmultiple Tracks. When slipping the audio in an Audio Event, note that allof the Event characteristicsremain unchanged, including the Event size, position, Inspector parameters, and volume envelope. An Audio Event can be slipped onlyasfar asthe length of the audio clip it contains.

Audio Event Transpose and Tune The abilityto transpose and fine-tune audio addsa lot of flexibilitywhen working with audio files. For instance, if you have a keyboard loop collection in which everyloop isin the keyof C, being able to transpose these loopsto anyother keyopens up many possibilities. In Studio One, transposing and tuning are a part of the same set of advanced algorithmsastimestretching, so the qualityis extremely high. To transpose anyaudio Event, select it and open the Inspector bypressing [F4] on the keyboard or clicking on the Inspector button above the TrackColumn. Then enter a value in the Transpose field, from -24 to +24 semitones.

68│Studio One Reference Manual Tuning issimilar to transposing but the pitch ischanged in cents, rather than semitones. Enter a value from -100 to 100 centsin the Tune field to fine-tune the audio Event. Anynumber of Eventscan be selected and transposed or tuned simultaneously, but note that thischange isnot relative to the current setting of each Event. Allselected Eventsare transposed or tuned to the same chosen value.

Nudge Nudging isan alternative to moving Eventsand notesacrossthe timeline with the mouse. To Nudge anyEvent or note, select it and do one of the following: NudgePress[Alt]+[Right Arrow] on the keyboard to move the Event or note forward in time bythe current snap value in the Arrangement or Editor. With Snap disabled, nudging adjustsin milliseconds. Nudge BackPress[Alt]+[Left Arrow] on the keyboard to move the Event or note backward in time.

CHAPTER 6│Studio One Reference Manual Nudge BarPress[Ctrl]/[Cmd]+[Right Arrow] to move the Event or note forward byone bar.

Nudge Bar Back Press[Ctrl]/[Cmd]+[Left Arrow] to move the Event or note backward byone bar.

Anynumber of Eventsor notescan be selected and Nudged simultaneously. The Nudge commandsare also available in the Edit menu.

Duplicate The Duplicate action essentiallycombinesthe Copyand Paste actionsand intelligentlyplacesthe pasted selection based on the musicaltiming of the selection in the Song. Choose Duplicate in the Edit menu or press[D] on the keyboard to duplicate the current selection. The duplicated Event isalwaysplaced after the originalEvent, and it isautomatically selected once duplicated. Aswith the other editing actions, Duplicate can applyto anynumber of currentlyselected Events. Agood use of the Duplicate command isto quicklycreate copiesof a loop acrossa region in a Song byselecting an Event and repeatedlypressing [D] on the keyboard. Another interesting use involvesselecting veryshort regionswithin a loop, using the Range tool, and duplicating them severaltimes, consecutively, in order to create a stutter effect that ispopular in electronic music. If you would like to duplicate an Event and push existing materialto the right acrossthe timeline to make room for the duplicated Event, press[Alt]+[D] on the keyboard to use the Duplicate and Insert command.

Duplicate Shared

When you duplicate an Event normally, each duplicate istreated asa separate Event, and editsmade to one duplicate are not reflected in the other copies. If you want to duplicate an Instrument Part and linkthe content of the duplicatesto that of the originalPart, select the Part and choose Duplicate Shared from the Edit menu, or press[Shift] + [D] on the keyboard. A ghost icon appearson the originalPart and anyShared duplicates, to alert you that those copiesare now Shared. Any editsmade to the originalPart or a Shared copyare applied to allinstancesof that Part. If you later decide you wish to edit one of the Shared copiesof a Part individually, select it and choose Separate Shared Copiesfrom the Event menu. The ghost icon disappearsfrom that Part to alert you that the copyisno longer Shared, and can be edited without affecting the other copies.

Explode Pitches to Tracks It issometimeshelpfulto explode existing pitcheswithin an Instrument Part to new Tracks, placing each pitch within individualInstrument Partson separate Tracks. For instance, if you have a MIDI loop to use with a virtualdrum instrument, you maywant to have each piece of the drum kit on itsown Instrument Track. To do this, [Right]/[Ctrl]-clickon an Instrument Part in the arrangement and select Explode Pitchesto Tracksfrom the Instrument Partssub-menu.You can also accomplish thisbyselecting the Part, and choosing Explode Pitchesto Tracks from the Eventsmenu.

Strip Silence It isquite common that, asthe result of continuousrecording, some Audio Eventsmayhave gapsof silence or relativelylow levelsbetween performances. It maybe helpfulin these casesto remove the gapsand onlykeep the desired sectionsof the recorded Event. Studio One'sStrip Silence function, controlled from the Strip Silence panel, isdesigned to handle this task. Open the Strip Silence panelbyclicking on the Strip Silence button in the toolbar, or select Strip Silence from the View/Additional Views menu. Select the Audio Eventsfrom which you wish to strip silence, make the desired settings, and then clickon [Apply]. Clickon the [Default] button to return allsettingsin the panelto their defaults. The result of the Strip Silence processissimilar to using a gate processor to onlyallow the desired signalto be heard, except that the Event isedited.

70│Studio One Reference Manual When the smalllight indicator next to the [Apply] button islit, thismeansthat changing the Detection or Event optionsand then clicking Applyautomaticallyundosthe previousoperation, making it easier to find the right settingsbyviewing the result of the Strip Silence process, then tweaking the settingsif needed without having to undo manually. Anychange in selection (or other editing operation) endsthisautomaticstate, and the indicator isno longer lit. The following describes each setting: Detection Thisdetermineshow Studio One identifiessilence in the areasyou wish to process. Material The first three optionsset the Open and Close Threshold for the gate algorithm automatically. Lots of Silence Choose thisfor materialthat containslotsof silence and single hits—for instance, a clean, typicalsingle-drum recording (hat, kick). Little Silence Choose thisfor materialthat hassome action going on but stillhassome silence—for instance, minimaltechno/single drum loops, ride, or snare tracks. Noise Floor Choose thisfor materialwhere there isalmost no realsilence—for instance, noisydrum recordings, overheads, drum mixes, and drum loops. Manual Allowsthe Open and Close Threshold to be manuallyedited.

Open Threshold Set between -80 and 0.00 dB.

Threshold Link Engage to linkthe Close Threshold to the Open Threshold.

Close Threshold Set between -80 and 0.00 dB.

Events Thissection determinesthe nature of the Eventscreated after removing silence. Minimum Length Determinesthe minimum length in secondsfor anyresulting Event.

Pre-Roll Determinesthe amount of time in secondsthat should remain at the beginning of resulting Eventsfrom the time at which the previouslydetected silence ends. Post-Roll Determinesthe amount of time in secondsthat should remain at the end of resulting Eventsfrom the time at which newlydetected silence begins. Fade-In Determinesthe length in secondsof the linear fade-in applied to resulting Events.

Fade-Out Determinesthe length in secondsof the linear fade-out applied to resulting Events.

Link Enable thisoption to automaticallyset the Fade-In parameter to match the Pre-Rollsetting, and the Fade- Out parameter to match the Post-Rollsetting.

Audio Parts It isoften convenient to merge multiple separate Eventsinto a single object in order to move them alltogether or simplyto clean up the Arrangement. Thisisaccomplished with Audio Parts. To create an Audio Part, select the Audio Eventsand then press[G] on the keyboard. Thismakesthe separate Events appear and function asa single Event in the arrangement while also appearing and functioning asseparate Eventsin the Editor. It isthen much simpler to, for instance, duplicate a chorusin the arrangement and retain accessto the individual Eventsfor editing crossfadesand other details. Note that Audio Partssupport shared, or ghost, copies, with the exception of anyEvent FX which are strictlyper Event instance.

CHAPTER 6│Studio One Reference Manual An Audio Part hastwo optionsin the Event Inspector: Play mode Normal playsonlythe topmost Events, and anyoverlapsare not played.

Overlaps allowsanyoverlapping audio to playbackmixed, rather than cutting off at the end of each indi- vidualslice. Thisoften happensif individualslicesare have been quantized but not timestretched. Slices isoptimized for REX and Audio Loop files, and addsshort fadesto slicesduring playback. Each slice istriggered onlyonce, and no overlapsare played. Stretch Events timestretchesEventsinside the Audio Part to match the Song Tempo.

To dissolve an Audio Part, [Right]/[Ctrl]-clickon the Audio Part and choose Dissolve Audio Part from the contextualmenu.

Editing Options The following optionsare related to Editing workflow.

Return to Start Position on Stop

Manypeople prefer that when playbackisstopped, the playbackcursor returnsto the position from which it started. This allowsfast auditioning of editsbyrepeatedlystarting and stopping playbackfrom a specificposition in the timeline. To enable thisbehavior, select the Return to Start on Stop option in the Transport menu.

Locate to the Mouse Cursor

To quicklylocate the playbackposition to the mouse-cursor position, press[Ctrl]/[Cmd]+[Space] on the keyboard. Thisis veryusefulwhen you want to quicklynavigate to multiple editsfor auditioning or further editing, without clicking in the Timeline.

72│Studio One Reference Manual Follow Song and Follow Edit Position

If you would like the Arrange view to follow the current playback-cursor position, engage Autoscrollin the toolbar, or press [F] on the keyboard. Thiskeepsallaudible Eventsin view. If you would like the playbackcursor to follow the current edit position, engage Follow Edit Position, which isnext to Follow Song in the toolbar. With thisengaged, the playback-cursor position jumpsto the beginning of anyEvent or note being moved, or to the position of anymarker being moved.

Audio Loops and Music Loops Studio One featurestwo proprietaryfile formats, Audio Loop (.audioloop) and MusicLoop (.musicloop), that greatly enhance your abilityto create and re-use originalmaterialin your productionsand to share your materialwith other Studio One users. The following describesthese formatsand how to use them.

Audio Loops Audio Loopsare essentiallyAudio Partstagged with a tempo and rendered with losslesscompression. To create an Audio Loop, drag anyAudio Part to the File Browser. You can then see the Audio Loop listed, along with a drop-down arrow in the Browser that, when clicked, revealsthe Slicesthat the Audio Loop contains.

Audio Loopsallow fast creation of flexible audio loopsfrom anysource. For instance, you might take part of a drum recording you just made and turn it into a loop bydoing the following: Exporta stem for the drum busfor the desired range to a new stereo Track.

Detect transientson the new Trackand then applythe Slice action, with the Merge option checked in the Audio Bend panel. Drag the Audio Part to Browser to export an Audio Loop you can use in anySong and can share with other Studio One users.

CHAPTER 6│Studio One Reference Manual Music Loops A MusicLoop consistsof everything required to recreate a musicalperformance, including the virtualinstrument preset, multichannelFX chain presetsfor the virtualinstrument outputs, the music-performance file, and an audio loop. Music Loopscan be dragged in from the Browser, just like a MIDI file, but theyare much more powerfulin that theycan re-create the exact setup used to make the originalperformance. To create a MusicLoop, drag anyInstrument Part into the Browser. You can see a pop-up displayindicating whether you are exporting a MusicLoop or a MIDI file. Bydefault, MusicLoop isselected. To change thisselection, press[Alt]/[Option] on the keyboard. Once exported, you can see the .musicloop file in the Browser.

You can now drag thisMusicLoop into anySong to instantlyre-create that performance, including creating the Instrument Track, loading the virtualinstrument, and loading anyeffectson the virtualinstrument outputs. A MusicLoop can be previewed in the Browser, just like audio; the Browser playsthe rendered audio file. To see the contentsof the MusicLoop, [Right]/[Ctrl]-clickon the MusicLoop and choose Show Package Contents. You can now see a drop-down arrow that, when clicked, revealsthe elementsdescribed above. Each element can be dragged in separately; for instance, if you just wanted to load the instrument preset from the MusicLoop. Another nice benefit of MusicLoopsisthat the rendered audio can be used even if the instrument and effectsused to create the MusicLoop are not installed. Note that when creating MusicLoops, the related channelvolume, pan, send, and busing detailsare not a part of the rendered audio or stored preset. MusicLoopsare an excellent wayto store a personallibraryof originalmaterialveryeasilyand to share that materialwith otherswithout worrying about what instrumentsor effectstheyhave.

Edit Groups It can be usefulto group multiple Trackstogether so that anyeditsdone to an Event on one Trackin the Group are automaticallydone to allEventsfor each Trackin the Group. For instance, you maywish to group allof your drum Tracks together so that when the Eventsare cut and moved, the relative timing between the Tracksremainsintact.

Creating Edit Groups To create a new edit Group, do the following: Select the Tracksyou wish to group.

[Right]/[Ctrl]-click on any currently selected Track.

Choose Group Selected Tracksfrom the pop-up menu.

AllTracksthat were selected are now a part of the new Edit Group. Edit Groupsare automaticallynamed based on the order inwhichtheyarecreated,andtheyareshownasGroup1,Group2,andsoon.Thenameofthenew EditGroupis shown in the Edit Group selector boxunder the input selector on allTracksin the Group. You can rename an Edit Group by clicking in the Group selection boxon anyTrackin the Group and selecting Rename Group.

74│Studio One Reference Manual To add a Trackto an existing Edit Group, clickon the Edit Group box(under the input selector) on the desired Trackin the Arrange view. Then, in the pop-up menu, choose the Edit Group to which you wish to add the Track. When a Trackisincluded in an Edit Group, selecting the TrackselectsallTracksin the Group. Edit actionsperformed on anyEvent for anyTrackin the Group are performed on allEventsfor each Trackin the Group. In Studio One, Edit Groupsalso group the fadersfor the related Channelsin the Group. Thistopicisdiscussed further in the Groups section of the Mixing chapter. Note that it isalso possible to create an Edit Group from a Folder Track. If a Trackisin an Edit Group, and an Event from the Trackisviewed in the Edit view, the Group icon appearsat the top left of the Edit view, indicating that anyeditsperformed on the Event in view affect other Events.

Dissolving Edit Groups To dissolve, or ungroup, an Edit Group, [Right]/[Ctrl]-clickon anyTrackin the Group in the Arrange view. Then select Dissolve Group (1, 2, 3…), and the Group isdissolved. Grouping and dissolving actionscan be undone and redone, as with most user actions.

Temporarily Suspending Edit Groups Certain actions—such asmoving a fader, muting, and soloing—can be performed on a Trackwithin an Edit Group, without affecting the Group asa whole, bytemporarilysuspending the Group. To do this, hold [Alt]/[Option] on the keyboard while performing an action on a Track.

Timestretching It ispossible to stretch an Audio Event to fit a tempo other than itsoriginaltempo, without changing the pitch. Thisiscalled Timestretching, and it can be used to effectivelyslow down or speed up an Audio Event. For instance, a one-bar drum loop recorded at 120 bpm (beatsper minute) can be stretched to fit into one bar at 100 or 140 bpm without significantly

CHAPTER 6│Studio One Reference Manual changing the pitch and overallsound of the originalaudio. Timestretching and defining a file tempo are nondestructive, so theycan be undone and redone. It isalso possible to switch Tempo modesfor anyAudio Track, on the fly. For example, switching to Follow or Don’t Follow from Timestretch returnsanytimestretched Audio Event that Trackcontainsbackto itsoriginalstate. When timestretching, if the tempo isdrasticallychanged (byabout 30 bpm or more), the audio can become slightly distorted. While thiscan lead to interesting effects, you should be aware of the limitation of thistechnology. In Studio One, timestretching can occur automaticallyor manually. The following describesthese functions.

Manual Timestretching With manualtimestretching, you can stretch an Audio Event independentlyof the Song tempo or audio file tempo. To manuallystretch an Audio Event with the Arrow tool, float the mouse cursor to the edge of the target Audio Event and hold [Alt]/[Option] on the keyboard. The Timestretch toolappears, allowing you to clickon the edge of the Event and drag left or right to timestretch the Event, making it shorter or longer In thiscase, the length of the Event changes, using the Speedup factor, but the pitch of the audio the Event containsremainsthe same. Onlythe Event that you selected for timestretching is affected. Speedup factor isa timestretching function for making an audio clip shorter or longer while maintaining itspitch. Values greater than 1 decrease the length of the clip, while valueslessthan 1 make the clip longer. Thisisused to stretch audio Eventswhen you do not wish to define a tempo for the originalaudio clip, which would affect allEventsassociated with that clip. The Speedup factor can be entered in the Event Inspector.

Automatic Timestretching Automatictimestretching isbased on the relationship between the Song tempo and the audio file’stempo. Each Audio Trackhasa Tempo mode that controlsthe behavior of the Eventson the Track, based on the Song tempo. The Tempo mode can be selected in the TrackInspector. The following modesare available: Don’t Follow Eventson thisTrackare independent of the Song tempo. Theyare never moved or stretched automatically. Follow The start positionsof Eventson thisTrackare tied to the musicalgrid. Thus, the Eventsmove when the Song tempo changesbut theyare not stretched. Timestretch Event start positionsfollow the Song tempo, asin Follow mode. In addition, the Eventsare stretched to fit the Song tempo.

Audio File Tempo Information For automatictimestretching to workasdescribed, Studio One needsto know the originaltempo of an audio file. The software can then calculate how to stretch the file to fit the Song tempo. Manyaudio loopshave thisinformation encoded. Fileswithout tempo information are not timestretched, even if the Track’stempo mode isset to Timestretch. Studio One offerstwo waysto define or change the originaltempo information of an audio file. If the originaltempo for an Audio Event isunknown, the Arrow toolTimestretch function can be used to manuallyfit the Audio Event to a specificlength of time (barsand beats, etc). To do this, set the Tempo mode of the Trackto “Timestretch.” Float the mouse cursor to the edge of the target Audio Event and hold [Ctrl]+[Alt]/[Cmd]+[Option] on the keyboard. The Define Tempo toolappears, allowing you to clickon the edge of the Event and drag left or right to stretch it. In thiscase, the tempo for the originalclip isset based on the musicallength to which the Event isstretched, and allEvents in the Song that use thisoriginalclip are updated. If the originaltempo for an Audio Event isknown but isnot encoded in the originalfile that the Event references, you can easilyset the file tempo for the Event in the Inspector. Clickin the File Tempo box, type in a new value and press[Enter] on the keyboard to enter a new file tempo. If the corresponding Audio Track’sTempo mode isset to Timestretch, entering a new value in File Tempo stretchesallEventsin the Song that use thisoriginalclip, based on the entered tempo value.

76│Studio One Reference Manual Tap Tempo You can use the Tap Tempo function to set the current Song tempo to the tempo that you hear in your Audio Events. To do this, repeatedlyclickon the word “Tempo” in the Transport, clicking once on everybeat you hear. Studio One determinesthe Audio Event tempo based on the timing of your clicksand setsthe tempo for the Song accordingly. Be sure that the Tempo mode for the Audio Trackisset to Don’t Follow; otherwise, the Eventsare stretched or moved while you are using the Tap Tempo function, making it impossible to find a consistent tempo.

Timestretching Material Modes Studio One featuresseveraloptimized timestretching modesthat mayyield better resultswith certain typesof audio material. To accessthese modes, open the Inspector bypressing [F4] on the keyboard and clickin the Materialdisplay. Clickon anymode to select it for the currentlyselected Track. The modesare: Drums Use thisoptimized mode on anypercussion trackto achieve the best resultswhen stretching percussive audio. Sound Use thisgeneralmode on anyother type of track.

Solo Use thisoptimized mode on anysolo instrument or vocaltrackto achieve the best results.

Audio Bend Use thisoptimized mode when manipulating Bend Markersin anyAudio Event on the Track.

Using Timestretch Cache Bydefault, Use Cache for Timestretched Audio Filesisengaged. Thisoption also can be selected in the Studio One/Options/Advanced/Audio Engine menu (Mac: Preferences/Advanced/Audio Engine). Timestretch Cache createsa cache file at the correct tempo for anyfilesthat need timestretching, based on what iscurrentlybeing stretched in your Song. ThisimprovesStudio One’sperformance, asthe timestretch processno longer needsto occur during playback. Studio One also can use a higher-qualitytimestretch setting when it createsthe cache file. Using Timestretch Cache requiresa certain amount of available space on your hard drive. If you know that space is relativelylimited on your hard drive, or if performance issuesarise, disable thisfeature. When Use Cache for Timestretched Audio Filesisdeselected, Studio One timestretchesthe file in realtime during playback, asthe file isbeing read from the computer hard drive.

Default Tempo Mode for New Tracks When creating a New Song, notice that the New Song setup menu includesa Stretch Audio Filesto Song Tempo checkbox. With thisoption engaged, anynew Trackthat iscreated in thisSong hasthe Tempo mode set to Timestretch, and the software attemptsto automaticallystretch audio filesto the current Song tempo when theyare imported into the Song. Otherwise, the default Tempo mode for new TracksisFollow.

Comping Comping isthe processof piecing together multiple performancesinto a single, continuousperformance. For instance, you might record the vocalsfor a verse a number of times, then edit the best partsof each passinto a single, hybrid performance that, ideally, soundsasthough it wasperformed in one pass. Comping and related information are covered in the following sections.

Takes and Layers The most common comping scenario involvesrecording multiple takesof audio and then editing those takes. In Studio One, each successive recorded take can be placed in itsown layer, byenabling the Record TakesTo Layersoption in the Record panel, opened with [Shift]+[Alt]/[Option]+[R], or byusing the View menu. With the Record TakesTo Layersoption

CHAPTER 6│Studio One Reference Manual engaged, allrecordingsare placed on layers, with one layer per take, and the layersare shown assoon asrecording is stopped. The last recorded take isplaced on the Trackautomatically. Note that thisoption also applieswhen recording Instrument Partsif the Record Takesoption isengaged in the Record panel. By[Right]/[Ctrl]-clicking on a Track, you can choose Add Layer to manuallyadd a Layer at anytime. You can then drag audio or MIDI to the Layer just asyou would drag it to the Track. Thisallowssome veryinteresting creative comping possibilitiesbeyond simplyrecording and editing. Note that once an Event hasbeen dragged to a layer, it cannot be moved or copied to another location, so be sure to retain a copyif you plan to use it elsewhere. To rename an Event within a layer, [Right]/[Ctrl]-clickon it and double-clickon the name to enter text (e.g., “great,” “not good,” “brilliant,” and so on). Thisisveryhelpfulwhen organizing takesto be comped. Layersare displayed aslanes directlyunder the Trackto which theybelong.

To hide or show layers, [Right]/[Ctrl]-clickon a Track, and then clickon Expand Layers. Layershave their own Track controls, including Solo, Activate, Duplicate, and Remove. Clickon the layer’sSolo button to solo the layer on the Track. Clicking on the Activate button placesthat layer on the Track, and the current contentsof the Tracktake the place of that layer on a new layer located under the Track. Duplicate createsa duplicate of the layer on a new layer. Remove removes the layer from the Track. If you would like layersto follow the TrackEvent in the arrangement—for instance, when moved or duplicated—engage the LayersFollow Eventsoption in the Inspector for the Track.

Auditioning Takes When comping, it ishelpfulto be able to quicklyaudition the varioustakesto determine the desired partsof each take. The Listen tooliswellsuited to auditioning takeson layers. When floating the mouse over anylayer, hold [Alt]/[Option] and click anywhere on anylayer to instantlyhear it, starting from the point in time where you clicked. Alternatively, hold [Shift]+[Alt]/ [Option] and clickon a selected range on anylayer to solo the layer; looping isautomaticallyengaged around the selected range for playback. It isalso possible to solo entire layersto quicklyswitch between takes, asonlyone layer of a Trackmaybe soloed at a time. To do this, clickon the Solo button on anylayer. Note that TrackSolo isindependent of this, so you can solo the Trackor not, depending on whether you would like to hear the performancesyou are comping in the context of the other Tracksin your Song.

Copying Layer Ranges to the Track Studio One makesthe comping processverysimple. With the Arrow toolselected, floating the mouse over anylayer switchesto a specialRange tool, indicated with the Range cursor icon. Click-and-drag with thistoolto instantlypromote anyrangeofataketotheTrack. Once a range hasbeen copied to the Track, it ishighlighted in the Trackcolor so that you can alwaysbe sure where materialon the Trackiscoming from. Where a newlycopied range overlapswith an existing range on the Track, an automaticcrossfade isapplied to help avoid clicksor other undesirable artifacts. Thiscrossfade can be edited, just like any other, and it can be removed.

78│Studio One Reference Manual Anyselected range on a layer can be sized left or right byfloating the mouse cursor to the edge of the range and clicking and dragging, which altersthe Trackaccordingly.

Comping With Groups If one or more Tracksare in a Group, and comping isperformed on anyof those Tracks, identicaleditsare performed on the other Tracksin the Group. For instance, comping can be performed on a single Trackwithin a drum Group, and those identicaleditsare performed acrossthe other Tracksin the Group. Thisappliesto soloing, activating, and removing layers, as well. While it maybe best to avoid the scenario, comping can be performed acrossgrouped Trackswith a differing number of layers; layer positionsunder the Tracksdetermine the behavior of the edits.

What Next? After comping on an Audio Track, it iscommon to consolidate, or bounce, separate Audio Eventsinto a single, continuous Event. You can do thisquicklybyselecting the Audio Eventson the Trackand pressing [Ctrl]+[B] on the keyboard. This rendersa new audio file and Event, and placesit on the Trackat the correct position. A more flexible wayisto merge the separate Audio Eventsinto an Audio Part byselecting the Audio Eventsand then pressing [G] on the keyboard. Anycomping performed under the range of the Audio part resultsin the compsbeing copied directlyinto the Audio part.

Transient Detection and Editing Transient Detection isthe processof determining the location transientswithin audio material, which can then be used as the basisfor editing. A transient can be defined asa short-duration signalthat representsa non-harmonicattackphase of a musicalsound or spoken word. It containsa high degree of non-periodiccomponentsand a higher magnitude of high frequenciesthan the harmoniccontent of that sound. When looking at the waveform of a recorded snare drum hit, the first part of the hit—the attack—looksdistinctlylouder than the rest of the signal; the “louder” part isthe transient, and the rest of the signaliscommonlycalled the “tail.” Transientsusuallyindicate rhythm in musicalmaterial, so that when the positionsof transientsare known, it becomes possible to quantize, or correct the timing of, recorded audio. For instance, if a drummer wasearlyon the downbeat after a killer fill, you could fixit so that it isperfectlyin time. In fact, it ispossible to alter the entire feelof a performance and even extract the feelof one recorded performance and applyit to another.

Detect Transients To detect transientsin anyaudio in an arrangement, select an Audio Event and open the Bend panelfrom the top toolbar, then choose Analyze from the Detection area. Alternatively, [Right]/[Ctrl]-clickon an Audio Event and choose Detect Transientsfrom the Audio/Audio Bend contextualmenu. You can also open the Bend panelbyclicking Audio Bend in the View/Additional Views menu.

The originalaudio clip that the Event usesisthen analyzed, asindicated in the lower left of the Event with a “percentage complete” display. After detection, the Event becomesslightlytranslucent, and blue Bend Markers—verticallinesthe height of the Event—are placed at everytransient.

CHAPTER 6│Studio One Reference Manual Two modescan be used for transient detection: Standard and Sensitive. These modesare accessed in the Bend panel. If you intend to quantize or slice the Audio Event, you don’t need to detect transientsfirst; you can go straight to the Action area of the Audio Bend panel. Anyapplied action detectstransients.

Tab to Transient

It ispossible to tab to transientsin both the Arrange view and Audio Editor bypressing [Tab] on the keyboard, even if transientshave not yet been detected for the Event. Thismovesthe playbackcursor to the next transient in the Event.

Bend Markers Bend Markersare used in Studio One to stretch audio inside an Audio Event, without the need for slicing the Event into multiple pieces. Theyare added to an Audio Event when detecting transientsfrom the Bend Panel, and can also be manuallyadded. When detecting transients, the default Threshold used to placed Bend Markersat transientsis80%, which can be adjusted at the top of the Event contextualmenu or in the Inspector, so that Bend Markersare placed onlyat the transientswith which you want to work. It isalso possible to manuallyinsert Bend Markers, before or after detecting transients. While it ispossible to insert and edit Bend Markerswith Bend Markershidden, you maywant them to be shown while editing. Checkthe Show Bend Markersboxin the Bend panelor Event contextualmenu to show or hide Bend Markers. If Bend Markershave been inserted asthe result of transient detection, a veryshort, highlighted range—visible if zoomed in far enough—precedesthe Bend Marker. Thisrange representsthe entiretyof what hasbeen detected asa transient, and it isimportant when Studio One quantizesaudio based on Bend Markers. Note that Bend Markersare propertiesof the audio clip that an Event references, meaning that multiple Events referencing the same audio clip in the Pool(for example, a drum loop duplicated severaltimes) share the same Bend Markers, and are effected byanyBend Marker editing. If you want to processduplicated Eventsdifferently, for instance to provide rhythmicvariation with a duplicated drum loop, then bounce the Event to a new file prior to editing.

Editing Bend Markers

To manuallyinsert Bend Markers, switch to the Bend tool, then float the mouse over anyAudio Event and clickwhere you would like to insert the Bend Marker. Double-clickon anyBend Marker with the Bend toolto remove it; anyeffect the Marker had on the audio isundone. With the Bend toolselected, click-and-drag on anyBend Marker to manuallymanipulate the audio left or right on the timeline. Doing so stretchesor compressesthe audio surrounding the Bend Marker, and the Bend Marker displaysa left- or right-facing flag at the bottom, indicating the direction in which it hasbeen moved. If the audio isstretched, the waveform iscolored red, with the intensityof the color increasing the more the audio isstretched. If the audio is compressed, the waveform iscolored green.

80│Studio One Reference Manual Like manyother editing operations, when moving a Bend marker with Snap enabled, the marker snapsto the nearest intervaldictated bythe current Snap setting. Hold [Shift] while moving a marker to temporarilydisable Snap for finer control, or to enable snapping if it'scurrentlydisabled. If you wish to relocate a Bend marker (without timestretching the surrounding audio), hold [Alt] and click-and-drag the Bend marker to the desired position. If you are manipulating Bend Markerson a Track, you should set the Timestretch mode of the Trackto Audio Bend, so that the audio isprocessed with the correct algorithm. Thisalgorithm ensuresthat transientsare unaffected, onlystretching or compressing the “tail,” or harmoniccontent, that followsthe transient. Note that for audio to be stretched or compressed bymanipulating a Bend Marker, at least one other Bend Marker should exist to the left or right of the one being manipulated, to be used asthe basisfor stretching or compressing. If no other Bend Marker exists, the beginning and end of the audio clip for the Event are used. For instance, if you want to change the rhythmicphrasing ofa word in a vocalpart,add a Bend Marker to the leftand rightofthe word you wantto alter before attempting to move the word itself. Multiple Bend Markerscan be selected for simultaneousediting with the Bend toolbyholding [Shift] and clicking on the desired markers, or selecting a group of markerswhile holding [Alt]. You can reset a Bend Marker to itsoriginalposition by[Right]/[Ctrl]-clicking on it and selecting Reset Bend Marker. Multiple selected Bend Markerscan be reset at once, making it possible to easilyrestore the originaltiming if editing produced undesirable results.

Use The Bend Panel

When working with Bend Markers, you mayfind it usefulto have the Bend paneldisplayed, asthisiswhere the most common Bend Marker-related actionsare found. To open the Bend panel, clickon the Bend Panelbutton in the toolbar or select Bend from the Views/Additional Views menu. The Bend panelcan also be detached and freelyplaced onscreen. In the Detection section, you can change the transient-detection mode, which isset to Standard bydefault. If thismode doesnot accuratelylocate transientsto your liking, switch the mode to Sensitive and analyze the audio again. In the Bend Marker section, you can remove allBend Markersor Restore allBend Markersin the selected Event by clicking on the respective buttons. You can also adjust the Bend Marker Threshold, using the slider. In the Tracksection, you can set the Timestretch mode for the Trackon which the selected Event residesand can select Guide Tracksif that Trackisin a Group. In the Action section, Quantize isselected bydefault, and a Strength percentage slider isdisplayed. Clickon Applyto quantize anyselected Event. The Strength setting altersthe Start percentage in the Quantize panel, providing a simple wayto alter the strength of the quantize process.

CHAPTER 6│Studio One Reference Manual Alternatively, you can choose the Slice action, which slices the selected Event using its Bend Markers as a basis, with different resultsdepending on the selected options. CheckAutofadesif you want the resulting individualslicesto each have a short fade-in and fade-out in order to avoid audible clicking. CheckMerge if you would like the individualslicesto be merged into an Audio Part after processing. CheckQuantize if you would like to quantize the resulting individualEvents, and set the Strength using the percentage field. Note that in thisprocess, no timestretching occurs; instead, a single continuousEvent issliced at itsdetected transients, and the resulting multiple Eventsthemselvesare quantized acrossthe timeline. Aswith the Strip Silence panel, when the smalllight indicator next to the [Apply] button islit, thismeansthat changing certain Detection, Bend Marker, Track, or Action optionsand then clicking Applyautomaticallyundoesthe previous operation, making it easier to find the right settingsbyviewing the result of the Bend Panelprocess, then tweaking the settingsif needed without having to undo manually. Anychange in selection (or other editing operations) endsthis automaticstate, and the indicator isnot lit.

Quantize Audio It isverysimple to quantize audio in Studio One. Select the Audio Event, then press[Q] on the keyboard to quantize. Transientsare detected for the selected Event, the audio instantlysnapsto the current quantize grid, the Bend Markers indicate theyhave been moved left or right, and the waveformsare appropriatelycolored asdescribed in the Editing Bend Markers section. When quantizing audio, the Audio Track'sTimestretch mode isset to Audio Bend to ensure the best sonicresults. The same quantize commandsare available for transient-detected audio asfor Instrument Parts. [Q] quantizesthe selected Events, [Alt]/[Option]+[Q] quantizes at 50%strength, and [Shift]+[Q] restores the originaltiming.

Phase-Coherent Multitrack Quantization When multiple microphonesare used to record the same instrument onto multiple Tracks, aswith asa drum set, it isvery important that the phase relationshipsacrossthe multitrackaudio remain unaltered. You can thinkof phase relationships asthe time it takessound to reach each microphone from the source, such asa snare drum. How the waveformsalign acrosseach Trackiscriticallyimportant to the sound achieved; if a snare hit ismoved in time on one Trackand not the others, the resulting collective sound of the snare hit can be drasticallyaltered. Therefore, when quantizing or slicing multitrackaudio, it isimportant that alleditsare performed acrosseveryTrackin a waythat preservesthe phase relationships. Thisisreferred to asphase-coherent editing. In Studio One, allthat is required to ensure thishappensisfor the Tracksto be grouped. Once the Tracksare grouped, Studio One takescare of phase coherence for you. For instance, let usconsider a scenario with four Tracksof drums: kick, snare, and left and right overheads. Prior to editing on anyTrackindividually, you would Group the Tracksbyselecting them and pressing [Ctrl]/[Cmd]+[G] on the keyboard. If you then quantize audio on anyTrackin the Group, Studio One determinesthe phase relationshipsbetween the Tracks and then quantizesor slicesthe audio acrossallTracksbased on transientson the individualTracks. For instance, where there isa snare hit, the first transient found (within the range of the snare hit) in the Tracksfrom top to bottom isused as the basisfor quantization for allfour Tracks; the other Trackssimplymaintain their existing phase relationshipsto the quantized Track, and thusare quantized in a phase-coherent manner. In the above scenario, you can checkexactlywhat Studio One hasdone byzooming in on anyBend Marker. You can see that the Bend Marker Range on each Trackhasbeen adjusted to a common start time, with the Bend Marker used asthe basisfor quantization. ManualBend Marker editson grouped Tracksperformsthe same process. It isalso possible to exclude anyTracksin a Group from transient analysisand therefore not use them asa reference in the quantizing or slicing process. When Eventsare selected that are contained on a Trackin a Group, a Group selection box appearsin the Trackarea of the Bend panel, along with a Guides-selection drop-down menu that containsallTracksin the Group. To exclude Tracksfrom analysis, simplyuncheckthem. Asan example, you mayonlywant to use the kickand snare Tracksasthe basisfor quantization or slicing of the Group, in which case you would uncheckallTracksexcept the kickand snare and the applythe desired action from the Bend panel.

82│Studio One Reference Manual Groove Extraction and Quantize Groove Extraction isan extremelypowerful, yet simple, feature. Let usconsider the scenario in which you want a poorly played basspart to closelyfollow the kickdrum. To make thishappen, open the Quantize paneland switch to Groove mode. Next, drag the kickdrum Event into the Groove panel, and then quantize the bassEvent. In those few movesyou have effectivelydetected allnecessarytransients, extracted the kickdrum groove, and quantized the bassto that groove.

Similarly, you could drag an Instrument Part into the Groove panelto extract the groove and then quantize audio to that groove. When you extract the groove from an Audio Event or Instrument Part, the grid in the arrangement isthen based on that groove, and anything in the arrangement can be quantized to that grid. Thisisextremelyusefulfor cleaning up multi-instrument performances, and it’sequallyusefulfor creative purposes, such asextracting a great groove from a funkloop and applying it to a straight-eighth drum loop. You can also drag the groove itself to an Instrument Track, which rendersthe groove asa seriesof notes, one for each hit in the groove, even tweaking note velocityaccording to the relative levelof the hits. Thisallowsyou to instantlybuild a virtualinstrument basspart, for instance, that exactlymatch a drum performance. Just drag the drum performance into the Groove area, then drag it out to the bassTrack, and change the notesto the pattern you want. Or, you might prefer to drag in an audio Event, drag it to an Instrument Trackto tweakthe groove musically, then drag that Instrument Part in, and quantize the originalaudio Event to that. The possibilitiesare endless!

Track Transform

Audio Track Transform Audio Tracksalwayshave a directlyrelated Channelin the Console on which Insert effectscan be configured. In the editing and arranging process, it issometimesnecessaryto render an Audio Trackso that the Insert effectsand automation movesbecome a part of the audio waveform on the Track. You might do thisfor creative purposesor simplyto enable you to remove the Insert effectsin order to save CPU power. Studio One makesthisincrediblysimple with the TrackTransform feature. With anyAudio Trackthat haseffectsinserted on itscorresponding Channelselected, [Right]/[Ctrl]-clickon the Trackand select Transform to Rendered Audio from the contextual menu.

CHAPTER 6│Studio One Reference Manual CheckPreserve Realtime State if you would like to be able to transform backto the originalTrack. It isthen possible to switch between AutomaticTailDetection, with a MaxLength property, and a fixed tailof a given length bytoggling the Auto Tailoption. Auto Tailisusefulif there isa reverb or other effect that you want to render beyond the Event length on the Track. Note that Auto Tailmaynot workwellwith lengthydelaysor extremelylong reverbs, asit worksbydetecting a range of silence at which to cut off and fade out the transformed audio. In that case, setting a fixed tailisthe best option. ClickOK, and the Audio Trackisbounced with itsInsert effectsand mixautomation applied; then the originalAudio Trackis replaced with the newlybounced audio on a new Audio Trackwith the same name. If Auto Tailwasengaged, or a Tail amount wasspecified, fade-outsare applied automaticallyacrossthe specified Tailduration for each Event. The Insert effectsare not inserted on the new Track, astheyhave been rendered into the audio on the Track. If you checkPreserve OriginalTrackState, it ispossible to transform backto the originalTrack, with effectsinserted on the corresponding Channel, by[Right]/[Option]-clicking on the Trackand selecting Transform to Realtime Audio from the contextual menu. The effectsof Volume and Pan settings(including automation) are applied to the Trackasit isbounced to audio, so the value of those settingsand their automation data isset to itsdefaultsin the resulting bounced Track. If you wish to edit those parameterslater, be sure to checkthe Preserve Realtime State option when Transforming the Track. Thisallows you to revert the Trackbackto itsoriginalstate, with originalsettingsand automation data intact. Note that send levels, bus assignments, and other mixparametersretain their settingsasnormalafter Transforming a Track. EveryTrackTransform operation createsbounced audio filesthat are placed into the Poolfor the current Song. These filesremain in the Pool(for later accessor reference) untilyou decide to clear them out. Asmentioned in the Pool Commands section, you can delete a file from the Poolview in the Browser by[Right]/[Ctrl]-clicking the file and choosing Remove From Pool(which removesthe file from the Poolbut retainsit on disk) or Delete File Permanently(which removesthe file from the Pooland deletesit from disk). You can also automaticallyremove allunused copiesof filesfrom the Poolby[Right]/[Ctrl]-clicking in the Pooland choosing Remove Unused Files. Note that it ispossible to Transform multiple Audio Tracksat once, in which case theyare allrendered simultaneously, which can be a huge time saver.

Instrument Track Transform Instrument Trackscontain MIDI musicperformancesthat controlvirtualinstruments. The virtualinstrumentsoutput to one or more Audio Channelsin the Console, and you can configure Inserts, Sends, and Output routingsfor the Channels. With thisapproach, it can be difficult to render Instrument Tracksto audio correctly.

84│Studio One Reference Manual Studio One makesit simple bytransforming Instrument Tracksinto Audio Tracksin one step. [Right]/[Ctrl]-clickon any Instrument Trackand select Transform to Audio Trackfrom the contextualmenu. You can then see severaloptionsin the pop-up menu: Render All Channels If the connected Instrument hasmore than one audio output engaged, thisoption appears. If thisoption isdisengaged, onlythe Channelrelated to the selected Trackisrendered, asspecified in the TrackInspector. Render Inserts If you would like to render the Insert effects(aswellasVolume and Pan settingsand automation) on the related virtualinstrument’sOutput Channel, checkthisoption. Preserve Instrument Track State If you would like to be able to transform from the new Audio Trackbackto the originalInstrument Track, checkthisoption. Remove Instrument If you would like to remove the virtualinstrument in order to save CPU power after rendering audio and creating the new Audio Track, checkthisoption. Auto Tail Choose between automatictaildetection and a fixed tailof a given length, asdescribed in Audio Track Transform. ClickOK, and allof the partson the Instrument Trackare rendered to audio and placed on a new Audio Track.

If a Tailamount wasspecified, fade-outsare applied automaticallyacrossthe specified Tailduration for each Event. Also, the send configuration and output routing of the new Audio Trackisidenticalto the originalInstrument Track. Aswith Audio Tracks, it ispossible to Transform multiple selected Instrument Tracksat once, in which case theyare all rendered simultaneously, which can be a huge time saver. EveryTrackTransform operation createsbounced audio filesthat are placed into the Poolfor the current Song. These filesremain in the Pool(for later accessor reference) untilyou decide to clear them out. Asmentioned in the Pool Commands section, you can delete a file from the Poolview in the Browser by[Right]/[Ctrl]-clicking the file and choosing Remove From Pool(which removesthe file from the Poolbut retainsit on disk) or Delete File Permanently(which removesthe file from the Pooland deletesit from disk). You can also automaticallyremove allunused copiesof filesfrom the Poolby[Right]/[Ctrl]-clicking in the Pooland choosing Remove Unused Files.

Track and Event Inspectors The TrackInspector and Event Inspector viewsoffer you fast accessto a varietyof important per-Trackand per-Event parametersand functions. To show or hide the Inspectors, press[F4] on the keyboard, or the "i" button, located above the Arrange view. Once the Inspectorsare visible, clicking on a Trackor Event bringsthat element into focusin the appropriate Inspector. You'llsee differing setsof controls, depending on if the Trackor Event isaudio-based or instrument-oriented.

CHAPTER 6│Studio One Reference Manual Track Inspector

Clickon your audio Trackof choice to give accessto the following parametersin the TrackInspector: Tempo (Mode) Letsyou choose how playbackof the current Trackrelatesto Song tempo. For more details, see the Automatic Timestretching section. Timestretch (Mode) Letsyou choose the optimaltimestretching algorithm for the Track. For more details, see the Timestretching Material Modes section. Group Letsyou assign the current Trackto an existing TrackGroup. For more information, see the Groups section. Layers Letsyou Add, Duplicate, Rename, or Remove a layer from the Track, aswellasset which layer iscur- rentlychosen for playback. For more information, see the Track Layers section.

86│Studio One Reference Manual Layers Follow Events Enable thisparameter to make audio on underlying layersfollow the related Event above when you move it along the timeline. When thisparameter isdisabled, moving an Event with one or more Layersbeneath it detachesthat Event from the layersbelow, making it a permanent part of the primaryLayer. Play Overlaps Enable thisoption to allow anyoverlapping audio on the current Trackto playbacksim- ultaneously, rather than cutting off at the beginning of the next Event. Delay Letsyou applya positive or negative time delayto the current Track, to help align it with other elements. Rangeof-100to100ms. Automation Letsyou choose the Automation mode for each of the automated parametersassociated with the Track, aswellasquicklyview and enable or disable the automation for a given parameter. For more information, see the Automation Modes section. Routing and Mix Controls Thisarea isa miniature duplicate of the parametersyou see when viewing a Track in the Mixview. Input and Output routing, TrackVolume, Pan, status, effectsInsertsand Sendsare allavailable. For more information, see The Console. Clickon the Instrument Trackof your choice to accessthe following parametersin the TrackInspector: Timebase Letsyou set the Timebase format for the current Track, in Beatsor Seconds. Set to Beats, the Events on the Trackchange their position in time and speed to follow tempo changesin the Song. Set to Seconds, Events stayin place and maintain their playbackspeed untilyou change them intentionally. Thiscan be useful, for example, in film audio, in which certain soundsmust remain at certain absolute positionsin time, to maintain syn- chronization with the visuals. Group Letsyou assign the current Trackto a existing TrackGroup. For more information, see the Groups section. Layers Letsyou Add, Duplicate, Rename, or Remove a layer from the Track, aswellasset which layer iscur- rentlychosen for playback. For more information, see the Track Layers section. Delay Letsyou applya positive or negative time delayto the current Trackto help align it in time. Range of -100 to 100 ms. Transpose Letsyou change the pitch of allnoteson the current Track, in a range between -64 and +64 semitones. Velocity Letsyou boost or attenuate incoming note Velocity, before it arrivesat the current instrument or externalMIDI device.Settingsbetween -100%and -1%attenuate velocity. Settingsbetween 1%and 100%boost velocity. At 0%, velocity is unchanged. Layers Follow Events Enable thisparameter to make instrument data on underlying layersfollow the related Event above when you move it along the timeline. When thisparameter isdisabled, moving an Event with one or more Layersbeneath it detachesthat Event from the layersbelow, making it a permanent part of the primary Layer. Automation Letsyou choose the Automation mode for each of the automated parametersassociated with the Track, aswellasquicklyview and enable or disable the automation for a given parameter. For more information, see the Automation Modes section. Program Letsyou select a MIDI program number (and in some cases, a banknumber) to associate with the current Instrument Track. Thisprogram change value istransmitted to the instrument, ensuring that the correct preset isloaded when you open a Song. Note FX Letsyou choose and applyreal-time Note FXprocessing to the note data of the current Track. For more information, see Note FX. Routing and Mix Controls Thisarea isa miniature duplicate of the parametersyou see when viewing a Track in the Mixview. AllInstrument Tracksdisplayinput and output routing optionsand Mute/Solo/Record/Monitor statustoggles. If the Trackishosting a virtualinstrument, TrackVolume, Pan, effectsInsertsand Sendsare displayed. For more information, see The Console.

CHAPTER 6│Studio One Reference Manual Event Inspector

Clickon the Audio Event of your choice to accessthe following parametersin the Event Inspector: Event FX Thisletsyou assign effectsto individualAudio Events, rather than to a Trackasa whole. For more information, see the Event Effects section. Start and End Letsyou specifythe start and end timesfor the current Event.

File Tempo If you know the tempo of the audio file associated with the current Event, you can specifyit here. This givesStudio One a tempo reference to workfrom when timestretching an Event to match Song Tempo. Speedup Letsyou speed up or slow down the tempo of the current Event, independent of other tempo settings. For more information, see the Manual Timestretching section. Transpose Letsyou shift the pitch of the current Event up or down, in a range of -24 to +24 semitones.

Tune Letsyou fine-tune the pitch of the current Event up or down, in a range of -100 to +100 cents.

Normalize Letsyou boost the volume of the current Event, so that the highest peakin the audio reaches0 dBFS.

Gain Letsyou adjust the overalllevelof the current Event, in a range of -40 to +24 dB.

Fade-In Letsyou specifythe length of the fade at the beginning of the current Event. At a setting of 0 ms, no fade is applied. Fade-Out Letsyou specifythe length of the fade at the end of the currentEvent.At a setting of 0 ms,no fade is applied. Clickon the Instrument Part of your choice to accessthe following parametersin the Event Inspector: Start and End Letsyou specifythe start and end timesfor the current Event.

Transpose Letsyou shift the note pitch of the current Event up or down, in a range of -24 to +24 semitones

Velocity Letsyou scale the effect of note Velocity, before it arrivesat the current instrument or ExternalMIDI device. At 0%, allnotesplayat fullvelocity. At 100%, the fullrange of note velocityissent.

Event Effects

It ispossible to insert effectsdirectlyon an Audio Event in the arrangement, asopposed to inserting effectson the entire Audio Channelfor the related Track, therebyaffecting allEventson the Track. Event Effectsare commonlyused to add varietyto the arrangement or to insert utilityeffects, such aspitch correction, into specificEvents. Insert Event Effects

88│Studio One Reference Manual To insert an effect on an Event, select the Event and open the Inspector bypressing [F4] on the keyboard. In the Event Inspector area of the Inspector, you can see an Event FXtab with an [Enable] button. Clickon Enable, and an Insert Device Rack opens. Insert effectsor FX Chainshere, asyou normallywould, and the Event isprocessed accordingly, in realtime, during playback. The resulting sound isexactlyasif you had inserted the effect on the Track: You can hear allother Tracksplay and can make effectsparameter changeswhile hearing the resultsin context with the rest of the mix. AsEvent Effectsmayalter the relative volume of an Event, therebyskewing existing volume fade envelopes, an option has been provided to processvolume envelopesafter Event Effects. Clickon the Tailcheckbox, in the area above the Insert Device Rack, to enable thisoption. Add Effects to Multiple Events You can add Effectsbydragging them from the Browser onto allselected Events. Render Event Effects Once the intended sound isachieved via an Event Effect, it islikelya good idea to render the audio in order to conserve CPU resources. Studio One providesa veryflexible wayto do thisthat allowsyou to revert to real-time processing at any time in order to make changes. To render anyAudio Event with inserted Event Effects, clickon Render above the Event FX Insert Device Rack. The Insert Device Rackcollapses, a new Audio Event with the rendered audio replacesthe originalEvent in the arrangement, and the [Render] button islabeled [Restore]. At anytime, clickon Restore to replace the rendered Event with the originaland restore anyinserted effectsto their pre-rendered states. When rendering Event FX, note that the Tailsetting above the Insert Device Rackallowsyou to specifya length to render beyond the end of the Audio Event. Thisiscriticalto properlycapturing reverb tails, delaylines, and other similar audio tails caused byinserted effects. When a Tailvalue isgiven, a volume fade isapplied acrossthe entire length of that tailon the rendered Event after rendering to ensure smooth-sounding results. Thisfade envelope can then be modified, asusual. Rendering Event FX createsbounced audio filesthat are placed into the Poolfor the current Song.

Edit View Event Editing In manycases, editing actionsrequire a close lookat the Eventsbeing edited. To perform these editsin the Arrange view would require zooming in to a levelthat would make it difficult to retain your sense of the overallSong structure, then zooming backout after the editsare performed. Edit viewsallow you to avoid thisinefficiency. To open the Edit view for the

CHAPTER 6│Studio One Reference Manual selected Event, clickon the [Edit] button, press[F2] on the keyboard, or double-clickon anyEvent. You can also open the Editor byselecting Editor from the View menu. While there isa common Edit view, Audio Eventsopen in the Audio Editor, and Instrument Partsopen in the MusicEditor. The Edit view displaysthe currentlyselected Event on a timeline that isindependent of the Arrange view timeline. By default, the Edit view timeline iszoomed in further than the default Arrange view timeline. While the Edit view isopen, double-clicking an Event in Arrange view zoomsthe Edit view to contain the fullEvent. The Editor can be detached to itsown sizable window byclicking on the Detach button at the upper right of the Editor. Any Trackcan be selected from the Trackdrop-down selector to the upper left of the Editor, under the toolbar. The [Action] button (available in both the Audio and MusicEditors) givesyou quickaccessto functionsyou might normally accessby[Right]/[Ctrl]-clicking on an Event and exploring the Audio or MusicalFunctionssub-menus.

Audio Editor The Audio Editor displayoperatesindependentlyof the Arrange view and hasan independent Timebase setting. Most optionsthat appear in the Editor are the same asin the Arrange view and affect toolsand Eventsin the same way. Note that the Snap and Timebase settingsare not shared between the Arrange view and Editor; theyremain independent. A Snap to Event Hotspotsoption isfound in the Editor Snap dropdown menu; it allowstooland Event snapping to hotspots such asBend Markers.

The displayed levelscale to the left of the waveform lane in the Audio Editor can be adjusted byclicking on it and dragging left or right. Thiseffectivelyzoomsthe waveform amplitude, which maybe usefulwhen editing audio with relativelylow levels. [Right]/[Ctrl]-clicking in thisarea allowsthe selection of a percentage- or dB-based scale. You can also adjust this zoom levelbymanipulating the Data Zoom parameter, found to the right of the Time Zoom slider control.

Tools

Most of the toolsin the Arrange view are available in the Audio Editor and function there exactlyastheydo in the Arrange view. (Onlythe Paint toolisnot available in the Audio Editor.)

Music Editor Instrument Partscontain notes, which represent musicalperformance data and are a type of Event. Notescan be moved, cut, copied, pasted, duplicated, and drawn using mouse tools, keycommands, and certain Event menu commands. Multiple notescan be selected and edited together, aswith other Events. For quickediting of allnotesin a Part or on the Track, use [Ctrl]/[Cmd]+[A] to select allof the notesin the focused Part in the MusicEditor, or [Ctrl]/[Cmd]+[Shift]+[A] to select allnotesin allPartson the Track. You can also accessthe fullset of selection actionsbynavigating to the Select section of the Edit menu. You can zoom in or out horizontallyin the MusicEditor bymoving the Time Zoom control, and zoom verticallywith the Data Zoom control.

90│Studio One Reference Manual Timebase, Quantize, and Scale

The MusicEditor hasindependent settingssimilar to those in the Audio Editor. While Quantize affectsthe horizontaltime- value snapping, the MusicEditor also featuresScale (verticalnote-value) snapping. The Scale settingsallow snapping to specific note values within different musical scales. Enable the Scale function by clicking its toggle switch, then select a scale bychoosing the starting note and the musicalscale in the respective selectors. The notescontained in the selected scale are marked on the MusicEditor'skeyboard display, aswellasin the single-octave keyboard displayabove the Scale selector.

Arrow Tool

The Arrow toolin the MusicEditor isused with notesin essentiallythe same wayasthe Arrow toolin the Arrange view is used with Events. Multiple notescan be selected and edited together in the same wayas Events. To move a note using the Arrow tool, clickanywhere on the note and drag left, right, up, or down. Dragging the note left or right movesit backward and forward in time, relative to the current Edit view timebase and timeline zoom. Dragging the note up or down transposes(change the pitch of) the note. The transposition intervalcan be determined byusing the verticalkeyboard displayto the left of the MusicEditor. To create a note using the Arrow tool, double-clickin anyemptyspace in the Edit view. Anote iscreated at the location you've specified, itslength determined bythe currentlyselected Quantize value. Double-clicka note with the Arrow toolto delete it. To size anynote using the Arrow tool, float the mouse to the left or right edge of the note to revealthe Sizing tool. When thistoolappears, click-and-drag left or right to size the note. Aswith Events, notescan be sized and resized anynumber of times. APart can also be sized in thisway, byfloating the cursor near the top of the Part'sbeginning or end, revealing the Sizing tool. When sizing multiple selected notesin the MusicEditor with the Arrow tool, two additionalbehaviorsare now possible with modifiers. Clicking on a note and then holding [Ctrl]/[Cmd] while sizing resultsin the allselected notessnapping to the same musicallength of the note on which you clicked. Clicking on a note and then holding [Alt]/[Option] resultsin the Note Off positions(ends) of allof the selected notessnapping to the same Note Off position of the note on which you clicked. To duplicate selected notesusing the Arrow tool, hold [Alt]/[Option] on the keyboard, clickon the selection, and drag left or right. Release the mouse button when the desired position isreached, and the selection isduplicated to thisposition. To temporarilyswitch to the Paint toolwhile the Arrow toolisselected, pressand hold [Ctrl]/[Cmd]. When multiple Partsare visible in the Editor, onlyone isactivelyavailable for editing at a time. For example, when doing a Select Alloperation, onlynotesin the currentlyactive Part are selected. To activate a Part, clickon anynote or empty space within it.

Split Tool

The Split toolin the MusicEditor allowsyou to split notesso that theybecome two separate notes. Clicking on anynote directlysplitsthe note at that position, while selecting multiple notesand then splitting, splitsallselected notes. Holding [Alt] when clicking with thistoolperformsa split of anyselected notes, aswellasa split of the part itself, so that one part becomes two. To temporarilyswitch to the Arrow toolwhile the Split toolisselected, hold [Ctrl]/[Cmd].

Paint Tool

The Paint toolin the MusicEditor isused to draw notesin an Instrument Part. The Paint toolsnapswhen drawing to certain verticaland horizontalpositionsbased on the Quantize and Scale settings. When the mouse cursor isfloated over the MusicEditor with the Paint toolselected, the note value for the current cursor position ishighlighted on the keyboard display. Note that the Keyboard displaycan be switched to a Drum Map displaybyclicking on the Drum Map button above the Keyboard display. The Drum Map displayessentiallyremovesthe virtualkeyboard and allowsmore room to display sample nameshorizontallyfor each verticalnote position.

CHAPTER 6│Studio One Reference Manual The pitch namesin the Drum Map can be edited byclicking on the Edit Pitch Namesbutton and then typing namesfor each pitch in the pop-up menu. You can then save the Map to recallat a later time byclicking on the Store Preset button. Select anyMap from the list to load it. (AGeneralMIDI Drum Map isprovided.) To draw a note with the Paint tool, clickat the desired position. If you clickonce, the new note hasa length equalto the time value of the current Quantize setting. If you click-and-drag to the right, you can make the note anylength you desire. With the Paint toolselected, float the mouse cursor to the edge of anyexisting note to size the note, aswith the Arrow tool. To delete a note, clickon it using the Paint tool. To edit the velocityof a note while drawing the note with the Paint tool, drag up and down after you clickto draw the note. To edit the velocityof a single note, using the Paint tool, hold [Alt]/[Option] on the keyboard and click-and-drag up or down on the desired note. You can also edit the velocitiesof notesin the Part Automation lane of the MusicEditor, which isdiscussed in the Instrument Part Automation section of the Automation chapter. Pressand hold [Alt] on the keyboard with the Paint toolselected to enter Line Drawing mode. In thismode, you can draw a line of note Eventsin the MusicEditor, and you can draw linesin automation envelopes, asdiscussed later in thismanual. Thisfunction also workswhen the Paint toolhasbeen temporarilyinvoked bypressing [Ctrl]/Cmd]. To create a new Part in the Edit view with the Paint tool, clickand drag in anyopen area in the Editor timeline. You can resize Partswhile the Paint toolisselected, byfloating the cursor near the top of the start or end of the Part, which reveals the Sizing tool. To momentarilyselect the Arrow toolwhile using the Paint tool, hold [Ctrl]/[Cmd] on the keyboard.

Eraser Tool

The Eraser toolin the MusicEditor isused to delete notes. With the Eraser toolselected, clickdirectlyon anynote to delete it. When multiple notesare selected, clicking anyone of them with the Eraser tooldeletesallselected notes. Clickand drag with the Eraser tool(starting in emptyspace) to delete allnotesyou touch. You can temporarilyswitch to the Arrow toolwhile the Eraser toolisselected byholding [Ctrl]/[Cmd].

Mute Tool

The Mute toolisused in the MusicEditor much asit isused in the Arrange view. With the Mute toolselected, clickon any note to mute it, and clickon anymuted note to unmute it. Clickand drag with the Mute toolto mute allnotesthat fallwithin your selection.

Cut, Copy, Paste, and Duplicate Notes

You can cut, copy, paste, and duplicate notesexactlyasyou can with Eventsin the Arrange view, asdescribe in the Common Editing Actions section of thischapter. It isalso possible to cut or copynotesand then paste them (or simply drag-and-drop them) directlyinto the Arrangement onto a selected Instrument Track. Doing thiscreatesa new Instrument Part containing the selected notes.

Transposing Notes, Instrument Parts, and Tracks

Transposing notes, or changing a group of notesbya given interval, isa common action that takesadvantage of the flexibilityof musicaldata. It ispossible at anytime to transpose notes, a whole Instrument Part, or allof the contentsof an Instrument Track. To transpose a note or group of noteswithin an Instrument Part, open the MusicEditor bydouble-clicking on the desired Part, and do the following: Select allof the notesyou wish to transpose.

92│Studio One Reference Manual To transpose an entire Instrument Part: Select the Part you wish to Transpose in the Arrange view.

Select Transpose from the MusicalFunctionssub-menu, which can be accessed from the Event menu, the [Action] button, or by[Right]/[Ctrl]-clicking within the Edit view. Choose from one of the preset transpositions, or use the horizontalfader to set the number of semitonesby which the selected Part istransposed (or simplyenter a semitone value into the text field). A positive number resultsin the Part being transposed up, and a negative number resultsin the Part being transposed down. When transposing notesor Parts, the musicalnotesare moved graphicallyto represent the change. In thiscase, the notes displayed are the notesyou hear. To transpose allof the contentsof an Instrument Track: Select the Instrument Trackyou wish to transpose.

Open the Inspector bypressing [F4] on the keyboard.

Enter a value in the Transpose field for the number of semitonesbywhich the Trackistransposed.

When transposing a Trackvia the Inspector, the transposition isnot reflected graphically. The positionsof the notesin all Partson the Trackremain unaffected. In thiscase, the notesdisplayed maynot be the notesyou hear. Thisparameter also affectsthe notesyou hear when you playyour Keyboard. You can also use the Transpose function to set allselected notes(or allnotesin a selected Part) to the same note value by enabling Set AllTo, then selecting your note value of choice, and pressing [OK].

Quantizing Instrument Parts

Quantizing Instrument Partsallowsyou to realign notesin time to match a given musicaltime subdivision or other grid more closely. In practice, quantizing isgenerallyused to clean up musicaltiming to more closelymatch the intended timing, although it can also be used creatively. The resultsof quantizing are determined with the Quantize settingsasfound in the Quantize panel. The Quantize panel allowsveryprecise over allquantize settings. Refer to the Quantize Panel section for more information. It ispossible to extract a groove from an instrument part bydragging-and-dropping it into the Groove section of the Quantize panel, just aswith an Audio Event. AnyInstrument Part or Audio Event can then be quantized to that extracted groove. To enable quantizing noteswhile recording, open the Record Panelbyselecting Record Panelin the View menu (or pressing [Alt]/[Option] + [Shift] + [R]), then Clickon the Input Quantize button. Input quantization can be undone if you want to use the performance asit wasplayed. It ispossible to split a single note into multiple notesbased on the current Quantize setting. Select anynumber of notesand choose Split Eventsfrom the MusicalFunctionsmenu. Notesare split based on their position relative to the bar line, with splitting occurring onlyup to the next bar line after the note start time. It isalso possible to applySplit Eventsto whole Instrument Partsand Audio Events.

Quantize and Restore Timing

To quantize an entire Instrument Part, select the Part in the Arrange view and press[Q] on the keyboard or choose Quantize from the MusicalFunctionsmenu. To quantize an individualnote or notes, select the notesin the MusicEditor and then applyquantization, asbefore. Alternatively, if notesare selected in the MusicEditor, and then the Quantize value ischanged with Auto engaged (toggled with the small[IQ] button, next to the Quantize value in the Editor toolbar), the selected notesare automaticallyquantized using the newly selected Quantize value.

CHAPTER 6│Studio One Reference Manual Furthermore, you can quantize note ends, which adjuststhe Note Off time for anyselected notes, byselecting Quantize End from the MusicalFunctionsmenu. To restore the originaltiming to quantized Instrument Partsor notes, select the Part or notesand press[Shift]+[Q] on the keyboard, or select Restore Timing in the MusicalFunctionsmenu.

Freeze Quantize

It issometimesveryhelpfulto make note quantization permanent so you can quantize again based on the current quantized positions, rather than the originalnote positions. To do this, select the notesand select Freeze Quantize from the MusicalFunctionsmenu. You cannot Restore Timing for these notes, asthe newlyquantized positionseffectively become the original positions.

Humanize

Strictlyquantizing everynote so that rhythmsare perfectlyprecise can cause musicto sound lifelessand mechanical. The Humanize function altersnote start and end timesand velocitywithin a verysmallthreshold, based on rulesmodeled on common human performance patterns. Thisprovidesjust enough variation to make a performance sound more like a human played the parts. To use thisfunction, select anynotesand then choose Humanize from the Event/Musical Functions menu. Note that the exact resultscannot be directlycontrolled. You can also choose to Humanize Less, which altersthe notesin a similar fashion asHumanize but based on rulesdesigned to result in less-humanized performance patterns.

94│Studio One Reference Manual Music Editor Inspector

When a note isselected, itsstart and end positionsare displayed in the MusicEditor Inspector, asare itspitch, velocity, and mute status. Each of these parameterscan be edited directlyin the Inspector. When editing notesusing the Inspector, all selected notesare affected, their valueschanging relative to the initialsetting of each note. The one exception isthat when Velocityisspecified for multiple notesusing the Inspector, allnotessnap to the new value, regardlessof their previous Velocity value. The simplest wayto edit start and end positions, pitch, and velocityisto place the mouse cursor over the parameter and scrollthe mouse wheelup or down. Another wayto edit a selected note’svelocityisto click-and-drag the Velocityvalue in the MusicEditor'sInspector pane. When you release the mouse button, the Velocityvalue isapplied to allselected notes. The value currentlyset bythe Velocityparameter isapplied bydefault to anynew notescreated with the Paint Tool. Enable the Audition Notesoption to hear the pitch of each note that isselected, created, or moved, played through the current instrument. You can also Mute, Solo, or open the Device Editor for the current Trackfrom within the MusicEditor Inspector, using buttonsthat lookmuch like their counterpartsin the Arrange view.

CHAPTER 6│Studio One Reference Manual Multitrack Music Editing It ispossible to view and edit more than one Instrument Trackat a time in the MusicEditor. To quicklyview more than one Trackin the MusicEditor, hold Shift and select Instrument Partson different Tracksin the Arrangement. More Partscan be added at anytime byholding Shift and selecting them in the Arrangement. Double-clickon anyPart in the Arrangement to quicklymake itsTrackthe onlyviewed Trackin the MusicEditor. Thisalso automaticallyzoomsthe MusicEditor horizontallyand verticallyto show allthe notesthe Trackcontains, at the highest zoom level.

The MusicEditor also hasitsown TrackList, opened via the TrackList icon at the far left of the MusicEditor Toolbar. In this TrackList, you can show or hide Tracksvia the Show/Hide button to the left of the Trackname and can independentlyset each Trackto Edit Active via the pencil-shaped Edit button to the far right of the Trackname. If a Trackisshown, and Edit Active isnot engaged, the Track’snotesare not selectable, allowing it to be easilyviewed asa reference without concern about altering it accidentally. When multiple Partsare displayed, the notesfor each Part are colored with their Trackcolorsand audition normally through their Tracks. Selected notesare displayed in red. Also, when multiple partsare displayed it ispossible to transfer notesfrom one part to another using the [Right]/[Ctrl]-clickcontextualmenu item Transfer Notes. Thisremovesthe selected notesfrom the originalPart, indicated with a checkmarkin the Transfer Noteslist, to the selected Part.

Note Chase and Cut In the Studio One/Options/Advanced/MIDI (Mac OS X: Preferences/Advanced/MIDI) menu, you can find two options: Chase Long Notesand Cut Long Notesat Part End. Chase Long Notesshould be engaged if you would like Studio One to playbacka long note even if playbackbeginsafter that note'sNote On position, effectivelytreating the playbackposition asthe Note On. Thisisveryusefulwhen working with long, syntheticdrone parts, for instance, which mayhave a Note On at bar 1 and then continue throughout the rest of the Song. Cut Long Notesat Part End should be engaged if you would like a note to stop playbackif the related Instrument Part ends before that note'sNote Off position.

Pitch Correction with Melodyne Integration Studio One featuresa unique pitch-correction solution: It tightlyintegrateswith Celemony’sMelodyne, a high-quality commercialpitch-correction software. Thisisaccomplished with new co-developed technologyand it isonlypossible with Studio One. Studio One Professional includes a fully licensed copy of Melodyne Essential, while Studio One Artist features the Melodyne Trialversion. If you alreadyown anyversion of Melodyne, update to version 1.3 or later for the integrated support to function in Studio One. For specificinformation on how to use Melodyne, please refer to the Melodyne documentation and to the helpfulonline materials, such astutorialvideosand FAQs, found at www.celemony.com.

96│Studio One Reference Manual Edit with Melodyne AnyAudio Event can be edited with Melodyne. To do so, select the Event and press[Ctrl]/[Cmd]+[M] on the keyboard, or [Right]/[Ctrl]-clickon an Audio Event and select Edit With Melodyne from the contextualmenu. Melodyne isinserted in the Event FX Device Rackfor the Event, and the integrated Melodyne view opens, found in the same location asthe Audio and Music Editors.

The audio in the Event isanalyzed automatically, and the detected notesare displayed, readyfor editing. Note that the Melodyne view can be maximized and detached in the same wayasthe Audio and MusicEditors. When the Melodyne Event Effect isactive (meaning the Event FX have not been rendered), double-clicking on the Audio Event opensthe Melodyne view. To switch to the Audio Editor, press[F2] on the keyboard, or clickon the [Edit] button.

Real Time and Render Aswith other Event FX, Melodyne runsin realtime bydefault. Thisallowsimmediate auditioning of the materialbeing edited alongside the rest of the mix. However, it isprobablybest to render the editsonce you are finished in order to reclaim CPU resources. To do so, clickon the [Render] button for the Event FX Insert Device Rackin the Event Inspector for the Audio Event. Aswith other Event FX, the state prior to rendering isstored, allowing you to return for further editing. Melodyne can also be removed entirelyfrom the Audio Event byremoving it from the Event FXInsert Device Rackfor the Event, in which case alleditsare lost.

Drag Audio to Instrument Track When an Audio Event isedited with Melodyne, the notesresulting from analysisappear on the waveform, aswith Music Loops. In thisstate, it ispossible to drag the Audio Event to an Instrument Tracklane in the Arrangement to extract the notes, resulting in an Instrument Part that perfectlymatchesthe audio performance. The notesand velocityfor the Instrument Part are derived from the Melodyne analysisand editing.

CHAPTER 6│Studio One Reference Manual Thismakesit possible, for instance, to sing a melodyand then drag it to an Instrument Trackfor a virtualinstrument to play, rather than trying to figure out how to playit on a keyboard controller. You might also wish to replace or enhance an acousticinstrument performance with a virtualinstrument. These techniquesand manymore are now possible with a single drag-and-drop.

Action Menu When editing in the MusicEditor, severalediting commandsare likelyto be used often. We have placed these commands in a menu that allowsquickaccess, located to the right of the Tooliconsin the upper left of the MusicEditor. Clickon the [Action] button to reveala drop-down menu of commandswith which you can edit anyselected notesin the MusicEditor.

Undo History The Undo Historymenu, accessed under Edit/History, enablesyou to view and step through virtuallyeveryediting function that hasoccurred since a document wasopened. Simplyclickon anyedit in the list to instantlyrollthe document backto the point where that edit wasmade. Note that the historyiscleared when a document isclosed but remainsintact when the document issaved and kept open.

Navigating with Zoom When editing or arranging in a Song, zooming in and out on the timeline can be beneficialin both the Edit and Arrange views. Studio One’skeycommandsand quickcontrolmethodsmake zooming quickand easy.You can zoom using the following techniques: Zoom Horizontally ZoomIn or Out Clickand drag verticallyin the Arrange or Edit view timeline.

ZoomIn or Out Position cursor in Arrange or Edit timeline and move mouse scrollwheel.

Zoom In Press[E] on the keyboard.

Zoom Out Press [W].

Zoom Vertically Zoom In (vertically) Press [Shift]+[E].

Zoom Out (vertically) Press [Shift]+[W].

ZoomIn or Out [Ctrl] + mouse scrollwheel.

Other Zoom Commands Zoom to Loop Press [Shift]+[L].

Zoom to Selection Toggle (horizontally and vertically) Press [Shift]+[S].

Zoom to Selection Toggle (horizontally) Press [Alt]+[S].

Zoom Full Press[Alt]+[Z] to zoom out horizontally, asmuch aspossible.

It isalso possible to set keycommandsto directlyaccessthe TrackHeightsavailable on the Arrange page in the Keyboard Shortcuts menu.

Zoom History The most recent horizontaland verticalzoom statesin an arrangement or editor are remembered in the Zoom History. You can go backto the previousstate using Undo Zoom [Alt]+[W] and can move forward with Redo Zoom [Alt]+[E].

98│Studio One Reference Manual Toggle Zoom You can quicklytoggle between two zoom stateswith the Toggle Zoom command [Z]. Thiscommand swapsthe current zoom state with a stored zoom setting. The current state isstored, and the state in memoryisrestored. Pressing [Z] again takesyou backto the originalstate. The Store Zoom State command [Shift]+[Z] onlystoresthe current state and doesnot switch states. Thiscan be used to set an anchor zoom position that you want to recalllater with the Toggle Zoom command [Z].

Editing Suggestions

Making Clean Edits In audio production, the editing processcan be unforgiving. Smallinaccuracieswhen splitting, moving, or performing other actionson recorded audio can lead to unwanted audible artifacts. The following describessome recommended editing practices.

Listen While Editing Listening to your editsasyou make them savestime and frustration in nearlyeverycase. For instance, when sizing the edgesof a vocalpart to remove unwanted soundsbetween words, it istempting to make editsbased on the graphic representation of the waveform. Sometimesthat works, but even when you edit visually, it isa good idea to loop the section you are editing and listen asyou size the Eventsto be sure you are not removing a criticalpart of the vocals. To quicklyloop a precise selection, select a range with the Range tool, and then press[Shift]+[P] on the keyboard to set the Left and Right Locatorspreciselyaround that range. Then, clickon the Loop button in the Transport, or press[Num Pad /] on the keyboard, to loop the playbackover the selected range. You can also use the Listen toolto quicklysolo and listen to anyelement in the arrangement.

Eliminating Audible Artifacts In Studio One, we make everyeffort to streamline the editing processand avoid tedioustasks. For instance, we apply fadesautomaticallyto punch-in recordingsto be sure the new audio blendsseamlesslywith the existing audio. However, inevitably, there can be caseswhen editing audio leadsto audible artifacts. These artifactsmaysound like short clicksor ticksof noise, and theyusuallyoccur at the beginning or end of an audio Event that hasbeen split or cut. When this happens, use the fade envelope provided on everyAudio Event to applya quickfade-in or fade-out, experimenting until the artifact can no longer be heard.

Macro Toolbar

The Macro Toolbar isa specialcontrolpanelthat letsyou customize your workflow in powerfulways, giving you easy accessto often-used functionsand custom command combinations. You can add and change command groupsand buttonsfreely, to fit your needs. You can create Macros, which string together multiple commandsto form a single action. For instance, you might want a wayto quicklyselect multiple eventsacrossmultiple trackswithin the loop range and merge them to form single continuous events. Thiswould normallyinvolve a number of separate actions, either with the mouse or keyboard, but creating a macro for thisreducesthe processto a single action. You can show or hide the Macro Toolbar byclicking the Macrosbutton in the main toolbar, or bynavigating to View/Additional Views/Macros.

CHAPTER 6│Studio One Reference Manual Overview When you open a Song in Studio One, the Macro Toolbar button isshown, next to the Audio Bend, Strip Silence, and Quantize panelbuttonsin the top toolbar. Clickthisbutton to expand the Macro Toolbar panel, which isdocked to the top panelbydefault, however can be detached like the other panelsbyclicking on the detach button to the far right of the panel. When detached, [Right]/[Control]+clickin the panelto adjust for verticalor horizontalorientation. Severalitemsare in the Toolbar bydefault for demonstration purposes. Note that anybutton can be removed, aswellas anyentire group of buttons. Thistoolbar iscompletelycustomizable. To see how Macrosare put together, open the Macro Organizer by clicking Setup/Macro Organizer in the Edit Group of the Macro Toolbar, or bynavigating to Studio One/Macro Organizer.

Clickon Merge AllEventsin Loop Range in the list, and then clickon Edit.

100│Studio One Reference Manual Thisisthe Edit Macro window where you can create and modifyyour Macros. On the left isthe Commandslist, which lists allavailable commandsin Studio One. On the right, the Macro Title, Group, and list of commandsthat the Macro performs when triggered. Commandsare executed in the order in which theyare listed here. So, thisMacro selectsallevents, splits them at the left and right locator locations, then mergesthe eventsthat are stillselected (those within the loop range, in this case). Close the Edit Macro and Macro Organizer windowsand lookagain at the Macro Toolbar. Clickon the Action button in the Edit group, and a list of allof your Macrosisdisplayed, categorized bythe Groupsyou entered in the Group field for each Macro in the Edit Macro window. Clicking on anyitem in thislist performsthe associated Macro. Clickon the Name button in the Edit group to rename anyselected events. The list of predefined namescan be customized by clicking on Setup/Edit Names in the Edit group to open the file 'EventNames.txt', which usesa simple syntax to build the menu hierarchy.

CHAPTER 6│Studio One Reference Manual Customize the Toolbar It ispossible to add new Groupsand Buttonsto the Toolbar, aswellasremove or modifyanyexisting. [Right]/[Option] + clickon the Edit group in the Toolbar, and a contextualmenu isdisplayed.

Double-clickon the name to rename the Group. The Compact toggle makesthe interface use aslittle horizontalspace as possible when engaged. Clickon Remove Group to completelyremove the Group and allButtonsit contains. Clickon New Group or New Button to create a new Group or Button. Groupsare named Group bydefault, and are renamed in the [Right]/[Option]+click contextual menu by double-clicking on the name.

102│Studio One Reference Manual Buttonsare blankbydefault. [Right]/Option]+clickon a Button and choose one of your Macrosfrom the top levellist, or Assign/Assign Command to select a KeyCommand to associate with the button. You can associate anyMacro or command to a button. Buttonscan also make use of custom icons. [Right]/Option]+clickon a Button and clickon Icon/Select Image and choose any22x22 pixelPNGimage file to use a custom icon.

Make a New Macro To make your own Macro, open the Macro Organizer window byclicking on Setup/Macro Organizer in the Edit Group of the Macro Toolbar or navigating to Studio One/Macro Organizer. Clickon New to open the Edit Macro window. Give your Macro a Title, which ishow it appearsin anymenu, aswellasa Group Name, which determineshow it isorganized in the previouslymentioned Action list of the Macro Toolbar. Next, navigate the list on the left to find the first command for your Macro, select it, and then clickon Add to add the command to the list on the right. Repeat thisuntileach command you need isin the list. Note that the commandsare performed in the order theyare listed, so be sure the order isset up to achieve the desired result. Select anyitem in the list and clickon Up or Down to move the item in the list.

Arguments Note that some commandshave Argumentsassociated with them, such asTrack|Expand Layers. Commandswith Argumentsshow an Argument descriptor next to the command in the command list. Argumentsprovide a specific behavior for commandswhere multiple behaviorsare possible. With the Track|Expand Layerscommand, the Argument 'Expand' should be set to 0 or 1. Setting the Argument to 0 disengagesthe Expand Layersoption, whereassetting it to 1 engagesthe option.

CHAPTER 6│Studio One Reference Manual Commandscan have multiple arguments, for instance Edit Volume has'Level' and 'Relative' asseparate arguments, where 'Level'isa dBvalue and 'Relative'can be "0" or "1" to either set the event volume to the absolute dBvalue or to add/subtract it from the current level.

Make a Key Command for your Macro Keycommandscan be associated with your Macrosjust like anycommand in Studio One. Open the Studio One/Keyboard Shortcuts window (OSX: File/Keyboard Shortcuts), and type macrosin the search field to quicklyshow the Macros section. Select anyMacro from the list and assign a keycommand bytyping into the Enter Keyfield and clicking on Assign.

104│Studio One Reference Manual Map Macros to your MIDI Hardware Aswith anycommand in Studio One, Macroscan be mapped to your MIDI hardware. To do this, open the device map for the hardware you want to map macrosbydouble-clicking on the device in the Externalpanelof the Console. While any controlyou have learned for the device can be mapped, buttonsare the most logicalchoice. [Right]/[Option]+clickon any button in the map and choose Assign Command. Type macrosin the search field to quicklyfind your Macros, select the one you want, and clickon OK. Note that even controlsurfacesthat are not nativelysupported can have commandsassigned, so long asthe desired controlstransmit MIDI CC values.

Macro Storage Your individualMacro commandsare stored in a single location, reached via the [Show MacrosFolder in Explorer/Finder] button at the bottom of the Macro Organizer window. Each Macro isa unique file in XML format, and it ispossible to edit the XML directlyif desired. These filesare also portable, so you can share them with other usersvia the PreSonus Exchange.

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106│Studio One Reference Manual The Browser

The Browser isa powerfulfeature that allowsquicknavigation of virtualinstruments, effects, and a varietyof file typeson your computer, including audio and musical-data files. The Browser workssomewhat like WindowsExplorer or MacOS X Finder, in that it allowsyou to navigate file directorieson your computer in specificways. Audio and musical-data files, as wellasvirtualinstrumentsand plug-in effects, can be dragged from the Browser directlyinto your Song or Project.

Searching for Files in The Browser Each page of the Browser hasa search function, accessed byclicking the search button in the upper-right corner. This showsa search field in which you can type stringsto search for content byname. Searching in the Home page of the Browser searchesthrough content in allpagesof the browser.

Browser Tabs and Search The Browser isdivided into sixtabsthat organize your content into Instruments, Effects, Loops, Files, Cloud, and the Pool.

CHAPTER 7│Studio One Reference Manual The Home tab givesaccessto alltabs, and the abilityto search for content byname acrossalltabsat once. Allvirtual instrumentsand effects(and anyrelated presets) appear in the Instrumentsand Effectstabs. Allinstalled Studio One audio and musicloop content appearsin the Loopstab. The Filestab givesyou direct accessto your computer’sfile system, aswellasother localand cloud-based storage areasrelated to Studio One. The Cloud tab letsyou accessthe cloud services, such asPreSonusShop and Exchange services, or your SoundCloud account. The Poolallowsquick accessto allfilesassociated with the current Song. It ispossible to search within anytab and within anylocation a tab maycontain. Clicking on the Search icon at the top right of the Browser opensa search text field and showsthe location being searched. Typing text into the search field immediatelybeginsthe search, and onlyresultsmatching the search text are displayed in the Browser. Once search resultsare populated, the found content can be used directly. You can also [Right]/[Ctrl]-clickon anysearch result and choose Show in Context from the pop-up menu, to quicklyaccesscontent in the same location.

Instruments and Audio Effects The Browser makesfinding and using your virtualInstrumentsand audio effectsfast and easy.

Browsing for Instruments

Clickon the Instrumentstab in the Browser or press[F6] on the keyboard to browse your virtualinstruments.

108│Studio One Reference Manual Sorting the Instruments View The list of virtualinstrumentscan be sorted to help you find what you are looking for. Clickon the Sort byoptionsat the top of the Browser to sort byone of the following categories: Flat Sortsthe instrumentsin alphabeticalorder in a continuouslist.

Folder Sortsthe instrumentsbased on the storage location foldersin which theyreside (along with special foldersfor PreSonusand anyVST3 plug-ins). Vendor Sortsthe instrumentsin foldersbyvendor.

Category Sortsthe instrumentsin foldersbytype (PreSonus, ReWire, Audio Unit, VST2, VST3).

Dragging Virtual Instruments into Your Song When you have found a virtualinstrument you wish to use in your Song, you can simplyclick-and-drag it into the Arrange view from the Browser. If you drag the instrument into blankspace, the virtualinstrument isloaded in the Instruments Device Rack, and a new Instrument Trackiscreated that isrouted to the instrument. The new Trackisrecord-enabled and monitor-enabled bydefault, so you can playit immediatelywith your default Keyboard. If you drag-and-drop an instrument from the Browser on top of an existing Instrument Trackthat isrouted to another virtualinstrument, the previouslyloaded instrument isreplaced bythe new one. A pop-up menu appears, giving you the choice to Replace (remove the old instrument from the Instrument Rackand replace with the new), Combine (place the new and existing instrumentsinto a new Multi Instrument), or Keep the old instrument (re-route the Trackto address the new instrument and retain the old instrument in the Instrument Rack).

Instrument Presets The presetsfor Studio One’sbuilt-in virtualinstruments, aswellasthose associated with any3rd-partyinstruments, can be loaded into your Song in the same wayasan instrument. Drag-and-drop a preset from the Browser to load the instrument into your Song with that preset pre-loaded. Alternatively, when the instrument isopen, you can load anypreset for that instrument bysimplydouble-clicking on the preset in the Browser or byclicking on the preset to select it and then hitting [Return]. If the editing window for an instrument isopen, you can load anypreset for that instrument bydragging the preset from the Browser onto the instrument window.

CHAPTER 7│Studio One Reference Manual Browsing for Audio Effects

Clickon the Effectstab in the Browser or press[F7] on the keyboard to find your audio effects.

Sorting the Audio Effects View You can sort the list of audio effectsto help you find what you are looking for. Clickon the Sort Byoptionsat the top of the Browser to sort byone of the following categories: Flat Sortsthe effectsin alphabeticalorder in a continuouslist.

Folder Sortsthe effectsbased on the storage location foldersin which theyreside (along with specialfoldersfor PreSonusand VST3 plug-ins). Vendor Sortsthe effectsin foldersbyvendor.

Category Sortsthe effectsin foldersbythe type of plug-in (FX Chains, PreSonus, VST2, VST3, Audio Units).

110│Studio One Reference Manual Searching for Effects The Effectstab hasa search function, asdo allpartsof the Browser. You can enable search byclicking the search button in the upper-right corner of the Browser. When searching for effects, you can type in an effectscategory(such as "Reverb" or "Dynamics") to show alleffectsin that category.

Dragging Audio Effects into your Song Audio effectscan be dragged into your Song in a number of ways, with slightlydifferent results. To load an effect on an existing Audio Track, drag-and-drop the effect from the Browser onto anyarea of the Trackin the Arrange view. You can also drag-and-drop an effect onto anyChannelin the Console. If you prefer, you can even drag-and-drop an effect from the Browser directlyinto a particular position in the Insert Device Rackof anyChannel. Thisalso letsyou to replace any currentlyloaded plug-in bydropping another plug-in on top of itsslot in the Insert Device Rack. To create a new FXChannelin the Console with a particular effect pre-loaded, drag-and-drop the effect from the Browser into anyblankspace in the Console or into the Send of anyChannel. The new FX Channelisautomaticallygiven the name of the effect. When dragging in effectsfrom the browser onto Tracksin the arrangement, hold [Alt]/[Option] to load the effectsasEvent Effectsinstead of Insert Effects. Note that the drop target changesfrom the entire Trackto specificEventswhen doing this, aseveryEvent can have itsown Event Effects.

Send FX Mix Lock

Inserting an effect into the first slot of a Bus/FXChannelsetsdry/wet mixto 100%and enablesa lockfor the mix. The lock state issaved in the Song but isnot overwritten/saved bypresets. Thisexistsin: Beat Delay

Analog Delay

Groove Delay

MixVerb

Room Reverb

Audio Effects Presets and FX Chains The presetsfor Studio One’sbuilt-in audio effectsand any3rd-partyeffectscan be loaded into your Song in the same way asthe effectsthemselves. Drag-and-drop a preset from the Browser into your Song to load an instance of the effect with your chosen preset loaded. Alternatively, if the window for an Audio Effect isopen, you can load anypreset for that effect bydragging the preset from the Browser onto the Effect window, or bydouble-clicking on the preset in the Browser, or by clicking on the preset to select it and then hitting [Return] on the keyboard. FXChainscan be loaded in the same way, as described in the FX Chains section. Thismakesconfiguring even the most complicated mixquickand easy.

Sound Sets The loops, samples, and instrument presetsincluded with Studio One are bundled into Sound Setsand can be quickly located and used byclicking on the Filestab in the Browser and navigating to the Sound Setsfolder. Sound Setsare carefullyorganized for easyexploration. Loopscan also be browsed directly, byclicking on the Loopstab in the Browser.

Plug-in Thumbnail Images The included plug-in instrumentsand effectscan be listed in the Browser with thumbnailimagesof their user interfaces shown, for easyidentification. To show or hide these thumbnails, clickthe Show Thumbnailsbutton in the upper-right corner of the Browser.

CHAPTER 7│Studio One Reference Manual Adding Thumbnail Images for 3rd-Party Plug-ins

To create a thumbnailimage for a 3rd-partyplug-in you've installed, do the following: 1. Insert the 3rd-partyplug-in of choice to a Channelin StudioOne 2. Opentheeditingwindow for theplug-in 3. Near the top of the editing window, clickon the right side of the corresponding plug-in tab for that plug-in, to open a pop-up menu 4. Choose the Update Plug-in Thumbnailoption, to create and applya new thumbnailimage for thisplug-in Aswith the included thumbnailimages, you can show/hide the thumbnailsyou create byclicking the Show Thumbnails button in the upper-right corner of the Browser.

Loops Tab

The Loopstab letsyou locate and explore audio and musicloop content made for Studio One in the Browser, with intelligent sorting to assist you in finding the right loopsquicklyand easily. Clickon the Loopstab in the Browser or press [F8] on the keyboard to browse through anyinstalled loop content.

112│Studio One Reference Manual Sorting Loops The Loopstab offersa three-tiered sorting system. At the top of the Loopstab window, you'llsee Sort by... followed by three categoryselectors. You can choose to sort byanyof the following criteria: Style, Instrument and Character Sortsyour loopsinto folderscorresponding to the Style, Instrument, and Character tagseach loop isassociated with. Thisletsyou quicklylocate specifictypesof loopsbased on your needs. Type Sortsyour loopsinto folderscorresponding to their file type.

Product Sortsyour loopsinto folderscorresponding to the productsor bundlestheyare part of.

Vendor Sortsyour loopsinto folderscorresponding to the vendor that made them.

Using the three sorting categoryselectors, you can structure the wayloop content isshown. The first sorting categorysets what you see at the top levelof the Loopstab. For example, set to Style, you'llsee loopscategorized in folders corresponding to their Style tag settings. The second sorting categorysetswhat you see when you open a folder in the list created bythe first sorting category. For example, with the first categoryset to Instrument and the second set to Type, you'llsee a list of loopsin folders corresponding to their Instrument tag settings. Expanding one of those foldersshow a list of itscontent, sorted byfile Type. The same operating modelextendsto the third sorting category, which letsyou refine how loopsare displayed when you're looking two folder levelsdeep in the list of loops.

Importing Loops into Your Song Audio and musicloopscan be dragged right into your Song from the Browser. For more information on working with loops, see Audio Loops and Music Loops.

CHAPTER 7│Studio One Reference Manual Files Tab

The Filestab givesyou accessto filesand foldersthroughout your computer'sfile system, aswellasStudio One-specific content locations. It ispossible to import severalfile typesfrom the Filestab into your Song or Project, including WAV (BWF and RF64), AIFF, REX, Apple Loops(CAF onlyin MacOSX), Ogg Vorbis, FLAC, and MP3 audio files, aswellasStandard MIDI Files, and of course Studio One'sAudio Loopsand MusicLoops.

Finding Audio Files in the Files Tab Open the Browser byclicking on the [Browse] button, or press[F5] on the keyboard, and clickon the [Files] button at the top of the Browser to view filesand locationson your computer. You also can press[F9] on the keyboard to open the Files tab directly. Bydefault, the Filestab displaysthe following sub-tabs: Files Containsallfoldersand filesyour computer'sfile system and anyinstalled Studio One assets.

Studio One Content sub-tab, asspecified in Studio One/Options/Locations/User Data setup menu (MacOSX: Preferences/Locations/User Data), which containsallSongs, Projects, Presets, and other Studio One files.

114│Studio One Reference Manual Servers Displaysspecificcloud servicesthat Studio One interfaceswith, such asthe PreSonusShop and Exchange, and SoundCloud. System Displays system relevant system files.

Presets Containsalluser-created instrument and effectspresets.

Clickon anyfolder to view itscontents, asyou would with WindowsExplorer or MacOSXFinder. When browsing Audio Loop filesand REX audio files, note the drop-down arrow that expandsto revealthe slicesof the REXfile. If you drag in either of these typesof files, the slicesare contained in an Audio Part. When moving filesonto or within your computer while Studio One isopen, you mayneed to refresh the Browser to see the subsequent changes. If you encounter this, [Right]/[Ctrl]-clickin the Browser and select Refresh.

File Management in the Files Tab [Right]/[Ctrl]-clickon a file or folder in the FilesTab to accessthe following commands: Show Package Contents Select to allow Browser accessto fileswithin a bundled file, such asa .song file.

Set as Root Select to set the folder to the root of the current Tab. Up Once a folder hasbeen set asthe root of the current tab, select thiscommand to set itsenclosing folder asroot. Reset Root Resetsthe root of the current tab to itsdefault top-leveldirectory.

Upload ToSelect to upload the chosen file to a connected cloud service, such asSoundCloud.

New Folder Select to create a new folder within another folder.

Show in Explorer/Finder Select to show the file or folder in the WindowsExplorer or MacOSXFinder.

Rename File/Folder Select to rename anyfile or folder.

Delete File/Folder Delete anyfile or folder permanently. Thisplacesthe file or folder in the Recycling Bin or Trash. You can also move or copyanyfile or folder to another location within the File Browser. To move a file or folder, click-and- drag on top of another folder. To copya file or folder, hold [Ctrl]/[Cmd] while dragging. Use [Alt]/[Option]+[Up Arrow] to collapse allof the directorieswhen navigating the FilesBrowser. Use [Alt]/[Option]+[Left Arrow] to collapse the currentlyselected top-leveldirectory(and anyof itssub-directories).

Previewing Audio Files When an audio file isselected in the Browser, the bottom window of the Browser becomesthe Preview Player, displaying transport controlsand information about the selected file. When the Preview Player appears, you can listen to the selected file directlywithin the Browser. To start file playback, double-clickon the file in the Browser or clickon the Playbutton in the Preview Player with the desired file selected.

CHAPTER 7│Studio One Reference Manual Preview Player playbackisindependent of the main Song playback, notice the playback-position cursor doesnot move acrossthe Arrange view while previewing a file. The Preview Player hasitsown playback-position indicator that movesleft to right to indicate the current playbackposition in the selected file. The position indicator can be clicked-and-dragged to navigate through the selected file during playback. A volume fader controlsthe playbacklevelof the Preview Player. Preview Player playback can be synced to Song playback to allow auditioning of files along with Song playback. Click on the Playat Song Tempo button, which isengaged bydefault, to allow the Preview Player to syncto the current Song tempo. If the currentlyselected file’stempo isknown, and Playat Song Tempo isengaged while previewing, the file is timestretched on the flyto match the current Song tempo. To preview while hearing your Song, start Song playbackfirst, and then select a file to preview. To loop the selected file during preview playback, clickon the Preview Player’sLoop button, which isengaged bydefault. Looping during preview playbackmakesit easyto listen to the selected file in the context of your Song. An easywayto audition manyaudio loopsfrom a single folder, such asa loop library, isto set the left and right locators around the range of the Song into which you plan to import the loop, then loop playbackin the Transport within that range. Next, preview the first loop in the folder and then use the up and down arrow keyson your keyboard to cycle through the loopsin that folder.

Importing Audio Files into Your Song Importing an audio file from the Browser into your Song isaseasyasclicking on the file and dragging it into the Arrange view of the Song. When the file isdragged to emptyspace, a mono or stereo Audio Trackiscreated with the file placed on it asa new Audio Event, located at the position to which it wasdragged. When the file isdragged to an existing Audio Track, it isplaced asa new Audio Event on that Track, at the position to which it wasdragged. If you import a stereo file to a mono Track, the Event created isstereo, but the output ismono, since the Trackismono. If you import a mono file to a stereo Track, the output isdualmono, that is, the same signalequallyon both sides. If you wish to replace the audio clip associated with an Event with another audio clip from the Browser, you can hold [Ctrl]/ [Cmd] while you drag-and-drop the new audio onto the Event to be replaced. Thiseffectivelyswapsout the existing audio with the new audio, and the editsto the Event stayintact.

It ispossible to select multiple filesin the Browser and drag allof them in at once, making the transfer of recordingsdone in another DAW a one-clickprocess. If you would like to insert multiple audio clips, selected in the browser, to the same Track, with one placed after the other acrossthe timeline, hold [Ctrl]/[Cmd] while dragging the audio clipsto emptyspace on a Track. Thiscan be helpfulif you want to quicklydrag in multiple variationsof similar audio, or for laying out an entire song structure in one move. For virtualinstrumentsthat support audio-file importing using drag-and-drop (such asmanydrum samplers), you can drag-and-drop audio filesfrom the Browser directlyonto the instrumentsto load audio files. You can also [Right]/[Ctrl]-clickon anyaudio file and select Send to New SampleOne to instantlyload the file asa sample in the built-in SampleOne™ virtualinstrument. If you do thiswith an Audio Loop or REX audio file, itsslicesare automatically mapped acrossthe keyboard (up to 96 slices).

116│Studio One Reference Manual Automatic MP3 to WAV Conversion

When you import an MP3 file into a Song, or anyother file type, it isautomaticallyconverted to a WAVfile. The WAVfile created during conversion isstored in the Media folder of the Song in which the file wasimported and hasthe same name asthe originalfile, with the .wavfile extension. The newlycreated WAV file inheritsthe Song’ssample rate and resolution (bit depth), asset in Song/Song Setup.

Audio File Operations Audio filescan be processed directlyfrom the Browser using the [Right]/[Ctrl]-clickcontextualmenu asfollows. Note that in everycase, the originalaudio file isleft unmodified. It ispossible to select multiple audio filesof the same format and apply processing to allof them at once. Split to Mono Files Split a multi-channelaudio file into separate mono files, one for each channel.

Merge to Stereo File Merge a pair of L/R mono audio filesto a single stereo file. Select two mono audio files, then [Right]/[Ctrl]-clickand select Merge to Stereo File. When merging mono filesthat are not marked with the .L and .R suffixesto stereo in the Browser, the first selected file becomesthe L channel, and the second becomesthe R channel. Convert to Wave File Convert a non-Wave format audio file to a Wave file. Thiscan also be used to flatten sliced filessuch asAudio Loop and REX, wherein the slicesare rendered at their originaltempo. Convert to Audio Loop Convert anyaudio file to an Audio Loop.

Importing MIDI Files into Your Song To import a MIDI file using the Browser, navigate to the desired file, asyou would for an audio file, and click-and-drag it into your Song. If the MIDI file isdragged to an emptyspace in the Arrange view, a new Instrument Trackiscreated with that file placed on the Trackat the position to which it wasdragged. If the file isdragged to an existing MIDI Track, the file is placed asa new Instrument Part on the Track, at the position to which it wasdragged. Some MIDI filescontain more than one MIDI Part in the sequence. If thisisthe case, a drop-down arrow isshown next to the file in the Browser. You can clickthe drop-down arrow to revealthe independent Parts. If you drag in a file with multiple Parts, theyare shown when dragging the file into your Song. Aswith allInstrument Tracks, you need to ensure that the new Instrument Trackisrouted to a virtualor external instrument in order to hear the new Instrument Part. Refer to the Monitoring an Instrument Track section of the Recording chapter for more information. You can also drag a MIDI file directlyonto virtualinstrumentsthat support drag-and-drop MIDI importing.

Previewing MIDI Files When anyMIDI file isselected in the Browser, you can preview the MIDI file through anyvirtualinstrument loaded in the Song. To do this, select a MIDI file, then select an Instrument Trackin the arrangement and it appearsin the Preview Player, sending to the selected channel.

Now, when you start playbackwith the Preview Player, the MIDI file playsthrough the virtualinstrument to which that Instrument Trackisrouted. You can switch Instrument Trackson the flyto audition a part quicklythrough manydifferent instruments.

CHAPTER 7│Studio One Reference Manual Exporting MIDI Files To export an Instrument Part to a MIDI file, [Right]/[Ctrl]-clickon the Part and select Export Partsto MIDI File. Choose a file name and storage location in the pop-up menu and clickOK. A Standard MIDI File iscreated, with a .mid file extension. Multiple Instrument Partscan be exported at once to a single file. To do this, select the desired Partsand use the same processasabove. One MIDI file iscreated that includesindividualMIDI clipsfor each Part, in the correct sequence, with a common start time. You can also drag-and-drop anyInstrument Part to a location in the File Browser to export a MIDI file to that location. If you drag-and-drop multiple partsat once, theyare written to one MIDI file with multiple Parts. Standard MIDI Filesexported from Studio One can be used byvirtuallyanyapplication that supportsMIDI.

Export Music Loops and Audio Loops You can drag anyInstrument Part to the Browser to export a MusicLoop, or press[Alt] while hovering the Part over the Browser to switch to exporting a Standard MIDI File. You can also drag anyAudio Part from the Arrangement to the Browser to export an Audio Loop.

Make Finding Your Favorite Files Easy It iscommon that groupsof files, such asdrum loops, are stored in one folder on the computer. If you know you want constant accessto such foldersin the Browser, you can create Tabsfor these locations. Bydefault, there are two Tabsat the top of the File Browser, called “Files" and "Studio One". The Filestab givesyou accessto the entire file structure of your computer, and the Studio One tab showsyou the User Data location asset in the Studio One/Options/Locations/User Data menu (Mac OS X: Preferences/Locations/User Data). To create a Tab for anyfile location, navigate to that location and drag it onto the top bar, or simplydrag the chosen folder from theBrowser ontothebar wheretheTabsreside.Thisaddsanew TabatthetopoftheFileBrowser withthenameof the folder, allowing instant access. You can also [Right]/[Ctrl]-clickon anylocation, or anyfile within that location, and select New TabFromHereinthepop-upmenu. You can create an additionalRoot Tab (analogousto the standard "Files" tab, showing the root of your file system) by [Right]/[Ctrl]-clicking in anylocation and choosing New Root Tab. You can also set anycurrent tab to point the root of your file system by[Right]/[Ctrl]-clicking the tab of your choice and selecting Reset Root. To rename a Tab, [Right]/[Ctrl]-clickon the tab and select Rename Tab. Type a new name in the pop-up menu and click OK. To close or remove Tabs, [Right]/[Ctrl]-clickon the desired Tab and select Close Tab from the pop-up menu. To move up one levelin the File Browser, [Right]/[Ctrl]-clickand select Up. Tabsyou create in the File Browser appear for allSongsand Projects, and you can create asmanyTabsasyou need. When the Browser runsout of space for Tabsto be displayed, a drop-down list iscreated to the far right of the Tab bar. Clickon the Tab drop-down button to choose a Tab from the list. If changesyou make in your file system (such asmoving a file or folder in the WindowsExplorer or MacFinder) have yet to show up in your File Browser, [Right]/[Ctrl]-clickin the Browser and choose Refresh to renew the Browser'sview.

118│Studio One Reference Manual Cloud Tab

The Cloud tab givesyou accessto sounds, effect and instrument presets, loopsand other content available from connected cloud services, such asPreSonusShop and Exchange, or your SoundCloud account.

PreSonus Shop The PreSonusShop isa centralized store for commercialStudio One content. Here, you can find new plug-in instruments and effects, sound libraries, and more. Clickon the Cloud tab in the Browser and then click[PreSonusShop] to explore itscontents. If you are not alreadysigned in to your PreSonususer account, you can clickthe [Sign In] button at the bottom of the Browser and enter your account credentialsto log in. Once you're signed in, you'llsee the current offeringsin the Shop, and be able to purchase and use content to fit your needs. Clickon a product in the list to see itsprice and other usefulinformation. When you have selected a product to buy, clickthe [Buy] button and follow the provided instructionsto complete your purchase.

CHAPTER 7│Studio One Reference Manual PreSonus Exchange The PreSonusExchange isa place for Studio One userslike you to share self-created content with other users. Here, you can find new plug-in presets, FX chains, loops, grooves, sound libraries, and more. The Exchange isalso host to a variety of Studio One-specificsystem extensions, such ashardware controlscriptsfor your favorite controllers. Clickon the Cloud tab in the Browser, then click[PreSonusExchange] to explore itscontents. If you are not alreadysigned in to your PreSonususer account, you can clickthe [Sign In] button at the bottom of the Browser and enter your account credentialsto log in. Once you're signed in, you'llsee the current offeringsin the PreSonusExchange, and be able to explore and use the content to fit your needs. For more information on dragging instruments, effects, presetsand soundsinto your Song from the Browser, see Instruments and Effects Tabs and Files Tab.

SoundCloud Your SoundCloud account can be a valuable resource for content to use in Studio One. The SoundCloud browser within the Cloud tab givesyou accessto your own self-posted sounds, aswellassoundsfrom artistsyou follow, songsyou've marked asfavorites, and the recent contentsof your SoundCloud stream. Clickon the Cloud tab in the browser to see SoundCloud in the list of available cloud services. Clickon SoundCloud to see the Favorites, Following, Stream, and Tracksfolders. If you have not yet linked your SoundCloud account to Studio One, clickthe [Sign in to SoundCloud] button at the bottom of the Browser. Thisopensa web browser window allowing you to sign into your SoundCloud account and allow it to be linked to Studio One. If a trackin your SoundCloud listingsisavailable for free download, a blue arrow isshown next to itswaveform icon, and you can drag the sound directlyinto your Song, or to the Pool, asdescribed in Importing Audio Files into Your Song and Importing Audio Files to The Pool. When you do this, a window isdisplayed showing the download progress. When the download iscompleted, the sound appearsin the place to which you have dragged it. If free download isnot available for a sound, you can stillplaythe song from within the Studio One Browser asdescribed in Previewing Audio Files. Thisisa handywayto find and listen to commercialreference tracks, for mixcomparisonswith your own Songs.

120│Studio One Reference Manual The Pool

When you import an audio file or record on an Audio Track, an Audio Event iscreated in the Arrange view of the Song, and a representation of the originalaudio file associated with the Event, called a Clip, isplaced in the Pool. The Poolcontainsall audio filesthat are, at anypoint, associated with an Audio Event in your Song. To open the Pool, first open the Browser byclicking the [Browse] button, then clickon the [Pool] button. You also can press [F10] on the keyboard to open the Pooldirectly.

Navigate the Pool The Pooldisplaysaudio Clipsaswaveforms. You can zoom in or out on these waveformsbymanipulating the Pool'sData Zoom control. Clipscan be sorted using the Sort by... optionsat the top of Pool. The following sorting optionsare available: Flat View allClipswith no order.

Track View Clipsbythe Trackon which theyare currentlyused or were previouslyused.

Type View ClipsbyClip Type (Audio or instrument-oriented Sound).

Location View Clipsbythe storage location in which theyexist on your computer.

Record Take View Clipsbythe order of record takeswithin your Song.

CHAPTER 7│Studio One Reference Manual File Management in the Pool Tab [Right]/[Ctrl]-clickin the PoolBrowser window to select from the following commands: Rename File Rename the file associated with the currentlyselected Clip.

Locate File Locate a file for the currentlyselected Clip (e.g., to find a missing file).

Show in Explorer/Finder Open the file location for the currentlyselected Clip in WindowsExplorer/MacFinder.

Select on Track Select anyEventsassociated with the currentlyselected Clip in the Arrange view.

Remove from Pool Remove the currentlyselected Clip from the Pool. Thisdoesnot delete the file.

Delete File Permanently Permanentlydelete the file associated with the currentlyselected Clip.

Delete Attachments Permanentlydelete any attachmentsassociated with the currentlyselected Clip.

Convert Files Convert selected filesin the Poolto the current Song’ssample rate and bit depth. The Convert Filesmenu appears, with file options. A new file iscreated for each selected file, replacing the originalfile in the Pool. The originalfile isretained in the current Song’sMedia folder. Refresh Refresh the contentslist of the Poolto reflect the current state of your Song and computer.

Locate Missing Files If anyfilesare missing in your Song—usuallythisoccursbecause the fileswere moved— use thiscommand to locate the missing files. Remove Unused Files Remove anyClipsfrom the Poolthat are not currentlyused in the Song. Thisdoesnot delete the files. Show Media Folder in Explorer/Finder Open the Media Folder for the current Song in WindowsExplorer or the MacFinder.

Using Audio Files from the Pool The audio Clip associated with anyEvent in your Song isalwaysavailable in the Pool, regardlessof whether the Events associated with that Clip remain in the Arrange view of the Song. Thismeansthat the originalstate of a Clip with which an Event isassociated can be quicklyrestored byloading it directlyfrom the Pool. Click-and-drag anyClip or video from the Poolinto the Arrange view, asyou would when importing anyfile from the Browser. Some audio clipsin the Poolshow an attachment icon: MusicLoopsimported to Tracksshow the musicalperformance asan attachment.

Audio clipswith transformed Event FX show the originalEvent asan attachment.

Audio clipsedited with Melodyne show the detected notesasan attachment.

Fileswith attachmentsare marked with a paper clip icon. Clickthe triangle button to the left of a file to displayall attachments. Attachmentscan be dragged separatelyinto the Arrangement, or deleted using the Delete command in the [Right]/[Ctrl]-clickcontextualmenu. Note that no undo ispossible after deleting an Attachment, so before doing so, please ensure that the filesyou delete are no longer needed elsewhere.

Importing Audio Files to the Pool If you know a certain set of fileswillbe used in a Song but do not want to import them into the Song directly, you can simply import the filesinto the Pool. Later, you can quicklyfind and make use of these filesfrom the Pool. To import a file into the Pool, drag it to the Poolfrom the Filestab of the Browser,or from WindowsExplorer or the Mac Finder.

122│Studio One Reference Manual To quicklycopyallexternalfilesused in your Song to the Song’sMedia folder, [Right]/[Ctrl]-clickin the Pooland select CopyExternalFilesfrom the pop-up menu. Onlythose filesthat did not previouslyexist in the Song folder are copied and placed into the Media folder. Enable the "Askto copyexternalfileswhen saving Song" option in Preferences/Locations/User Data if you'd like to be given the option to copyanynew externalmedia filesto the Song'smedia folder when saving a Song.

Backing Up and Sharing Your Songs

Once allof the externalfileshave been copied to your Song folder, you can backup your Song and allof itscontentssimply bycopying the Song folder to an externalhard drive or DVD. To share your Song with another Studio One user, you can simplycompressthe Song folder in a .zip archive and emailor transfer the archive.

Browsing Song and Project Content When working in a new Song or Project, incorporating previouslyused elementscan be helpfulin a varietyof ways. For instance, you maywant to re-use a particular synth sound or Instrument Part, or perhapsyou want to use a particular effect setting or chain of effectson a Channel. Browsing the contentsof previouslycreated and saved Songsand Projects isa quickand easywayto find reusable material. To browse previouslycreated Song content, open the Filestab in the Browser and navigate to the Studio One tab (which containsallof your Songs, Projects, and associated files, bydefault) or to the location you have chosen for these files. Open the Songsor Projectsfolder to locate the Song or Project file you're looking for. [Right]/[Ctrl]-clickthe Song or Project file and choose Show Package Contentsfrom the pop-up menu to gain accessto itsinternalassets. Each file in the list hasa navigation arrow next to it that, when clicked, exposesone or two folders—Performancesand Presets—depending on the contentsof the Song or Project. The Performancesfolder containsallInstrument Parts recorded in a Song, which are saved asan internal“.music” file type. The Presetsfolder containsa Channelsfolder that storesthe current settingsfor each audio effect used, a Synthsfolder that containsthe settingsfor anyvirtualinstruments, and an ExternalDevicesfolder that holdssettingsfor anyexternaldevicesused. Simplyclick-and-drag anyof thiscontent directlyfrom the Browser into a new Song or Project.

Importing Project Files from Other Applications Studio One can open severalother application project file types. These include PreSonusCapture™ Sessions(.capture), Steinberg Cubase Track Archives(.xml), Steinberg SequelProjects(.steinberg-project), KristalAudio Engine Projects (.kristal), and Open TL (.tl). To open anyof these project file typesin Studio One, navigate to File/Open, and select the desired file.

StudioLive/Capture Mix Import When a Capture 2.1 session containing StudioLive AI mixdata isopened in Studio One, allfader, pan, and mute settings are imported along with anyFat Channelsettings, and a Fat Channelplug-in isinserted on each Channel. AllSubmix Busses (including their channelrouting) are imported into Studio One aswell. EmptyFX Bussesare created for each Send effect and send levels per Channel are imported. Pickanysuitable reverb or delayplug-in and manuallyadjust the FX Busleveland plug-in settingsto your taste. See Fat Channel for more information about working with Fat Channelpresets.

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124│Studio One Reference Manual Arranging

Arranging encompassesrepositioning recorded or imported audio and musicaldata to change the song structure, inserting tempo or timesignature changes, and manyother processes. The following chapter discussesvariousaspectsof arranging in Studio One, including importing files, working with loops, the Tempo Track, and more. Arranging encompassesrepositioning recorded or imported audio and musicaldata to change the song structure, inserting tempo or timesignature changes, and manyother processes. The following chapter discussesvariousaspectsof arranging in Studio One, including importing files, working with loops, the Tempo Track, Arranger Track, Scratch Pads, and more.

Quickly Duplicating Events Eventsare often copied and pasted acrossa certain region to quicklybuild an arrangement. For instance, you might want a one-bar drum loop to continue for 8 bars, or you might want a four-bar synth melodyto continue for 12 bars. You can use the Duplicate function to quicklycopyand paste anyEvent in thisfashion. To Duplicate an Event, select it and press[D] on the keyboard. The resultsare affected bythe current Arrange view Snap and Timebase settings. With Snap disengaged, the Event iscopied, and a new instance of the Event isplaced preciselyat the end of the originalEvent. With Snap engaged, when an Event isduplicated, the new instance of the Event isplaced at the next logicalSnap position. For example, an Event approximatelyone bar in length isplaced at the beginning of the next bar, whereasan Event one-half bar in length would be placed at the next half-bar. Press[D] on keyboard multiple timesto quicklycopyand paste a selected Event acrossanyregion. If multiple Eventsare selected, theycan allbe duplicated simultaneouslyin the same wayasa single Event. For instance, you could duplicate an entire verse and chorusfor 24 Tracksin a few seconds. Thisisoften done to build a rough arrangement of a Song, after which unique partsfor each section are recorded. When working with Instrument Parts, you can use a specialtype of duplication called Duplicate Shared, in which copiesare made of a Part, that are linked to the originalPart, reflecting anychangesmade to the originalor anyShared duplicates. For more information, see the Duplicate Shared section. To understand the Duplicate function in Studio One, experiment with Eventsof variouslengthsand with variousSnap and Timebase settingsin the Arrange view.

Duplicating Tracks Trackscan also be easilyduplicated, with or without the Eventstheycontain. To duplicate a Track, select the Trackor any Event it containsand then select Duplicate from the Trackmenu. Thisduplicatesthe Trackand allof itssettings, including Insertsand Sends. If you want the Eventsthe Trackcontainsto be duplicated, aswell, select Duplicate (complete) from the Trackmenu. If multiple Tracksare selected when the Duplicate function isused, each of the selected Tracksisduplicated. To select multiple Tracksin order, select a Track, hold [Shift], and then pressthe Up or Down Arrow keysto select adjacent Tracks. You can also duplicate a Trackby[Right]/[Ctrl]-clicking itscontrolarea and choosing Duplicate Trackor Duplicate Track (complete) from the pop-up menu. Alternatively, you can duplicate selected Tracksbyholding [Ctrl] on the keyboard and clicking-and-dragging the Tracksup or down in the TrackColumn. Holding both [Ctrl] and [Alt] letsyou duplicate Tracksalong with their Events. A horizontal blue line appearsin the TrackColumn while dragging the Tracksto indicate the Duplicate function, asopposed to simply reordering Tracksin the TrackColumn.

CHAPTER 8│Studio One Reference Manual Duplicating Instrument Tracks Bydefault, duplicating an Instrument Trackcreatesa second Instrument Trackthat sendsitsnote data to the instrument on the originaltrack. Thiscomesin handywhen you wish to have severalTracksof note data, alladdressing the same Instrument (discrete Tracksfor each drum type in an instance of Impact, for example). If you want to completelyduplicate an Instrument Track(including itsinstrument and effectsplug-insand settings), use the Duplicate (Complete) command in the Trackmenu, or Duplicate Track(complete) in the contextualmenu reached by [Right]/[Ctrl]-clicking the controlarea of the Trackin Arrange view.

Tempo Track Manymodern recordingssound mechanical, like a machine playing music. Thisisoften because the recording hasa single, statictempo, whereasthe tempo in a naturalperformance tendsto drift slightly. Interesting and musicalresultscan be achieved byvarying the tempo in your recordings. Tempo changesdo not affect your abilityto syncrecordingsto the tempo, asthe clicktrackand allother elementsin Studio One follow the tempo dynamicallyasit changes.

Inserting Tempo Changes To insert a tempo change, open the Tempo Trackbyclicking on the Tempo Trackbutton above the TrackColumn. Then select the Draw toolin the Arrange view. Clickat anyposition in the Tempo Trackto insert a tempo change and drag up or down to adjust the Tempo value at that position.

To change an existing tempo value in the Tempo Track, float the Draw or Arrow toolto the top of the Tempo region and click-and-drag the tempo value up or down. You can also click-and-drag the beginning of anynew Tempo region left or right acrossthe Timeline to reposition the tempo change in the Tempo Track. The value set bythe tempo change continuesfor the rest of the Song or untilthe next tempo change. Also, the tempo value in the Transport isimmediatelyupdated at the appropriate time, according to each tempo change. If the related Audio Tracksare in Timestretch mode, Audio Eventsisstretched dynamicallyto reflect anytempo change on the fly, with no need to split or otherwise edit the Events.

Time Signature The time signature isa convention used in Western musicnotation to specifyhow manybeatsare in each bar and what note value constitutesone beat. The time signature isnotated asa fraction, where the numerator (the upper number) equalsthe number of beatsin the bar, and the denominator (the bottom number) equalsthe note value for each beat. Bydefault, the time signature isset to 4/4 for allnew Songs. Thismeansthere are four quarter-notesper bar. To change the time signature for your Song, do one of the following: Clickon upper or lower number of the time signature in the Transport and select a new value from the pop-up menu. Double-clickor [Right]/[Ctrl]-clickon the Time Signature Marker to the far left of the Ruler in the Arrange view and select new valuesfrom the pop-up menu. Metronome behavior isaffected bythe time signature. The downbeat and other beatsdetermine the sample and level used for the Accent and Click, respectively.

126│Studio One Reference Manual Inserting Time Signature Changes It ispossible that your Song requiresmore than one time signature, in which case you willwant to insert time signature changesat variousplaces. To insert a time signature change, [Right]/[Ctrl]-clickin the Timeline ruler where you wish to insert the change and select Insert Time Signature. Enter the valuesfor the new time signature in the pop-up menu and clickOK, and a new Time Signature marker isinserted at that position.

You can click-and-drag a Time Signature marker to anybar-line position in the Ruler; the time signature must change on a new bar. Double-clickon the Time Signature marker and choose new valuesto change the time signature at that marker’s position. Your Song can contain anynumber of time-signature changes, and the current time signature isalwaysdisplayed in the Transport.

Arranger Track The Arranger Trackisan arrangement toolthat letsyou workwith portionsof your entire Song asthough theywere individualEvents, and rearrange them quicklyand easily. Thissavesyou the time and challenge of traditionalediting, which can be difficult when dealing with manyTracksat once.

Using the Arranger Track The Arranger Tracksitsat the top of the Arrange view, and you can show or hide it byclicking the Open Arranger Track

button, which looks like this: At first, the Arranger Trackisempty, showing that no Arranger Tracksectionshave been defined in your Song. Once you define sections, you can freelymove them along the timeline, insert them between other sections, copy/cut and paste, or delete them. These actionsare performed acrossallTracksin your Song that exist in the time covered bythe section, including all Events, Parts, Markers, tempo changes, and automation data.

Defining the Sections of Your Song

To define a section in the Arranger Track, follow these steps: 1. If the Arranger Trackisnot visible, clickthe Open Arrangertrackbutton to show it. 2. Enable the Paint tool, or pressand hold [Ctrl]/[Cmd] to temporarilyswitch to the Paint toolwhile leaving a different tool selected.

CHAPTER 8│Studio One Reference Manual 3. Click-and-drag in the Arranger Track,over the partofyour Song you wish to define asa section.Asection ofthe Arranger Trackismarked, signifying that the section of the Song isnow defined in the Arranger Track.

Each new Arranger Tracksection isgiven a default title, but you can enter a new title by[Right]/[Ctrl]-clicking the section and double-clicking itstitle in the pop-up menu, then typing the new title into the provided text field. To change the color of a section, [Right]/[Ctrl]-clickthe section, then clickon the colored square in the pop-up menu to choose a new color. To remove the Arranger Trackdefinition from a section of your Song, select the section and press[Backspace] or [Delete], or [Right]/[Ctrl]-clickthe section, and choose Delete from the pop-up menu. To remove an Arranger Trackdefinition aswellasthe time on the timeline that it covers(along with anyEventsor Parts that laywithin it), [Right]/[Ctrl]-clickthe section in the Inspector or Arranger Trackand choose Delete Range from the pop- up menu that appears.

Timebase Button

Notice the Timebase button to the right of the Arranger Trackin the Trackcolumn. The musical-note icon on the Timebase button indicatesthat Arranger Tracksectionswilladhere to their position based on barsand beats, so if the tempo changes, the sectionsmove forward or backward in time in relation to their musicalposition. If you clickon the Timebase button, it switchesto a clockicon, indicating that the sectionswilladhere to their absolute position in time. If the tempo changes, the sectionsdo not move, astheyare locked to an absolute time position in the timeline.

128│Studio One Reference Manual Editing Sections in the Arranger Track

Once you've defined the sectionsof your Song, you can begin working with them. Using the Arrow tool, you can accomplish the following actions: Move Click-and-drag a section to move it to a new location on the timeline.

Insert Click-and-drag a section between two other sections. When a line appearsbetween the sections, let go of the mouse button to insert the section there. Thisautomaticallymovesthe sectionsto the right of the insertion point forward in time, to make space for the inserted section. Replace Click-and-drag a section over another section. Let go of the mouse button to delete the existing section and replace it with the new section. Partially Replace Click-and-drag a section over another, longer section while holding [Shift]. Position the section at your location of choice within the larger section, and let go of the mouse button to replace that portion with the new section. Copy/Cut and Paste Select a section and copyor cut it, using the standard keyboard shortcut ([Ctrl]/[Cmd]-[C] to copy, [Ctrl]/[Cmd]-[X] to cut) or by[Right]/[Ctrl]-clicking the section and choosing Copyor Cut from the pop-up menu. Place the cursor in your chosen place in the timeline, and either press[Ctrl]/[Cmd]-[V] to paste the section, or [Right]/[Ctrl]-clickon the timeline and choose Paste from the drop-down menu. You can also click-and-drag a section while holding the [Alt]/[Option] keyto create a copyof the section. Let go of the mouse button to place the copy in your location of choice. Create Markers from Arranger Sections [Right]/[Ctrl]-clicka section in the Arranger Trackand choose Create Markersfrom Arranger Sectionsfrom the pop-up menu to create markersin the Marker Trackthat coin- cide with the titlesand placementsof the sectionsin the Arranger Track. Select Events in Section [Alt]/[Option]-double-click a section to select all Events and Parts across all tracks, within the boundsof the section. You can also do thisby[Right]/[Ctrl]-clicking a section in the Arranger Trackand choosing Select Eventsin Section from the pop-up menu.

CHAPTER 8│Studio One Reference Manual Delete [Right]/[Ctrl]-clicka section and choose Delete Range from the pop-up menu to delete the range of time that the section covers, and allcontent within it, from the Song. Anycontent to the right of the deleted section is moved to meet the content in the preceding section. Zoom Double-clicka section in the Arranger Trackto locate the transport to the start of that section, and zoom the view to show the section in full.

Arranger Track Sections and Scratch Pads

You can drag defined sectionsof your Song from the Arranger Trackinto a Scratch Pad for safe keeping or for later use, much like you can with normalEventsand Parts. Simplyclicking-and-dragging a section into a Scratch Pad createsa copy of that section in the Scratch Pad, with allelementsand data intact. If you would rather move a section to a Scratch Pad, rather than copyit, hold [Alt]/[Option] while dragging. You can also [Right]/[Ctrl]-clickanysection in the Arranger trackand choose Copyto new Scratch Pad from the pop-up menu to create a new Scratch Pad containing a copyof the section. Alternately, choose Move to new Scratch Pad to remove the section from the main timeline, and create a new Scratch Pad containing the section. For more information on working with Scratch Pads, see the Scratch Pad section.

Arranger Track Inspector View

When you've selected an item or area in the Arranger Track, the TrackInspector showsa list of alldefined sectionsin your Song, aswellasanysectionscurrentlycontained in a Scratch Pad. You can perform actionson the sectionsin thislist much like you can in the Arranger track. To locate the transport to the start of a section, clickthe section in the Inspector list, or double-clickto the left of the section to locate the transport and start playbackfrom the start of the section. A playbackcursor appearsto markthe section that isnow playing. To rename a section, double-clickitsname in the list and enter the new name into the provided field. To copya section to a new location, drag the section from the list to the location of your choice in the main timeline or onto a Scratch Pad. [Right]/[Ctrl]-clickanysection in the list to accessa pop-up menu with other section-editing commandsas outlined in Editing Sections in the Arranger Track.

Arranger Track Sections and Marker Track Markers

For flexibility, you can automaticallycreate Arranger Tracksectionsbased on currentlyplaced Marker Trackmarkers, or vice-versa. To create Markersbased on Arranger sections, [Right]/[Ctrl]-clickan Arranger Tracksection and choose Create Markersfrom Arranger Sectionsfrom the pop-up menu. Markersare created marking the start and end of each Arranger section. To create Arranger sectionsbased on currentlyplaced Markers, [Right]/[Ctrl]-clickin the Marker Trackand choose Create Arranger Sectionsfrom Markersfrom the pop-up menu. Arranger sectionsare created, beginning at each Marker location, and ending at the location of the next Marker in the timeline.

130│Studio One Reference Manual Scratch Pad

The Scratch Pad isan editing toolin Studio One. Scratch Padsact asquickstorage to hold Events, Parts, and entire Song sectionsfor later use or re-use, reducing clutter in the Arrange view asyou assemble your Song. Scratch Padslookand act much like the Arrange view timeline, sharing the same editing capabilitiesand displaying the same set of Tracks. When a Scratch Pad isvisible, it isdisplayed to the right of the Arrange view. Because theyact like alternate timelines, clicking the ruler above a Scratch Pad changesthe focusof the transport to the Scratch Pad. Playbackthen beginsinside the Scratch Pad when you pressPlay. To switch back, clickon the ruler above the Arrange view. Thiscan be done even during playback. Scratch Padsand the content placed within them are stored with the current Song.

Creating a Scratch Pad

To create and displaya Scratch Pad for you to workwith, clickthe Scratch Pad button, which lookslike this: Once a

Scratch Pad existsin the current Song, the Scratch Pad button changesto reflect that fact, and lookslike this: You can clickthe Scratch Pad button to show or hide the Scratch Pad display.

CHAPTER 8│Studio One Reference Manual You can delete or create additionalScratch Padsasneeded byclicking the triangle next to the Scratch Pad button and choosing the Add Scratch Pad or Delete Scratch Pad option from the pop-up menu. Just one Scratch Pad can be displayed at a time, but you can switch to anyother byclicking the triangle next to the Scratch Pad button, and selecting the Scratch Pad of your choice from the pop-up menu. To rename a Scratch Pad, double-clickitsname in the Arranger Track Inspector,andenter thenew nameintothe provided text field.

Working with Content in a Scratch Pad To copyEvents, Parts, or Arranger Tracksectionsto a Scratch Pad, simplyclick-and-drag them into the Scratch Pad window. To copycontent from a Scratch Pad to the main timeline, click-and-drag it into the Arrange view. If you wish to move an Arranger Tracksection into a Scratch Pad, removing it from the main timeline, hold [Alt]/[Option] asyou click-and- drag the section. Editing within a Scratch Pad worksverymuch like within the Arrange view, asoutlined in Editing.

Loop Playback within a Scratch Pad

Each Scratch Pad hasitsown loop cycle range setting, distinct from the main timeline. The default loop length isfour bars, but you can shorten, lengthen, or move the loop range within the Scratch Pad timeline asneeded, asdescribed in Looping During Mixing.

Using the Listen Tool with Scratch Pads

You can use the Listen toolto audition Eventsand Partsin Arrange view, in syncwith content playing backfrom the Scratch Pad. To do so, while the transport isplaying, select the Listen tooland clickon the desired Event or Part in Arrange view.

Bouncing

Bouncing Instrument Parts When working with musicalperformance data, usersoften want to print the audio being generated byexternalMIDI and internalvirtualinstrumentsto audio so that the Part can be treated like a normalAudio Track. Studio One offersa special feature to accommodate this. To quicklybounce anyInstrument Part to an Audio Track, select the Instrument Part, and then select Bounce Selection in the Event menu or simplypress[Ctrl]/[Cmd]+[B] on the computer keyboard. Thisrendersthe selected Instrument Part to a new Audio Event and place it at the correct Timeline position on a new Audio Track. Note that the Instrument Part's active Insert Effects, aswellasVolume and Pan settings, are rendered to the new bounced audio file. The new Audio Trackiscreated without Inserts, and with Volume and Pan set to their defaults.

When an Instrument Part isbounced, the Part ismuted, since the new Audio Event istaking itsplace. The Instrument Part isgrayed out to indicate this. To toggle the mute on the Part, select the Part and press[Shift]+[M] on the keyboard. Anynumber of Instrument Partscan be selected and bounced to audio at once, even acrossmultiple Instrument Tracks. A new Audio Trackiscreated for each Instrument Trackwhose Part isbounced to audio.

132│Studio One Reference Manual If you want to create a single Audio Event, you should first merge variousInstrument Partson an Instrument Trackto create a single continuousInstrument Part. To do this, select the desired Partsand choose Merge Events, or press[G] on the keyboard.

Bouncing Audio Events When manyeditshave been performed acrossan Audio Trackto one or multiple Audio Events, the arrangement can become difficult to lookat and hard to workwith. For instance, if a drum loop hasbeen cut into manyslices, with some parts duplicated, other partsdeleted, and so on, moving or rearranging the Eventscan become difficult. In thiscase, it maybe helpfulto render some or allof the contentsof a Trackto a single, continuous, new Audio Event. To do this, select the desired Audio Eventsand press[Ctrl]/[Cmd]+[B], or select Bounce Selection from the Event menu. A new Audio Event iscreated for each Trackthat hasan Event selected. The new Audio Eventsiscreated and placed according to the position and range of the selected Eventsfor each Track. Note that Bounce Selection isunaffected byTrackVolume, Pan, and Insert settings, asit isonlydealing with the Audio Eventsexactlyastheyexist in the Arrange view. Thus, the result of thisprocessdoesnot affect what you hear; it issimply an organizational tool. Similarly, drag-and-drop anyAudio Event or selected range of audio to a location in the File Browser to export an audio file to that location.

Creating Audio Parts It isalso possible to clean up the arrangement byusing Audio Parts, where multiple separate Audio Eventscan be placed into a single container in the arrangement, while keeping the separate Eventsaccessible in the Audio Editor. To do this, select multiple Audio Eventsin the arrangement and then press[G] on the keyboard, or [Right]/[Ctrl]-clickand select Event/Merge Eventsfrom the contextualmenu.

If you drag-and-drop an Audio Part from the arrangement to the File Browser, an Audio Loop isexported. For more information on Audio Loops, refer to the Editing chapter. To dissolve an Audio Part so that the separate Audio Eventsare again accessible in the arrangement, [Right]/[Ctrl]-click on the Audio Part and select Audio/Dissolve Audio Part from the contextualmenu.

CHAPTER 8│Studio One Reference Manual Bounce to New Track You can create a new Audio Trackfrom a selected Instrument or Audio Trackwhich includesallInsert effects, byselecting Bounce to New Trackfrom the Eventsmenu, or pressing keycommand [Ctrl]+[Alt]+[B] in Windows, or [Option]+[Cmd]+B in Mac OS X. You can also right/[Ctrl]-clickon an Event and chose the function from the Eventssub-menu.

Bounce File Management EveryBounce operation createsnew audio filesthat are placed into the Poolfor the current Song.

Adding Time to the Arrangement It isoften usefulto insert a range of silence into an arrangement, effectivelyadding time to a section. To do this, select the Range toolin the Arrange view, then select a range acrossanyTrackson which you wish you insert silence. With the range selected, press[Ctrl]/[Cmd]+[Alt]+[I] on the keyboard to insert silence in that range. AnyEventsthat were in the range where silence wasinserted are split, if necessary, and moved to the right acrossthe timeline. If automation data ispresent, it ismoved to follow the Events. Hidden Tracksare not affected, in thiscase. If your chosen range of TracksspansallTracksin the arrangement, globalparameter settings(such astempo changes, time signature changes, and markers) follow the Events, aswell. Hidden Tracksare not affected, in thiscase. You can also add time to the arrangement without making a selection. Simplyplace your cursor at the time in the arrangement that you want the silence to be inserted, and press[Ctrl]/[Cmd]+[Alt]+[I]. A window appearswhich letsyou specify a range of time to insert silence. Hidden Tracks are split and moved just like visible Tracks, in this case.

Deleting Time from the Arrangement It can be veryusefulto remove a section of the arrangement, while simultaneouslymoving anymaterialthat comesafter the removed section backin time, rather than leaving a gap of silence. To do thisin Studio One, select a range with the Range tooland then select Delete Time from the Edit menu or press[Ctrl]/[Cmd]+[Alt]+[D] on the keyboard. You can Delete Time from a single Track, or from anynumber of Tracksyou select acrossusing the Range tool. Automation data for allaffected Tracksissplit, trimmed, and moved to match the new Event position. Hidden Tracksare not affected bythis operation. If no range isselected in the timeline, the Delete Time command bringsup a dialog that letsyou specifystart and end times for the time deletion.

Folder Tracks Keeping the Arrange view organized can be criticalto workflow, and Folder Trackshave traditionallyhelped in thisarea. Studio One'sFolder Tracksalso include Grouping and Busing options, extending improvementsto editing and mixing workflow.

Create a Folder Track If organizing existing Tracks, the simplest method of placing the Tracksinto a new Folder Trackisto select them allin the TrackColumn, then [Right]/[Ctrl]-clickand choose PackFolder from the contextualmenu. Thiscreatesa new Folder Trackand place allof the selected Tracksin it. Alternatively, you can drag-and-drop anyTrackonto an existing Folder Track. It isalso possible to create a Folder Trackfrom the Tracks/Add Tracks dialog, just like anyother Track. Folder Trackscan contain Audio, Instrument, Automation, and even other Folder Tracks.

134│Studio One Reference Manual Clicking on the Folder icon on a Folder Trackshowsand hidesthe Trackswithin the Folder in the Arrange view. Note that Folder Tracksalso have Mute, Solo, Record, and Monitor Enable buttons. Clicking on these engagesthe appropriate action for anyTrackwithin the folder.

Folder Track Grouping Clicking on the Group icon on a Folder Trackcreatesa Group with the name of the Folder Trackand placesallTracksit containsinto the Group. Thisisexactlythe same asselecting allof the Tracksand grouping them with [Ctrl]/[Cmd]+[G]: The Tracksare selected together in the Console and Arrange views, and the Eventson the Tracksare edited together. If the Group icon isengaged on a Folder Track, clicking on it again removesthe Group.

CHAPTER 8│Studio One Reference Manual If a Trackisalreadyin a Group prior to being placed in a Folder Track, and the Folder TrackGroup isengaged, the Track isplaced in the Folder TrackGroup when it isplaced in the Folder Track. If removed from the Folder Track, a Trackretains its Group setting.

Folder Track Editing When a Folder Trackiscollapsed, a single "Event” with lanesrepresenting each Trackin the Folder acrossthe arrangement isdisplayed. It ispossible to directlyedit thisconsolidated Event, including Size, Move, Cut, Copy, Paste, and Duplicate. Thisabilitysavestime in caseswhere simple editsdo not require viewing a particular Trackin the Folder or even grouping the Trackswithin.

Folder Track Busing Clicking on the Busselection boxto the right of the Group icon on a Folder Trackallowsthe selection or creation of a Bus Channel. Choose from an existing BusChannel, or add a Bus, to switch the output for allTrackscontained in the Folder Trackto a BusChannel. If adding a new BusChannel, the Bustakesthe name of the Folder Track. If a busselection ismade, the Folder Trackactsasan effects-drop target for the BusChannelwhen dragging effectsfrom the browser onto the Folder Track. Aswith Folder Trackgrouping, if the Folder Trackhasa BusChannelselection, anyTrackadded to the folder isrouted to that Buswhen placed in the Folder Track. If removed from the Folder Track, a Trackkeepsthe BusasitsOutput Channel selection. For Instrument Tracks, the Track'srelated Audio Channelisrouted to the Folder TrackBusChannel. The related Audio Channelisthe one shown in the Inspector under the Out and In selectionsfor an Instrument Track. Asnoted elsewhere in thismanual, the Audio selection for an Instrument Trackispurelyorganizationaland allowsStudio One to accomplish workflow enhancementslike the aforementioned. If a virtualinstrument isusing multiple Output Channels, you should take the time to organize which Instrument Tracksrouted to that virtualinstrument are related to which Output Channelsin the Inspector.

Folder Track Nesting When Folder Tracksare nested—that is, when one Folder Trackisplaced inside another—the Folder TrackGrouping and Busing optionsstillonlyapplyfor the Trackswithin each folder. Here isan example:

136│Studio One Reference Manual Tracks1 through 8 are in Folder TrackA, which hasGroup enabled and isrouted to BusA. Tracks9-12 are packed to a new Folder B, Group isenabled there, and a new BusBiscreated. Folder Bisthen dragged into Folder A. The Tracksin Folder B are stillgrouped in Group B, and are stillrouted to BusB. The onlydifference isorganizational: Hiding Folder A Tracksalso hidesFolder B.

Track List

The Arrange view Tracklist isopened byclicking on the TrackList icon in the upper left corner of the Song page. The Tracklist givesan overview of allexisting Tracks. Each Trackhasa drop-down arrow next to it that, when clicked, displays related Tracks, Envelopes, and Layers. Levelmetersto the far left of Tracknamesindicate levelsduring playbackfor everyTrack. Clicking-and-dragging on the Trackicon next to the Trackname allowsyou to move the Trackto change the Trackorder. If anyTrackisin a Group, the Group name isdisplayed next to it in the Group column of the TrackList. Aswith the Console channellist, Trackscan be hidden or shown byclicking on the round button to the left of the Track name. It ispossible to click-and-drag up or down to quicklyhide or show anynumber of Tracks. Hiding a Folder Trackalso hidesallof the Tracksit contains. At the bottom of the TrackList, iconsfor each Tracktype are visible. Clicking on these iconshidesor showsallTracksof that type.

Track List Scenes Scenesare a wayto easilycontrolwhich Tracksare shown and hidden in Arrange view. For example, you could show only drum tracks, and save that asa Scene called "Drums." Selecting that Scene recallsthe show/hide setting, showing the selected drum Tracks, and hiding allother Tracks. Tracksthat appear in the Tracklist can be shown or hidden in Arrange View. Clickthe round button next to anyTrack name in thislist to show or hide that Track. Hidden Tracksare highlighted in gray.

CHAPTER 8│Studio One Reference Manual Clickon the Plusbutton at the bottom of the Tracklist to save the current show/hide statusasa Scene. Anynumber of Scenescan be saved and recalled within each Song. Clickon the Minusbutton to remove the current Scene. The TrackList can be synced to Console Scenesso that anyTrackshidden or shown in the TrackList have their related Audio Channelshidden or shown in the Console, and vice versa. Clickthe Linkicon at the bottom of the tracklist to enable this syncing.

138│Studio One Reference Manual Mixing

Mixing isthe part of the production processwhere allrecorded and arranged materialisbalanced in relative volume, frequency, and dynamiccontent in order to achieve a desired cohesive sound. The following chapter discussesbasicaspectsof mixing in Studio One, including the Console, the different typesof Channels, and the use of Insertsand Sends. Further information on mixing with Studio One can be found throughout this manual.

The Console Mixing in Studio One isprimarilydone in the Console. Open the Console byclicking on the [Mix] button or bypressing [F3] on the keyboard.

Each channelof audio in your Song isrepresented bya Channelin the Console. Audio Tracksin the Arrange view are directlyrepresented byAudio Channelsin the Console, whereasInstrument Trackshave no direct representation in the Console. Instead, Instrument Channelsrepresent the audio output of virtualinstruments. There are severalother Channeltypesdiscussed below, including Input, Output, Bus, and FX Channels. It isimportant to note that the Console opensbydefault in Smallmode, and the following descriptionsassume thismode is engaged unlessotherwise noted. For more on thistopic, refer to the Alternative Console Layout section of this chapter.

Channel Features The following featuresare common to allChannels.

Input/Output

At the top of each Channelisa displayof itsconfigured Input and Output, with the Input shown at the top and the Output below it. AllChannelsare configured with Main Out astheir Output bydefault. Audio Channelsshow the hardware audio input selection. Instrument Channelsdisplaythe name of the virtualinstrument from which theyget their input. Busand FX Channelsdisplaya graphicalcount of the number of Tracksassigned or sent to them, rather than a discrete displayof input channels, astheir input source isusuallyfrom multiple Channels. Clickon the Input area on a Busor FXChannelto displaya pop-up list of allassigned/sent Tracks. Clicking on a Trackin thislist selectsand expandsthat Trackin the Mixview.

CHAPTER 9│Studio One Reference Manual Clickon anyInput or Output to displayand choose from a list of available routing optionsfor anyChannel. Clicking on the Input for an Instrument Channelopensthe interface for the source virtualinstrument.

Panner and Fader

AllChannelsfeature a horizontalpanner and verticalvolume fader below the I/O-selection display. The panner can be clicked-and-dragged horizontally, allowing the audio for each Channelto be positioned left or right in the stereo field. The volume fader can be click-and-dragged verticallyto controlthe output volume for each Channel. Numericalvaluesmay also be entered for pan and volume. Studio One usesa -3 dBpan law for allchannelpanning. On stereo Channels, the panner adjuststhe balance of left and right signal levels.

Mute/Solo

Channelscan be muted or soloed byclicking on their Mute and Solo buttons, respectively. You can also press[M] for Mute or [S] for Solo on the keyboard to mute or solo selected Channels. Muting silencesthe Channel’saudio from the Console so you won’t hear it. Soloing silencesallexcept the audio for the soloed Channel, so you onlyhear the soloed Channel. Any number of Channelscan be muted or soloed at one time. When using the [M] or [S] keysto mute or solo an Instrument Trackthat hasa virtualinstrument attached to it, mute or solo isapplied to the note data Trackin the Arrangement view, rather than to the audio Trackin the Mixview. [M] and [S] have no effect on Busor FXChannels. You can perform a GlobalSolo Off, which disengagesSolo on anyTrackthat hasit engaged, bypressing and holding [Ctrl] on the keyboard and then clicking on anySolo button. Performing the [Ctrl]-clickagain recallsthe previoussolo settings, returning anypreviouslysoloed channelsto the solo state. Thiscan be usefulwhen comparing a group of soloed Tracksto other Tracksin your mix.

Automation Mode

The Automation mode for each Channelisdisplayed at the bottom of the Channel. Bydefault, thismode isset to Off. Click on thisdisplayto choose an Automation mode or to add and remove automation parameters.

Name

Channelnamesare shown at the bottom of each Channelin the Console. Double-clickon the name, type a new name, and then pressEnter to change the name of anyChannel.

Expand Channel

AllChannelsfeature an Expand Channelbutton, which expandsthe visible Channelto the right, revealing further Console routing possibilities. Audio, Instrument, and BusChannelsinclude Insert and Send Device Racks. FX Channelsonlyhave an Insert Device Rack.

Channel Types

Input

Input Channelsrepresent the configured hardware audio inputs. Theycan be mono or stereo, depending on the configuration of the hardware input theyrepresent. Use the Input Channelsto accuratelymeter inputsor to add effects processing to an input.

Audio

Audio Channelsare direct representationsof Audio Tracksin the Arrange view. Each Audio Trackhasa corresponding Audio Channelin the Console, with corresponding Record Enable, Monitor Enable, Solo, and Mute controls.

140│Studio One Reference Manual Instrument

Instrument Tracksin the Arrange view have no directlycorresponding Channels. An Instrument Trackoutputsto a virtual instrument, and the virtualinstrument then createssound. Thus, virtualinstrumentsoutput audio to Instrument Channels in the Console. A virtualinstrument might have anynumber of outputs, asdescribed in the Set Up Multiple Virtual Instrument Outputs section of the Recording chapter, and each hasa corresponding Channelin the Console.

Bus

The audio output of multiple Channelscan be routed directlyto a single BusChannel, which isalwaysa stereo Channel. Thisletsyou create a submixso that the audio from severalChannelscan be processed together before being routed to the main output. Although lesscommon, it isalso possible to use Sendsto route audio to BusChannels. For instance, severaldrum Tracksmight be routed to a Drum Bus, where the audio iscompressed and equalized, and then routed to the main output. That audio could also be routed to an FXChannel, through a Send, to applya reverb effect, which would be applied to allaudio routed to that FX Channel.

FX Channelsare what are traditionallyknown aseffectsreturn channels, used to applyeffectsto multiple signals simultaneouslythrough the use of Sends. Audio can be routed from anyChannelthrough a Send to an FXChannel, which can have anynumber of effectsinserted in itsInsert Device Rack. For instance, severalkeyboard Tracksand a guitar Trackcould be routed via Sendsto an FXChannelwith a reverb plug-in inserted, so that allof the instrumentssound like theyare in the same physicalspace. Dragging an audio effect or FXChain to the Send slot of a Channelin the Console createsa new FXChannelwith the same name asthe effect or FXChain, and routesaudio from the originalChannelto the new FXChannel, via a Send.

Output

Output Channelsare routed directlyto hardware audio outputsand can be stereo or mono, depending on the configured outputsto which theyconnect. EverySong hasat least one stereo Output Channel, which isnamed Main Out bydefault. The Main Out is, bydefault, where the entire Console mixof allother Channelsisrouted. You generallylisten to thisoutput when monitoring your mix, asthisisthe output from which exported mixdownsare derived. The Main Out Channelisalwayslocked to the far right end of the Console and cannot be moved. Thisoutput featuresa stereo Peak/RMS Meter, as well as K-System Metering. Other configured hardware outputsare represented in the Console bya type of Output Channelcalled a Sub Out. Sub Outsappear to the right of the mixer when the Outputspanelis open. The Main Out and Sub Out Channelsfeature Metronome controls, allowing independent metronome on/off and level controlfor each hardware output. Note that everystereo Output Channelalso featuresa Mono switch to allow for quick summed-mono monitoring, which iscommonlyused to checka mixfor mono compatibility.

Console Options Clickthe Optionsbutton (shaped like a wrench) to bring up a menu with optionsthat let you shape the behavior of the Console to suit your needsand organizationalstyle. The following optionsare available:

Grouping Options

Keep FX channels to the right Enable thisto cause allFXChannelsto be placed together, at the right end of the Console. Thiscan aid in keeping trackof FX Channelsin a large-scale Song. Keep bus channels to the right Enable thisto cause allBusChannelsto be placed together, at the right end of the Console. Thiscan aid in keeping trackof BusChannelsin a large-scale Song. Preserve order of busses with folder trackEnable thisto ensure that anyBusChannelsthat are associated with a Folder Trackremain next to the Folder Track'senclosed Channelswhen the Keep BusChannelsto the Right option isenabled.

CHAPTER 9│Studio One Reference Manual Visibility Options

Link show/hide of Track List and Console Enable thisto linkthe show/hide statusof the TrackList and the Console. When you hide the Track List or Console, the other hides, aswell. Link expand/collapse of Folder Tracks with show/hide Enable thisto hide Console Channelsassociated with a Folder Trackwhen the Folder Trackiscollapsed in the Arrange view. Colorize Channel Strips Enable thisoption to applychannelcolor coding to fullchannelstripsin the Console. Normallythe color onlyshowson the channellabels.

Console Panel Overview The Console featuresseveralpanelsthat can be shown or hidden asneeded. Each panelhasdifferent functionsand is accessed from the Console navigation column to the far left of the Console.

Inputs and Outputs

The Inputspanelisclosed bydefault and can be opened and closed byclicking on the [Inputs] button in the Console navigation column. The InputspaneldisplaysAudio Channelsin the Console for each configured hardware audio input, as described in the ChannelTypessection of thischapter. The Outputspanelisclosed bydefault and can be opened and closed byclicking on the [Outputs] button in the Console navigation column. The OutputspaneldisplaysAudio Channelsin the Console for each configured hardware audio output.

142│Studio One Reference Manual Trash Bin

The Trash Bin panelisclosed bydefault and can be opened and closed byclicking on the [Trash] button in the navigation column. The Trash Bin paneldisplaysa list of removed Console objects, including Channels, virtualeffects, and virtual instruments. Each object in the list containsthe exact state of the entire Channel, effect, or instrument when it was removed, making it possible to restore previoussettingsand statesin the Console at anytime. To restore an object in the Trash Bin to itspreviousstate and location in the Console, [Right]/[Ctrl]-clickon it in the Trash Bin and select Restore from the pop-up menu. To permanentlyremove an object from the Trash Bin, [Right]/[Ctrl]-clickon it in the Trash Bin and select Delete from the pop-up menu.

CHAPTER 9│Studio One Reference Manual External

The Externalpanelisclosed bydefault and can be opened and closed byclicking on the [External] button in the navigation column. The Externalpaneldisplaysa list of configured ExternalDevices, including Keyboards, ExternalInstruments, and Control Surfaces. The configuration for each device can be accessed and edited byclicking on the menu arrow for the device (or [Right]/ [Ctrl]-clicking anywhere on the device) and selecting, from the pop-up menu, either Edit for mapping configuration, Setup for device configuration, or Remove, to remove the device from the list. Clickon the Add ExternalDevice button to add an externaldevice. To quicklyaccessthe Edit dialog for a device, double-clickitsname in the Externalpanel.

144│Studio One Reference Manual Instruments

The Instrumentspanelisopen bydefault and isclosed and opened byclicking on the [Instr.] button in the Navigation column. The Instrumentspaneldisplaysallcurrentlyloaded virtualinstruments. If no Instrument Trackisconnected to the Instrument, it appearsgrayed out. Open the interface for a virtualinstrument bydouble-clicking on it in the Instrument panelor byclicking on the virtual instrument’smenu arrow (or [Right]/[Ctrl]-clicking anywhere on the device) and selecting Edit from the pop-up menu. Open the pop-up menu and choose Expand to choose from an instrument'savailable outputs(if applicable). If a Trackis Expanded, you can select Collapse to hide that information again. Select Rename to rename the instrument, which can be usefulwhen working with multiple instancesof the same instrument. Select Store Preset from the pop-up menu to save the current settingsfor anyvirtualinstrument asa Preset. Select Remove from the pop-up menu to remove the virtual instrument from your Song.

Console Scenes

Console Scenesare a wayto easilycontrolwhich Channelsare shown and hidden in the Console. For example, you could show onlydrum Channels, and save that asa Scene called "Drums." Selecting that Scene recallsthe show/hide setting, showing the selected drum Channels, and hiding allother Channelss. Channelsthat appear in the channellist can be shown or hidden in the Console. Clickthe round button next to any Channelname in thislist to show or hide that Channel. Hidden Channelsare highlighted in gray. Clickon the Plusbutton at the bottom of the channellist to save the current Console setup asa Scene. Anynumber of Scenescan be saved and recalled within each Song. Clickon the Minusbutton to remove the current Scene. The Console channellist can be synced to the TrackList, so that anyTrackshidden or shown in the TrackList have their related Audio Channelshidden or shown in the Console, and vice versa. To do so, clickthe wrench-shaped Optionsbutton in the ChannelList and enable the LinkShow/Hide of Tracklist and Console option.

CHAPTER 9│Studio One Reference Manual Remote Bank

The Remote Bankisa specialScene that governswhich Channelsare shown and available for manipulation on a connected controlsurface. Clickthe [Remote] button to show thisscene, then show/hide tracksasnecessaryto set which channelsare available for control. To hide the Remote Bank, click[Remote] again.

Alternative Console Layout The Console hasbeen designed to meet the needsof most users. It hastwo possible modes: Smalland Large. Additionally, each mode can be made Narrow. The Console can also be detached from the rest of the single-screen user interface. The Console layout isstrictlya matter of preference: There isno audible difference between the Smalland Large mode, nor doesdetaching the Console affect itsfunctions.

The Large Console

The Console isin Smallmode bydefault. To switch to Large Console mode, clickon the Small/Large button at the top of the Console Navigation column. Alternatively, you can press[Shift]+[F3] on the keyboard when the Console isopen. In Large mode, you can see the Insert and Send Device Racksat the top of each Channel, allowing faster accessto these elements. The lower portion of the Channelisslightlylarger aswell, allowing easier viewing of metersand other elements. Insert and Send Device Rackscan be sized verticallybyclicking-and-dragging on the divider between them. If multiple Channelsare currentlyselected, you can hold [Shift] while dragging to onlysize the Device Rackfor the current Channel. Hold [Ctrl]/[Cmd] while dragging to set the size for allDevice RacksacrossallChannels.

146│Studio One Reference Manual Narrow Mode

Both the Smalland Large Consolescan be made narrow via the Narrow/Normalbutton to the far left of the Console. Narrow mode hasbeen designed to maximize the number of visible Channelsfrom left to right in the Console. When in Narrow mode, the SmallConsole Channelschange so that a volume-fade handle isoverlapped on the level meter, with Mute and Solo controlsabove the meter. It remainspossible to expand a Channelto revealitsInsertsand Sendsbydouble-clicking in open space on the Channel.

The Large Console in Narrow mode replacesthe Insert and Send Device Rackswith channellevelmeters, in addition to narrowing the other controls. To expand anyChannelto show itsInsert and Send Device Rackswhile in Narrow mode, double-clickon anyopen space in the channeldisplay. Doing so again collapsesthe displayfor that Channel.

CHAPTER 9│Studio One Reference Manual The Detached Console

The Console can be detached from the main window and placed in an independent window so that it can be located freely onscreen or on a second computer monitor. To detach the Console, clickon the Detach button at the top of the Console navigation column. The Detached Console can be in Smallor Large mode, and the window can also be sized and maximized to fit the computer monitor. To reattach the Console to the main interface, clickon the Detach button at the top of the Console navigation column.

Effects Signal Routing Effectsprocessing iscriticalwhen mixing. Effectsare traditionallyapplied to audio via an Insert or a Send.

Inserts Insertsare used to applyan effect directlyto a single Channel. Insert effectsare literallyinserted into the audio signalchain within the Channel.

Adding Inserts

The Insert Device RackcontainsallInsert effectson a given Channeland isvisible in the Console. To add an Insert effect to anyChannel, drag-and-drop an effect from the Browser into the Insert Device Rackof a Channelin the Console or click-and-drag directlyto a Trackor TrackLane in the Arrange view.

148│Studio One Reference Manual When navigating audio effectsin the Browser, some effectshave a navigation arrow next to them. Clickon thisarrow to expose the presetsfor the effect. Click-and-drag a preset into the Insert Device Rackon anyChannelto add the effect with the preset alreadyloaded. Alternatively, you can clickon the Add Insert button at the top of the Insert Device Rackto add an Insert effect to a Channel from a pop-up menu. Effectsare sorted bycategory(PreSonus, Audio Unit, VST2, VST3, and so on). You can navigate thislist using the [Arrow] keyson your keyboard and can also quicklyfind effectsin thislist bytyping anytext.

Editing Inserts

To edit an Insert, double-clickon it in the Insert Device Rack, or clickon the menu arrow (or [Right]/[Ctrl]-clickanywhere on the Insert) and select Edit from the pop-up menu. Thisopensthe user interface for the Insert effect, where you can edit the effect’s parameters. When audio effectsare inserted on the same Channel, allof the plug-insappear in tabsat the top of the plug-in header GUI. Thismakesswitching between effectsin the same Insert Device Rackand signalpath quickand easy. The user interfacesfor effectsfrom third-partymanufacturersvarydrastically; for more information, please refer to the documentation for each effect. Studio One’sbuilt-in effectsare discussed in depth in the Built-In Effects chapter.

CHAPTER 9│Studio One Reference Manual Reordering Inserts

Insertsaffect the audio signalpath in the top-to-bottom sequentialorder in which theyare inserted. An Insert can be reordered byclicking-and-dragging it above, below, or in between other Inserts. It ishelpfulto experiment with different signalpathsto achieve the best possible sound or a particular effect.

Navigating Inserts

Bydefault, onlyone window displaysthe user interface for an open Insert effect. Thiskeepsscreen clutter and window juggling to a minimum. To quicklyswitch between Insert effectson a single Channel, clickon the chosen effect tab at the top of the plug-in header GUI. Alternatively, press[F11] on the keyboard to open the effect editor for the selected Audio Track, then press[Ctrl]/[Cmd]+ [Page Up]/[Page Down] to cycle through the effectsin that Channel’sDevice Rack. Insertscan be also re-ordered bydragging them from one position to another in the list of Insertsat the top of the plug-in GUI. The interface for anyInsert can be made to stayopen in an independent window untilyou choose to close it byclicking on the Pin button in the upper right of the Insert Effect window. With an Insert effect pinned, opening another Insert effect opensa new Insert Effect window. Anynumber of Insert Effect windowscan be pinned and open simultaneously.

Copying Inserts to Other Channels

It isoften helpfulto be able to copyan Insert effect, including itscurrent settings, to another Channel. To do this, clickon the desired Insert effect in the Insert Device Rackand drag it directlyonto anyother Channelor into the Insert Device Rackon anyother Channel. Dragging an Insert effect to the left or right edge of the viewable Console scrollsthe Console left or right to expose anyChannelsbeyond those currentlyviewable. It isalso possible to clickon the Copybutton in the plug-in header GUI, then switch to another instance of the same plug-in and clickon Paste to copysettingsfrom one instance to another. You can drag an Insert effect to anySendsDevice Rackto create a new FXChannelwith that effect inserted (itssettings intact), and route that Send to the new FX Channel.

Compare

The [Compare] button in the plug-in header GUI allowsyou to compare the current settingsfor a plug-in to the settings stored the last time the Song or Project wassaved.

Thismakesit possible to freelycompare potentialchangesfor a plug-in to existing settings, while retaining a quickway back to existing settings.

Bypassing and Deactivating Inserts

It ispossible to bypass, aswellasdeactivate, Insert devices. When deactivating an Insert effect, the Insert isturned completelyoff, which can free up CPU resources. When an Insert isbypassed, the audio signalissimplyrerouted around the Insert. Bypassing isautomatable; Insert activation isnot. To bypassan Insert effect, clickon the Bypassbutton found either in the top left of the effect’sGUI header or within the effect GUI, depending on the effect. To deactivate, or turn off, an Insert effect, clickon the Activate button for the Insert effect in the Insert Device Rack. There isalso an Activate button at the top left of everyInsert Effect window. Deactivating an Insert effect stopsallprocessing related to it, which freesthe computer processing resourcespreviouslydedicated to that Insert effect. To deactivate or activate allInsert effectsin anyInsert Device Rack, clickon the Activate Allbutton at the top of the Insert Device Rack.

150│Studio One Reference Manual Removing Inserts

To remove an Insert effect from the Insert Device Rack, do one of the following: Clickon the menu arrow for the Insert effect in the Insert Device Rack(or [Right]/[Ctrl]-clickanywhere on the device) and select Remove from the pop-up menu. Clickon the Insert effect in the Insert Device Rackand drag it into the Trash Bin panelof the Console.

AllInsertscan be simultaneouslyremoved from an Insert Device Rackbyclicking on the menu arrow at the top of the Rack and selecting Remove All. When anyInsert effect isremoved, it isplaced in the Trash Bin, where it can be restored to its originalstate and location at anytime.

Hardware Inserts

You can insert externalhardware processorsinto Audio Channelsin the Console, using the Pipeline plug-in (onlyin Studio One Professional). The Pipeline plug-in can be found in the PreSonusfolder of the EffectsBrowser when sorted by Folder, Vendor, or Category. The Pipeline plug-in routesaudio to a hardware processor and then backfrom that processor through specificinputsand outputson your audio interface, while automaticallycompensating for the round-trip latencyincurred in the process. You can insert an instance of Pipeline in any Insert Device Rack. To learn more about Pipeline, refer to the Pipeline section of thismanual.

Channel Editor and Macro Controls

Each Channelin the Console hasa specialset of effects-related optionsand controlscalled the ChannelEditor. With it, you can create complexcombinationsof insert effects, controlled byeasy-to-accessMacro Controls. For more information see Channel Editor.

Configuring Sends Sendsare used to route the audio output (pre- or post-fader) from one Channelto another, such asan FXChannel.

CHAPTER 9│Studio One Reference Manual Creating a Send to an FX Channel

To simultaneouslycreate a new FX Channeland create a Send to that FX Channelfrom an existing Channel, click-and- drag an effect from the Browser into the Send Device Rackon a Channel. Thiscreatesa Send for the Channelto a new FX Channelwith the selected effect loaded in itsInsert Device Rack. Thisalso workswith FX Chains. You can press[F11] to quicklyopen the FX view for the currentlyselected Channel, or press[Shift]+[F11] to open the Instrument window of a selected Instrument Track. You can also drag an audio effect into a blankspace in the Console to create an FXChannelwith that effect loaded into its Insert Device Rack. To route audio from a Channelto an existing FXChannel, clickon the Add Send button in the Send Device Rackand choose the FX Channelfrom the list. Dragging an audio effector FXChain to the Send slotofa Trackletsyou create a new FXChannelwith the same name as the plug-in or FXChain. Alternatively, you can create an FX Channelby[Right]/[Ctrl]-clicking in blankspace in the Console, or on anyChannel, and selecting Add FX. Thisaddsan FXChannelto the Console with no Inserts, which can be the destination for anySend. FXChannelsare routed to the Main Out Channelof the Console bydefault, but can be routed to anyother configured hardware outputsor BusChannels, asneeded. To quicklyview the effectsin the Insert Device Rackof a Send’sdestination Channel, double-clickon the Send. You can then navigate the Insert Effect menu as usual.

Send Level and Pre/Post Fader

Once a Send hasbeen added to a Channel, the Send device appearsin the Send Device Rackfor that Channel. An Activate button, horizontalLeveland Pan faders, and a Pre/Post Fader button are available. Clickon the Activate button to activate/deactivate the Send; thisdoesnot affect the Send'sdestination Channel.

152│Studio One Reference Manual Click-and-drag on the horizontalLevelfader to adjust the send levelbetween -∞ and +10 dB. Click-and-drag on the Pan fader to adjust the balance of the source materialgoing to the send destination. Clickon the Pre/Post Fader button to switch the send source to pre-fader or post-fader. Pre-fader allowsyou to set a send levelindependent of the channel fader so that the levelisunaffected byfader position. The send source signalisalwayspost-inserts.

Sidechaining

Certain effectscan accept an input from an audio source that dynamicallychangesthe behavior of the effect. Thisiscalled “sidechaining,” and it facilitates processes such as keying, ducking, and de-essing. Sidechaining is accomplished by using a Send to route audio to a specialSidechain input on an Insert effect. It ispossible to send to the Sidechain input of anyInsert effect, whether or not the sidechain isengaged in the effect. For the sidechain to workin the effect, it must be engaged in the effect. An example of sidechaining iswhen a gate istriggered bya specificaudio signal. In thiscase, the gate opensand closes dynamicallyin response to the audio signalcoming in the sidechain, rather than responding to the program signalon the Channelwhere the gate isinserted. Severalof Studio One’sbuilt-in effectssupport sidechaining, including the Compressor and Gate. For more information, refer to the Built-In Effects chapter.

Sending Signals to Busses

It ispossible to use a Send to route audio to a BusChannel.Thisisdone in the same manner thata Send isused to route audio to an FX Channel, except that the BusChannelisselected. Thiscan be used, among other things, for “multing”— routing a Channelto multiple places—which isa convenient wayto layer sounds.

Copying Sends to Other Channels

Sendscan be copied from Channelto Channelin the same wayasInserts. To do this, click-and-drag a Send from one Send Device Rackto another one. Thiscreatesa Send to the same FXChannelassigned to the originalTrack.

Navigating Effects Presets To view the available presetsfor an effect, clickon the preset selector in the plug-in editing window, and browse the pop- up list. To select a preset, clickonce on the preset in the list. The presetslist remainsopen, to allow for easier switching between presetswhile auditioning. To close the list, clickanywhere other than the preset list. To select a preset and close the list in one action, double-clickthe preset of your choice. Once the preset list isopen, you can navigate through the presetswith the arrow keys. To activate a preset and leave the list open, press[Space]. To activate a preset and close the list, press[Return].

Creating and Managing Effects Presets

In the upper left area of everyplug-in editing window, you'llsee the Preset Menu button, which letsyou create, load, and import & export presets. Clickthe Preset Menu button to choose from the following preset management functions: Store Preset... Savesthe current effectssetting asa preset, in your libraryin the Browser. You can enter a title and description for the preset, aswellasspecifya subfolder within the preset list to store the preset. Replace Preset Update the currentlyloaded preset with anynew settingsmade since loading the preset.

Store as Default Preset Causesthe current preset to load bydefault whenever a new instance of the current plug-in isadded to a Song. Load Preset File... Loadsan exported preset file from your file system into your current Song.

Import Preset... Loadsan exported preset file from your file system into the current Song, and importsthe preset into your Studio One library, for later use.

CHAPTER 9│Studio One Reference Manual Export Preset... Exportsthe current settingsasa preset file, for use byothersor for storage.

Show in Browser Locatesthe currentlyloaded preset in the Browser.

You can also store anyeffect or Instrument preset bydragging-and-dropping the Insert effect or Instrument from the Console to the Browser. If dragged to a location in the File Browser, the preset isstored in that location. If dragged to the Effectsor InstrumentsBrowser, the preset isstored in your User Data location (asset in the Studio One/Options/Locations menu (MacOSX: Preferences/Locations) and becomesavailable in the preset dropdown listsof the Browser and effect or Instrument.

FX Chains Sometimes, a favorite combination of effectscan become a staple of your workflow. For instance, you might regularly applya compressor, EQ, and chorusto your vocaltracks. FXChainslet you save the exact setup of the Insertson a Channel, so that the entire chain of effects, including allsettings, can be recalled instantlyfor later re-use. To create an FXChain: 1. Configure a Channelwith the desired Insert effectsand settings. 2. Clickonthemenuarrow atthetopoftheInsertDeviceRack,nexttotheInsertlabel,andselectStoreFXChain from the pop-up menu. 3. Typeinauniquenamefor theFXChainandclickOKor press[Enter]onthekeyboard. Alternatively, you can drag and drop the Insert Device Rackheader to the EffectsBrowser to instantlycreate an FX Chain with the name of the Channel. You can also drag and drop the Insert Device Rackheader to the File Browser, to export an FXChain asa file, with the name of the Channel. To replicate allDevicescurrentlyassigned to a Trackon another Track, drag and drop the Insert Device Rackheader from the source Trackto the Trackof your choice. FX Chainsincorporate anyparallelprocessing you set up in the Routing view of the Channel Editor window. Complex multi-effects configurations with custom Macro Controls can be stored and recalled with ease.

154│Studio One Reference Manual FXChainscan be found in the FXChainsfolder in the Audio Effects Browser.ToinserttheFXChainintheInsert Device Rackof a Channel, drag anyFXChain from the Browser to the Channel. To replace an effect in the Device Rack, drag the FXChain on top of the device to be replaced. Drag the FX chain between plug-insor to an open spot in the Device Rack to insert it without affecting existing device assignments. Clickon the menu arrow next to the FXChain name in the Audio EffectsBrowser to view and select the individualeffects. Both the individualeffectsand each preset can be dragged to the Insert Device Rackof anyChannel. It isalso possible to accessFXChainsfrom the Insert Device Rackbyclicking on the menu arrow at the top of the Rackand selecting an FX Chain from the list. Thisloadsthe selected FX Chain in the Insert Device Rack.

Busing Busescan be extremelyusefulwhen mixing. You can route Channelsdirectlyto busesto help organize a mixinto common elements, such asrouting allDrum Tracksdirectlyto a drum bus. Sendsare often used to route a channelto multiple busesin order to layer a signalinto variouselementsof a mix. To create a new Bus, [Right]/[Ctrl]-clickin blankspace in the Console, or on anychannel, and select Add Bus. You can also select anynumber of Channels, then [Right]/[Ctrl]-clickon one of the selected Channelsand choose Add Busfor Selected Channelsto quicklycreate a new Busand route the selected Channelsto that new Bus. Once you have a Buswith Tracksassigned to it, you can [Right]/[Ctrl]-clickthe Busand choose Hide Sourcesto hide all Tracksassigned to that Busin the Console. [Right]/[Ctrl]-clickthe Busagain and choose Show Sourcesto make source Tracks visible again.

You can then choose that Busasthe Output or Send destination for anyAudio or Instrument Channelin the Console. The Bussendsitssummed signalto the Main Out bydefault but can also be routed to Sub Out Channels. Buseshave Sends that can be used the same wayasother Sendsin Studio One.

CHAPTER 9│Studio One Reference Manual It ispossible to nest busesinfinitely(Ato B, Bto C, C to D, and so on). Feedbackprevention isin place so that you can’t createabusroutingthatwouldcauseafeedbackloop(e.g.,AtoB,BtoC,C toA). To remove a Busand re-route allsource Tracksto the Main Out, [Right]/[Ctrl]-clickthe Busand choose Remove.

Solo Save It ispossible to place Console Channelsin Solo Save mode. When anyChannelin the Console issoloed, allChannelswith Solo Save engaged are also soloed, and allother Channelsare muted. To engage Solo Save on anyChannel, [Shift]-click on itsSolo button in Console. The Solo button isgreen when Solo Save isengaged. Note that FX Channelshave Solo Save engaged bydefault because effectsmaybe criticalto how soloed Channelssound in the mix.

Channel Editor

Each Channelin the Console hasa corresponding ChannelEditor, which hastwo main views: the Routing view, and the Macro Controlsview. The Routing view letsyou controlthe structure and signalflow of effectsfor the Channel. The Macro Controlsview providesa set of freelyassignable knobs, buttons, and X/Y padsthat provide easyaccessto anyparameters in anyof the plug-inscurrentlyused in the Channel. Because the ChannelEditor isallabout configuring and controlling audio effects, onlyAudio Channelsand Channels associated with software Instrumentshave thisfeature. You can displaythe ChannelEditor in the following ways:

Clickthe ChannelEditor button (which lookslike this: ) on your chosen Channelin the Console.

Select a Channel, and clickthe ChannelEditor button (which lookslike this: ) in the TrackInspector. Clickthe number of the corresponding Trackin the Arrange view.

Clickthe Macro Controlsor Routing button in an open effectswindow.

156│Studio One Reference Manual Macro Controls

A single Channelin the Console can host multiple plug-in effects, and you can controlthem allone-by-one simplyby switching from one plug-in window to another. However, in some cases, it isconvenient to be able to accesscontrolsfrom multiple plug-insin a centralcontrolpanel. The Macro Controlsfeature in the ChannelEditor givesyou a blankcanvas upon which to place crucialcontrolparametersfrom anyof the present effects, giving you quickaccessto often-needed controls. Thisbecomeseven more usefulwhen creating FX Chain presetsthat are geared toward specificsounds. For example, let'ssayyou create an FX Chain called "Chorused Crunch Guitar Delay," that includesthe Ampire XT, Chorus, and Analog Delay plug-ins. You might assign Macrosto the gain controlson Ampire XT, rate and depth controlson Chorus, and the delaylength and feedbackon Analog Delay. In thisway, assoon asyou load up that FX Chain, the vitalpartsof itsfunctionalitybecome available in a central, single window, even though you're reallycontrolling three plug-insat once. There are eight knobs, eight buttons, and two X/Y controlpadsavailable for each Channel. You can assign anyavailable plug-in parameter (or multiple parameters) to each of these Macro Controls. Each control(and each axisof each X/Y pad) displaysthe name of the associated parameter, and the current setting of that parameter. If multiple parametersare assigned to a Macro Control, the name of the first parameter assigned isshown, with a "+" symbolnext to it. If thingsget complex, you can get more in-depth info about assigned parametersin the Macro Controls Mapping view. When working with the built-in PreSonusplug-ins, assigning parametersto Macro Controlsisespeciallyeasy—simply [Right]/[Ctrl]-clickthe controlof choice, select "Connect (name of control) to ChannelMacro Control" from the pop-up menu, then choose the desired Macro Controlfrom the secondarypop-up list. To clear allassignmentsfor anyMacro Control, [Right]/[Ctrl]-clickthe controland choose "Clear (controlname) Connections" Right-clicka Macro Controlknob or switch to get accessto automation for that control.

CHAPTER 9│Studio One Reference Manual Macro Controls Mapping

You can bring up the Macro ControlsMapping view byclicking the smallwrench-shaped button in the Macro Controls window. Thisview givesyou the abilityto assign 3rd-partyplug-in parametersto Macro Controls, and also providessome usefuladditionalfeaturesfor working with Macros. The Macro ControlsMapping view showsthree columnsof information. The left column listsallavailable Macro Controls, and their current assignments(if any). The right column showsalleffectsplug-insthat are currentlyinserted into the Channel. Expand anyplug-in in the list to show allassignable parametersfor that plug-in. The central"Target" column isa place where Macro assignmentscan be made, configured, or broken. The simplest wayto map a parameter to a Macro isto simplydrag the parameter from the right column onto the Macro Controlof your choice in the left column, or into the centralTarget column when a Macro Controlisselected. You can also do thisbyselecting a Macro Controland a parameter, and clicking the [Add Targets] button. Once assigned, the parameter of your choice isdisplayed in the Target column. To remove an assignment from a Macro Control, select the Macro in the left column, select the assignment you wish to remove in the Target column, and clickthe [Remove Targets] button.

Macro Control Transition Settings

You can shape the relationship between the movement of a Macro Controland the settingsof itsassigned parameters quite extensively. With a Macro Controlselected in the left column of the Macro ControlsMapping view, the current mappingsfor that controlare displayed in the Target column. Next to the name of each parameter isa button that gives you accessto the controltransition settings.

158│Studio One Reference Manual Thisgraph tracesthe response curve from the beginning of the macro control'stravel(the draggable point on the left end ofthe curve) to the end ofitstravel(the pointon the rightend),with a handle in the middle thatyou can drag to setthe shape of the curve. Dragging these pointsup and down the controlscaleson the left and right of the graph letsyou set the effective range of motion for that Macro control. For example, the whole range of a Macro knob could be set to affect just a quarter of a parameter'srange, for fine-tuning purposes. You can also move the right point below the left, reversing the action of the knob, according to whatever scale you wish. Below the graph are buttonsthat let you Reset the graph to itsdefault setting, Invert the shape of the curve, or Copythe curve setting and Paste it onto another parameter. Note that because Macro buttonsare an on-off type of control, theyhave no curve setting. However clicking in the Trans column next to a button assignment invertsitsresponse, causing the parameter to be enabled when the Macro button looks disabled, and vice-versa.

Routing View

CHAPTER 9│Studio One Reference Manual Normally, if you add multiple effectsto a Channel, theyare connected in series; the output of the first effect feedsinto the second effect, which feedsinto the third, and so on. If you open the Routing view in the ChannelEditor for a Channelwith multiple effects, thisiswhat you'llsee. Each effect in the Routing view isdisplayed asa module. When they're in series, a line runsthrough them from top to bottom, signifying the path of the signalasit runsthrough the modules. The signalstartsat the top, and flowsthrough the effects, to the bottom. You can clickon an effectsmodule to select it. If a selected effect isa built-in plug-in, a selection of the plug-in controlsare displayed in the inspector to the left. You can load patchesfor the effect from thisinspector, aswellasset a color for the selected effectsmodule, byclicking the color picker to the left of the effect'sname in the inspector. Each module in the Routing view hasa Bypassbutton, aswellasa drop-down menu that offersthe following operations: Edit Opensthe editor window for the selected plug-in.

Rename Letsyou rename the selected effect.

Remove Removesthe selected effect from the Channel.

Adding and Moving Effects

You can add effectsbydragging them into the Routing view window. Drag them into position above or below other effects to change the order in which theyprocessthe signal. You can also add effectsbyclicking the [Add FX] button, which brings up a menu of available effects.

Splitting Signals

The Splitter module letsyou split signals, letting you processthem through multiple paralleleffectspaths. These split signalsare then mixed backinto a single signal. You can add a Splitter to your effectssetup byclicking-and-dragging from the [Drag Splitter] button to your choice of location in the Routing view. You can clickon a Splitter to select it, and itsoptionsare shown in the inspector to the left. The following optionsare available: Splits Letsyou specifythe number of independent pathsto split the signalinto.

Mute Output Clickthe boxesto mute and unmute individualsplit paths.

160│Studio One Reference Manual Split Mode Select the Splitter mode that suitsyour needs, from the following choices: Normal Splitsthe signalinto two or more identicalcopies. Thisisusefulfor anysort of parallelprocessing, such as "New York" compression or vocal multiprocessing. Channel Split Splitsstereo signalsinto pairsof mono signals, for independent processing of left and right channelinformation. With two splits, thisturnsa stereo signalinto a pair of left/right mono signals. With four splits, you get two setsof left-right mono signals. Frequency Split Splitsa signalinto isolated bandsof frequencies, at the frequenciesyou specify. With two splits, the signaliscrossed-over into two frequencybands, split at a single frequency. With three splits, there are three bands, split at two crossover frequencies, and so on. When more than one fre- quencysplit isemployed, The splitsare numbered from low frequencyto high. Much like you can move effectsmodulesinto different placesin the signalchain, you can move Splitter modulesto the position of your choice, aswellasfreelymove effectsinto and out of each split path. To remove a Splitter module, clickits triangle to open the pop-up menu and choose Remove. If you remove a splitter module that haseffectsinserted within its split signals, those effectsare reconnected in series. Splitter effectschainsare compensated for plug-in delayautomatically, retaining the proper time relationship between all split channels.

Groups As discussed in the Edit Groups section of the Editing chapter, it ispossible to group multiple Trackstogether so that any editsdone to an Event on one Trackin the Group are automaticallydone to allEventsfor allTracksin the Group. These same Edit Groupsaffect how their related Channelfadersbehave in the Console.

Create or Dissolve a Group in the Console To create a Group in the Console, select the desired Channelsand then [Right]/[Ctrl]-clickand select Group Selected Tracksfrom the pop-up menu. To dissolve, or ungroup, grouped Channelsin the Console, [Right]/[Ctrl]-clickon any Channelin the Group and select Dissolve Group from the pop-up menu. When an Audio Channelisin a Group, the Group icon appearson the Channel.

Group Behavior in the Console When a Channelisplaced in a Group, itsfader islinked to the fadersfor allother Tracksin the Group, so that allof the fadersmove when anyof them ismoved. The movement of fadersin the Group isrelative to one another, maintaining the correct dB value relationshipsamong the faders. Note that ChannelPan isnot affected bygrouping, asChannelswithin a Group are veryoften panned separately. Solo, Mute, Record Enable, and Monitor Enable controlsare also linked for allChannelsin a Group. No other aspect of the Channelin the Console isaffected bygrouping. Instrument Tracksin the Arrange view have no direct representation in the Console. The audio outputsof the virtual instrumentsto which theyare routed have corresponding channelsin the Console. Grouping Instrument Tracksin the Arrange view onlyaffectsediting Eventson those Tracks, unlessthe Tracksare routed to virtualinstruments. In thiscase, grouping behavior isapplied to the corresponding Instrument Channelsin the Console aswell.

Temporarily Suspend Groups It ispossible to temporarilysuspend a Group so that, for instance, the fader for a Channelin a Group can be edited without affecting the other Channelsin the Group. To suspend the Group, hold [Alt]/[Option] on the keyboard while clicking on the Fader, Mute, Solo, Record Enable, or Monitor Enable controls. Note that [Alt]/[Option]-clicking Solo on a grouped Track clearsthe Solo statusof allTracksin the Console; if you wish to solo a grouped Trackalong with other Tracksoutside the

CHAPTER 9│Studio One Reference Manual Group, you must first solo the grouped Track, then enable solo for anyadditionalTracks. It isnot possible to solo single Tracksfrom two separate Groupssimultaneously, though you can solo a single Trackfrom one Group and solo allTracks in a second Group.

Metering Metering isa criticalpart of the production process. Studio One’smetersvisuallydisplayaudio levelsaccording to your choice of metering style, and you can meter these levelsat variousstagesin the signalpath. Peakmeterscan be found on everyChannelin the Console except the Output Channels, which appropriatelyfeature a more informative Peak/RMS meter with K-System Metering options.

Peak Meters Peakmetersmeasure the instantaneousaudio levelfrom moment to moment at a veryfast resolution and displaythe highest output levelat anyinstant. These metershelp ascertain the relationship between a given audio leveland other audio levelsin the mix. Manyeffectsplug-insfeature peakmetersat the input and output so that anylevelattenuation the effect impartson the audio signalcan be seen. [Right]/[Ctrl]-clickon a peakmeter to adjust itsVU Hold and Hold Length settings. The peakmetersin Studio One automaticallydisplayin mono or stereo depending on the audio source.

Peak/RMS Meters The Main Out and Sub Out Channelsfeature Peak/RMS meters, which simultaneouslyshow both peakand RMS levels. Whereasa peakmeter showsthe highest output levelat anyinstant, an RMSmeter showsan average of the peaksand troughsof an audio signalover time. An RMS meter isintended to indicate the perceived loudnessof the audio being measured byfunctioning in a waysimilar to the human ear and istherefore often used asa true measure of perceived loudness.

Main Out Clip Counter The Main Out Channelfeaturesa Clip Counter above itsPeak/RMS meter.

162│Studio One Reference Manual The counter turnsred when the Main Out signalclips, and countsthe totalnumber of clipsthat occur. Use the counter to help prevent clipping the finalstereo mixof your Song. The counter resetswhen clicked or when the Main Out fader is adjusted.

K-System Metering The Peak/RMS metersin Studio One also feature K-System metering options. The K-System isan integrated metering system tied to monitoring gain, and it isintended to standardize the levelsat which sound ismixed and mastered. This metering system featuresthree different meter scalescalled K-20, K-14, and K-12. These three scalesare meant to be used with different typesof audio production and have been described byK-System inventor Bob Katzin hisAudio Engineering Society technicalpaper “An Integrated Approach to Metering, Monitoring, and Leveling Practices.” Katz wrote: “The K-20 meter isfor use with wide-dynamic-range material, e.g., large theater mixes, ‘daring home theater’mixes, audiophile music, classical(symphonic) music, hopefullyfuture ‘audiophile’pop musicmixed in 5.1, and so on. The K-14 meter isfor the vast majorityof high-fidelityproductionsfor the home, e.g., home theater and pop music(which includes the wide varietyof moderatelycompressed music, from folkmusicto hard rock). And the K-12 meter isfor productionsto be dedicated for broadcast.” To switch to anyK-System meter, [Right]/[Ctrl]-clickon anyPeak/RMS meter and choose an option from the menu.

CHAPTER 9│Studio One Reference Manual When using anyof the three K-System scales, the 0 VU markshould be calibrated to 85 dBSPL from your monitors, which you should measure with an SPL meter. For instance, playing backa -14 dBFSsine wave in Studio One while using the K- 14 scale causesthe meter to read 0 VU for both the peakand average levels, and your monitorsshould be adjusted so that the SPL meter at the listening position reads85 dBSPL.

System Performance Monitoring - Performance Monitor

The Performance Monitor displaysthe current On/Off state for Instrumentsand plug-ins. Double-clicking the name opens the device. The Cache section showsyou the amount of audio data currentlyin the Audio Cache, with optionsto show its contentsor clean up unused itemsin the cache.

Automatic Plug-In Delay Compensation Some plug-in effectsinherentlyhave some delay, or latency. It takesa certain amount of time for these plug-insto process the audio routed to them, which meansthe resulting output audio isslightlydelayed. Thisespeciallyappliesto dynamics processor plug-insthat feature a look-ahead function, such asthe included Compressor. In Studio One, thisdelayismanaged with plug-in delaycompensation through the entire audio path. There are no settings to manage, asthisfeature iscompletelyautomatic. The syncand timing of everyAudio Channelin your Song are automaticallymaintained, no matter what processing isbeing used. The current totalplug-in delaytime isdisplayed in the left-side Transport, below the current sample rate.

Manual Audio Track Delay It issometimesnecessaryto manuallydelaythe playbackof audio to keep it in syncwith other audio. A classicexample isin the case of recording a live performance, where tracksare recorded directlyfrom the mixing console, while ambient microphonescapture the audience sound from a position wellawayfrom the stage. The direct sound from the console

164│Studio One Reference Manual arrivesat the recorder almost instantaneously; it takeslonger for the sound to reach the ambient micsfrom the stage. When the signalsare mixed, the time difference resultsin audible delayand phase problems. To properlyalign the recorded audio from the ambient micswith the rest of the recorded mix, you can applya negative amount of manualdelay to the ambient recording. Open the Inspector view byclicking on the Inspector button or pressing [F4] on the keyboard. Enter a positive or negative Delayvalue, in milliseconds, to applya delayto the Track. To calculate the value to applyto ambient micsin the example, do the following: Measure the distance from the stage to the ambient mics.

Divide the distance in feet by1,129, which isroughlythe speed of sound (at sea level, at 1 atmosphere of pressure) in feet per second. (Divide the distance in metersby343 for metersper second.) The resulting value isthe amount of secondsit tookfor sound to reach your ambient mics. For example, if the distance was100 feet, the resulting amount of time is0.0885 seconds(100/1,129=0.0885), or 88.5 milliseconds. For the stereo ambient micTrack, or for each mono Track, enter a Delayvalue of -88.5, which removesthe recorded delayand putsthe Tracksin syncwith the rest of the recording.

Using the Marker Track You’lloften want to quicklynavigate to variousareasof your Song during mixdown. In Studio One, the Marker Trackis used to place Markersat desired placesin the timeline, after which navigation to the Markersiseasy. To open the Marker Track, clickon the Marker Trackbutton above the TrackColumn in the Arrange view. Notice the Timebase button to the right of the Marker Trackin the Trackcolumn. The musical-note icon on the Timebase button indicatesthat Markerswilladhere to their position based on barsand beats, so if the tempo changes, the Markers move forward or backward in time in relation to their musicalposition. If you clickon the Timebase button, it switchesto a clockicon, indicating that the Markerswilladhere to their absolute position in time. If the tempo changes, the Markersdo not move, astheyare locked to an absolute time position in the timeline.

Inserting Markers To insert a new Marker into the Marker Track, with playbackrunning or stopped, clickon the Add Marker button or press [Y] on the keyboard. Each new marker isnumbered sequentiallybydefault (1, 2, 3…). To insert a named Marker, press [Shift]+[Y], enter a name in the pop-up window, and click[OK], or press[Enter]. To rename a Marker, double-clickon it in the Marker Track, type in a new name, and then press[Enter] on the keyboard. Note that, for clarity, the Start and End markerscannot be renamed.

CHAPTER 9│Studio One Reference Manual Navigating Markers You can quicklyjump the playbackcursor between Markersin the Marker Track. Clickon the PreviousMarker button in the Transport, or press[Shift]+[B] on the keyboard, to jump to the previousMarker. Clickon the Next Marker button in the Transport, or press[Shift]+[N] on the keyboard, to jump to the next Marker. Jumping to Markersduring playbackenables quickcomparisonsbetween sectionsof your Song. You can also jump to up to seven different Markersfrom the Transport/Goto Marker menu.

Song Start and End Markers When a new Song iscreated, you can specifya Song Length. The default length is5 minutesor 151 barsat the default 120 bpm tempo. At the beginning and end of the specified region, Song Start and End Markersare automaticallyplaced in the Marker Track. These markerscan be used to define the timeline region to be exported in the Export Mixdown and Export Stemsfunctionsin the Song menu, and theyare used bydefault in the Update Mastering File process.

Cut, Copy, Paste and Delete Markers You can use standard Cut, Copy, Paste and Delete commandsto distribute and manage your Markers. To cut or copya Marker, select it byclicking itsname flag, and either press[Ctrl]/[Cmd]+[C] to copyor [Ctrl]/[Cmd]+[X] to cut, or [Right]/ [Ctrl]-clickthe Marker to open the pop-up menu and choose Cut or Copy. To paste a Marker, place the cursor at the desired location and press[Ctrl]/[Cmd]+[V]. To delete a Marker, select it and pressthe Delete Selected Markersbutton in the controlarea of the Marker Track. Alternately, you can delete a Marker by[Right]/[Ctrl]-clickitsname flag and choose Delete from the pop-up menu, or byselecting the Marker and pressing [Delete] on your keyboard. You can also accessthese commandsin the Edit menu. If you have cut a marker and wish to return it to itsoriginalposition (and have since done other operationsthat would make using Undo impractical), press[Ctrl]/[Cmd]+[Shift]+[V] or select Paste at OriginalPosition in the Edit menu.

Stop Playback with Markers Markerscan optionallystop playbackwhen reached bythe playbackcursor. To engage thisoption for anymarker, [Right]/ [Ctrl]-clickon a marker and engage the Stop at Marker option, or select a marker and engage the same option in the Inspector. Note that thiscannot be enabled for the End Marker.

166│Studio One Reference Manual Looping During Mixing Looping a section of audio (for instance a chorus) while mixing allowsyou to focuson a particular area of your overallSong without having to constantlystop, rewind, and resume playback. To quicklyloop a section of audio, first select the audio you want to loop byeither selecting a range with the Range toolor directlyselecting an Event or multiple Eventswith the Arrow toolin the Arrange view. Then press[P] on the keyboard to set the Left and Right Locatorsaround your selection. Alternatively, press[Shift]+[P] on the keyboard to ignore Snap while setting the Locators. Finally, clickon the Loop button in the Transport, or press[Num Pad /] on the keyboard, to loop the playbackbetween the Left and Right Locators. You can manuallyset the Left and Right Locatorsto a desired range and then engage Loop in the Transport. To do this, float the mouse cursor to the top of the Timeline Ruler untilyou see the Draw toolappear. Then click-and-drag to the right to draw the loop region (Left and Right Locators) around the area you wish to loop. Hold [Alt] on the keyboard while dragging to simultaneouslyengage Loop in the Transport. You can also manuallymove the Left and Right Locatorsbyclicking and dragging them left or right in the Timeline Ruler. To move the entire range of the loop along the timeline, clickand drag the grayline that connectsthe Loop start and end locators. To quicklyenable or disable looping, double-clickthe grayline that connectsthe Loop start and end locators.

Mixing Down In most cases, you’llrecord multiple Tracksin a Song, but you'llneed to mixthese Tracksto a stereo format for distribution on CD, DVD, or the Web. With a DAWsuch asStudio One, thissimplymeanssaving your mixto a stereo file.

CHAPTER 9│Studio One Reference Manual Create a Mixdown

To create a mixof your Song in Studio One, navigate to Song/Export Mixdown or press[Ctrl]/[Cmd]+[E] on the keyboard to open the Export Mixdown menu.

Location The top section of the Export Mixdown menu iswhere you can select a location and name for the mixfile. Clickon the [...] button to choose a file location. Clickon the file name, type in a new name, and press[Enter] to choose a name for the file. Location defaultsto the Mixdown folder in folder for your Song, but once you set a new mixdown location, Studio One uses that location for further mixdowns, untilthe next time you close the Song. Mixdownsare titled "Mixdown" bydefault, but once you set a name, that name isused bydefault for anyfurther mixdownsof the current Song.

Format Select the format for your mixfile in the middle section of the Export Mixdown menu. Choose from Wave, AIFF, FLAC, CAF, Ogg Vorbis, or MP3 file, and then choose the desired resolution and sample rate. If you want to put your mixon a standard audio CD, create a 16-bit, 44.1 kHzWave file.

168│Studio One Reference Manual Export Range Choose the Between Loop option to onlyexport the range of your Song between the Left and Right Locators. Choose Between Song Start/End Marker to export the range of your Song between the Song Start and End Markers, asseen in the Marker Track. Choosing Between Each Marker exportsseparate audio filesfor the range between each marker in the Song for each Track, placing them in foldersnamed after the markers. Choosing Between Selected Markersletsyou choose a pair of Markersto export the range between. The duration of the range to be exported isdisplayed in the Duration field. Note that when Between Each Marker is selected, the Duration field stillshowsthe fulllength of the Song, signifying the totallength of audio to be exported, rather than the length of anyone section asdictated bythe Markers.

Options The bottom section of the Export Mixdown menu hasseveraloptionsthat affect how the mixfile iscreated. Choose an output from which the mixisto be created in the Output selection box. Onlythe Main Out appearsin the list, by default. If there are anySub Outsin the Console, theyappear in thislist aswell. CheckImport to Trackif you would like the miximported to a new Trackin your Song. CheckBypassMaster Effectsto bypassthe Insert effectson the Main Output Channelof the Console when rendering the mixdown. Thisisusefulif you have inserted effectsto simulate the mastering stage, such asa compressor and limiter, but would like to render the mixdown without them in order to addressthisin a mastering Project, or to preserve flexibilityfor another mastering engineer. CheckRealtime Processing if you wish to export your mixin realtime. Thisoption should be used if your Song requires ExternalInstrumentsor externalhardware processing so that musicaldata and audio flowsto and through these external sources during mixdown. CheckClose After Export if you would like to close the Mixdown to Audio File menu after exporting your mix. CheckOverlap and specifya duration if you would like to add an overlap to the exported range so you can create crossfadesbetween them later on.

Song Meta-Information Certain file formats, such asMP3, can contain additionalinformation about the audio which isreferred to as"meta- information". In the Song/Song Setup/Meta Information menu are manyfieldsof data that can be filled in for each Song. These fieldsare used to tag audio files, so that theyare labeled correctlyfor playbackin software and variousmedia players. Allaudio filesexported from a Song that can contain meta-information are tagged with the meta-information supplied here. At the bottom of the Meta Information menu, you can choose to displaythe Song’smeta-information when the Song is opened. The information can also be viewed at anytime byselecting Song Information from the Song menu. The Song Information window also containsa Notestab, in which you can type in anytext information about the Song that maybe useful later. The meta-information displayed representswhat listenerssee in their media playerswhen playing the Song. Displaying thisinfo could also be helpfulin remembering aspectsof the Song production later. Meta-information filled in for anySong isautomaticallyfilled in for that Song when it isimported into a mastering Project. For moreonthis,refer tothe Meta-Information section in the Mastering chapter.

SoundCloud Support When you're done mixing down, you can upload your soundsto SoundCloud, a web-based musicsharing service, directly from Studio One. You can also download soundsfrom SoundCloud (when available) directlyinto Studio One. You can accessthe SoundCloud Client directlyfrom the Studio One/SoundCloud Clientdialog. In thisdialog, you are able to upload audio straight to SoundCloud, and set variousSoundCloud-specificoptionsasyou do so.

CHAPTER 9│Studio One Reference Manual SoundCloud in the Browser

You can find SoundCloud featuresin the Cloud tab in the Browser.

You can drag and drop audio from the SoundCloud locationslisted here just asyou would from anyother file location, and audio isdownloaded (if downloadsare allowed for the chosen file) accordingly. You can even preview the audio in the Browser. For instance, you might have a musicpartner creating beatsfor you, and he sharesthat audio directlywith you through SoundCloud. You would browse to that person'sSoundCloud folder, listed under the SoundCloud heading in Cloud, and drag the desired audio into the arrangement. A specialEvent isplaced in the arrangement, and the Transfersmenu opensto indicate the download’sprogress. When the download iscomplete, the waveform appearsfor the Event, and you can proceed asyou normallywould with anyaudio material.

Export Stems from your Song It can be helpfulto quicklyexport individualTracksfrom your Song. For instance, you might wish to send the Tracksto someone, to prepare a different mixor remixthe Song. The Export Stemsfeature in Studio One providesan easywayto accomplish this.

170│Studio One Reference Manual Select Tracks and Channels

To export stemsfrom your Song in Studio One, navigate to Song/Export Stems to open the Export Stemsmenu. Once in thismenu, you can see two tabslabeled Tracksand Channels. The list of Tracksreflectsthe Tracksin the Arrange view, while the list of Channelsreflectsthe list of Channelsin the Console. Muted Tracksand Channelsare unchecked by default, and can be identified bya (Muted) indicator. Select the Tracksand Channelsyou wish to export bychecking each Trackor Channelin the list. You can easily select all Tracks, select only active Tracks, or deselect all Tracks, by pressing the Select All/Active/None buttonsbelow the Tracklist. Note that the audio file created for anyselected Trackor Channelisthe equivalent of soloing the Trackor Channelin the Console and listening to the result. The audio file includesthe resultsof allInsertsand Sendson the Trackor Channel. If you don’t want the Insertsor Sendsincluded in the exported audio, disable them before exporting.

Location You can select a location and name for the exported filesin the top section of the Export Stemsmenu. Clickon the [...] button to choose a file location. Clickon the file name, type in a new name, and press[Enter] to choose a name for the file. The name of each Trackin the Song that isbeing exported isappended to the user-specified file name.

Format Choose from Wave, AIFF, FLAC, CAF, Ogg Vorbis, or MP3 file, and then choose the desired resolution and sample rate.

CHAPTER 9│Studio One Reference Manual Export Range Choose the Between Loop option to onlyexport the range of your Song between the Left and Right Locators. Choose Between Song Start/End Marker to export the range of your Song between the Song Start and End Markers, asseen in the Marker Track. Choosing Between Each Marker exportsseparate audio filesfor the range between each marker in the Song for each Track, placing them in foldersnamed after the markers. Choosing Between Selected Markersletsyou choose a pair of Markersto export the range between. The duration of the range to be exported isdisplayed in the Duration field. Note that when Between Each Marker is selected, the Duration field stillshowsthe fulllength of the Song, signifying the totallength of audio to be exported, rather than the length of anyone section asdictated bythe Markers.

Options The bottom section of the Export Stemsmenu hasseveraloptionsthat affect how the filesare created: Check Preserve Mono Tracks if you would like mono Tracksto render mono audio files. If you are using stereo effectswith mono Tracks, you maywish to disengage thisoption. Check Import to Track if you would like the exported Tracksto be imported to new Tracksin your Song.

Check Realtime Processing if you wish to export your Tracksin realtime. Thisoption should be used if your Song requiresexternalMIDI instrumentsor externalhardware processing, so that musicaldata and audio flows to and through those externalsourcesin realtime during the export process. Check Close After Export if you would like to close the Export TracksasAudio Filesmenu after exporting your Tracks. Check Overlap and specifya duration if you would like to add an overlap to the exported range so you can create crossfadesbetween them later on.

Mixing Suggestions

Before Mixing The production workdone before mixing hasa great impact on the mixing process. Here are a few guidelinesyou mayfind helpful: Finish the arrangement of your Song before attempting to mix. The addition, deletion, and rearrangement of partscan change the relationshipsbetween allof the partsin your Song, which affectsthe mix. If anypart of your Song isproblematic, it isunlikelyto workwellin a mix. The “fixit in the mix” approach usually leadsto a lot of wasted time, onlyto achieve poor results. Be sure you are pleased with the individualpartsof your Song before attempting to mix. Some partsof your Song might relyon a certain amount of mixing and effectsprocessing to achieve the desired sound and character in the arrangement. It isveryeasyto let thistype of “mixing” carryover into mixing the entire Song. If you find yourself working on manyTracksat once, you are probablymixing the Song, rather than a particular part. If your Song lackspersonality, vibe, or feeling before you start mixing, it isunlikelyto gain anyof these subjective qualitiesduring mixdown. In thiscase, take the time to re-record certain parts, rearrange the Song, or even start over from scratch.

Mixing Workflow While mixing requiresan objective knowledge of manytools, the processisan art form. If you were to askten mix engineersto mixthe same Song, each mixwould sound different. There are no step-by-step or “mixbynumbers” instructionsyou can follow to achieve good results. The following broad conceptsmayhelp guide you in the mixing process.

172│Studio One Reference Manual Balance Mixing islargelyabout balance. The variouselementsin a mixare balanced with each other so that each element can be clearlyheard and contributesasdesired to the overallmix. Thisentailsusing the fadersto varylevelsand equalizing soundsso that there isno “competition” between elementswith similar frequencycontent. There isa limited amount of space in the mix, based on individualenergylevelsfor each frequencyin the audible spectrum and the relationshipsof the soundswithin the stereo field. A popular view on mixing maintainsthat auditoryperception occurswithin a three-dimensionalspace, wherein the principlesof mixing are highlyvisual. A number of variablesdetermine how we perceive location, including frequency, phase, reflections, and relative amplitude (level). Therefore, while mixing, variouselementscan be positioned in the 3-D listening space using faders, equalizers, ambient effects, and panning to achieve appropriate balance acrossthe entire mix.

Busing Busing can make mixing much easier bycreating submixesof certain elements. For instance, a live drum set maybe recorded acrosseight or more individualChannels. In thiscase, the drumscan first be submixed to their own busor stereo channel, and then the submixcan be blended into the overallmix. To accomplish thisin Studio One, refer to both the Busing and Groups sections of this chapter. Busing isalso used to build on individualTracksto create a “larger” sound. For instance, a vocalTrackmight be bused to an FXChannelwith a choruseffect inserted, aswellasto a buswhere allof the vocalsare mixed and sent to a reverb. These variouselementsare allmixed using individualfadersand add to the overallvocalsound in the mix. Busing can be used creativelyto achieve an endlessvarietyof results. Experiment with thisconcept to help achieve a unique sound.

Preparing Your Mix for Mastering Too often, mixesare sent to the mastering phase of production after theyhave been compressed, equalized, limited, and generallyprocessed to the loudest possible levels. Thisisusuallythe result of people comparing their unmastered mixesto finished, mastered, published songs. Indeed, it’stempting to make your mixesasloud aspossible while mixing. However, mixing ismostlyabout achieving excellent balance. It isnot about making the mixloud, especiallywhen compared to mastered mixes. During mastering, you can bring the overallloudnessup without affecting the balance achieved during mixing. But if your mixesare alreadyasloud astheypossiblycan be, little can be done during mastering to make the most of the balance you achieved in the mix, nor can you easilybalance one mixwith another to create a cohesive album. Therefore, when listening to reference material(which we highlyrecommend), tryto ignore the overallloudnessand just payattention to how the individualelementsare balanced. Avoid placing compressorsor limiterson the master channelof your mix.

Maximizing Computer Processing Power If you are onlylistening to playbackof previouslyrecorded audio, and not to live inputsbeing recorded, input and output latency(the time it takesto get audio into and backout of your computer) isirrelevant. Besides, Studio One’sautomatic delaycompensation keepsallplaybackTracksin syncwith each other, regardlessof plug-in processing. Therefore, during mixdown, the BlockSize can be increased to allow more time for processing to occur before the audio isheard, which enablesyou to use more plug-insand other processing. To adjust the BlockSize, navigate to the Studio One/Options/Audio Setup menu (MacOSX: Preferences/Audio Setup). In Windows, if your audio interface allowsit, asmost ASIOdevicesdo, adjust the Hardware BlockSize byclicking and dragging the horizontalfader. The value of the Hardware BlockSize isreported next to the horizontalfader. In MacOSX, there isa pop-up menu to adjust BlockSize.

CHAPTER 9│Studio One Reference Manual In the Windowsversion of Studio One, the InternalBlockSize islocked bydefault to the same value asthe Hardware Block Size. Clickon the Lockselection boxto unlockthe InternalBlockSize. Then clickon the InternalBlockSize value to choose from the list of available values. In MacOS X, there isno difference between Internaland Hardware BlockSize.

Rendering and Deactivating Virtual Instruments Virtualinstrumentscan require a lot of computer resources, which limitsthe computing power that’savailable for other processes. Therefore, it issometimesworthwhile to render the audio output of an Instrument Trackto an Audio Trackand then deactivate the virtualinstrument. The most flexible option you have isto use TrackTransform to render Audio and Instrument Tracksand temporarily remove the related virtualinstrumentsor effects, asdescribed in the Editing chapter. Alternatively, you can do the following to accomplish this: 1. Select allof the Instrument Partson the Instrument Tracksthat you would like to render to audio. 2. Select Bounce Instrument Partsfrom the Event menu or press[Ctrl]/[Cmd]+[B] on the keyboard. Each Instru- ment Part isrendered to an Audio Event and placed appropriatelyon a new Audio Track. 3. Clickon the Instrument icon on the Instrument Tracksto open the user interface for itsvirtualinstrument and click on the Activate button to deactivate it. Thisfreesanycomputer resourcespreviouslybeing used bythe virtual instrument. The same concept appliesto resource-intensive Audio Effect plug-ins. You can export audio to a new Trackusing the Song/Export Stems function, with the Import to Trackoption enabled. Then, you can simplyremove the originalAudio Track, freeing up the resourcesformerlyused byitseffectsplug-ins.

Audio Engine Overload Computershave a limited amount of processing power, and you can reach a point where the system can’t support allof the running processes. If thisoccurswhile using Studio One, the Studio One audio engine overloads, causing the application to become unresponsive or frozen. If thishappens, and Studio One becomesunresponsive for more than 15 seconds, the system isautomaticallystopped, and the audio device issuspended. A warning message isdisplayed to notifyyou that thishashappened. When you see thismessage, immediatelysave your Song or Project. After saving, disable some plug-ins, including audio effectsand virtualinstruments, to reduce the amount of computer processing needed to playthe Song or Project. When you resume playback, the audio engine willfunction normally. If you see the warning again, trydisabling more plug-ins. Thisfeature isintended to make the experience of using Studio One stable and enjoyable on less-powerfulcomputers. If you are using a relativelypowerfulcomputer, you are unlikelyto overload the audio engine.

174│Studio One Reference Manual Automation

Automation isa criticalpart of modern mixing. The following chapter discussesaspectsof automation in Studio One, including Trackand Part automation, automation modes, and automation envelopes.

What is Automation? Automation letsyou record changesin parameter values; thereafter, Studio One can perform these value changesfor you. For instance, you can record levelchangesin a Trackbycapturing your fader movementsduring playback; from then on, Studio One can perform the levelchanges. Before the advent of automation, mixing wasverymuch a performance. Sometimesit tookmanypairsof handson the mixing console to accomplish allof the fader, mute, solo, and other movementsto achieve a mix. Automation makesit possible to record the mixing performance in anywayyou desire and endlesslytweakeveryparameter untilthe desired mix is achieved. In Studio One, automation isrecorded in automation envelopes, which are a seriesof data pointsconnected bylinesthat represent the changing valuesof the parameter being automated.

Automation Types Nearlyeveryparameter in Studio One can be automated. Severalwaysto automate parametersare provided, including Trackautomation, Automation Tracks, and Part automation. The following sectionsdescribe these automation types.

Track Automation Trackautomation allowsyou to automate anyparameter related to an Audio or Instrument Trackand the Eventsit contains. Automation can be viewed via the Show Automation button at the top of the TrackColumn in the Arrange view or by[Right]/[Ctrl]-clicking on a Trackand selecting Expand Envelopes. Note that for Instrument Tracks(which do not have automation enabled on anyparametersbydefault), Expand Envelopesdoesnot show automation unlessone or more parametershave been enabled for automation. Note that automation envelopeson Instrument Trackscontrolthe parametersof the virtualinstrument to which the Instrument Trackisrouted. Allother aspectsof Instrument Trackautomation envelopesworkin the same wayaswith Audio Track automation.

Automation Envelopes On the Track

To view automation envelopesone at a time, superimposed on top of Eventson the Track, Press[A] on the keyboard or clickon the Show Automation button at the top of the Trackcolumn in the Arrange view. With thisengaged, the Track column of the Arrange view changesto revealautomation parameters, including an On/Off button, the parameter name for the currentlyshown Envelope, and automation mode selection.

CHAPTER 10│Studio One Reference Manual Clickon the Automation Parameter display, which islabeled “Display: Off” bydefault, to revealthe available automation envelopesfor a Track(“Display: Off” indicatesthat the Eventson the Trackare displayed, instead of an automation envelope). Volume and Pan automation envelopesare available bydefault on everyAudio Track. Select a parameter from the list to view and edit the automation envelope, or clickon Add/Remove to open the Automation dialog for the Track.

Automation Envelopes In Lanes

To view multiple automation envelopesat once, with each in a lane under the Track, [Right]/[Ctrl]-clickon a Trackand select Expand Envelopes. Alternatively, you can clickthe drop-down arrowsfor a Trackin the TrackList to expose its automation envelopesin the same way. To hide the automation envelopes, deselect Expand Envelopesin the Track contextual menu.

Turn Automation On/Off Automation envelopescan be turned on and off, so you can decide when theyaffect the controlled parameter. To turn an envelope on or off, clickon the On/Off button for that Envelope. Each automation envelope can be turned on/off independently. Turning an automation envelope on/off during playbackhasdifferent resultsdepending on the current Automation Mode for the Track.

Add Automation Envelopes to a Track Anynumber of automation envelopescan be added to a Track. The fastest wayto add an automation envelope to a Track is as follows: 1. Modifyanyparameter for an Audio Trackor itsInsertsor Sends, and that parameter isdisplayed in the Software Parameter window in far left of the Arrange view toolbar in the Song window. 2. Clickon theHandiconin theSoftwareParameter window,anddragitto theTrackto addan automationenvel- ope for that parameter to the Track. If the envelope alreadyexists, it isdisplayed, and a new envelope isnot added. An alternative wayto add automation envelopesto a Trackisdescribed asfollows. 1. Press[A]onthekeyboardtoshow automation. 2. Clickon the Parameter window on the Trackin the Trackcolumn of the Arrange view and select Add/Remove from the list. Thisopensthe Automation dialog for that Track. 3. On the left side of the Automation dialog, the existing automation envelopesare listed, along with their associated automation mode and device. On the right side of thisdialog are the parametersfor which new automation envelopescan be added. 4. Select anyparameter on the right and clickon Add to create a new automation envelope. Clickon anyparameter on the left and clickon Remove to remove the existing automation envelope.

176│Studio One Reference Manual At the top of the Automation dialog, you can browse through allTracksin your Song to view and edit the automation envelopesfor anyTrack. You can also clickon the Add Automation Trackbutton to add a new Automation Track.

Automation Tracks Studio One featuresa Tracktype dedicated to automation that onlycontainsautomation envelopes. An Automation Track can contain automation envelopesrelated to anyTrackand anyplug-ins. To add an Automation Track, press[T] on the keyboard to open the Add Trackdialog, and select Automation. Note that at least one envelope on Automation Tracksis alwaysvisible, and the envelopescan be viewed on the Trackitself or in lanes, just aswith the other Tracktypes.

Onlythose parametersfor which an automation envelope doesnot alreadyexist are available for automation. However, you can drag and drop an automation envelope from anyother Trackto an Automation Track. Allother aspectsof Automation Trackautomation envelopesworkin the same wayaswith Trackautomation. You can use Automation Tracksto automate Bus, FX, and Output Channelparametersand Insertsand to keep critical automation envelopes organized in one place and easily accessible.

Editing Automation Envelopes Automation envelopescan be edited directly, using the mouse, aswellaswith externalhardware controllers. The following section describesediting automation envelopeswith the mouse. Refer to the Automation with Hardware Controllers section of the Control Link chapter for more on editing envelopeswith externalhardware controllers. To edit an automation envelope, you first need to show automation byclicking on the Show Automation button at the top of the Trackcolumn or bychoosing Expand from the Trackcontextualmenu. ATrackmust also be selected in order for the automation envelope pointsto appear.

Arrow Tool Editing an automation envelope with the Arrow toolletsyou add new pointsto the envelope, move existing points, and select and delete existing points. Be sure to select the Arrow toolin the Arrange view before attempting the following processes.

Add a New Automation Point

To add a new point to an automation envelope using the Arrow tool, float the mouse above the envelope in the TrackLane so that the Hand cursor appears. Click-and-drag the envelope to create a new point and move it to your desired position.

Move an Automation Point

To move anypoint on an automation envelope, using the Arrow tool, click-and-hold anyexisting point on the envelope. While holding, moving the selected point verticallychangesitsparameter value, and moving the point horizontallychanges itstime position. Hold [Ctrl]/[Cmd] while dragging an automation point to lockthe time (horizontalmovement) or value (verticalmovement), depending on the distance from the point.

CHAPTER 10│Studio One Reference Manual Automation pointscan also be nudged left and right on the timeline byusing the left and right arrow keys. It isalso possible to float the Arrow toolover an envelope point and then hold [Alt]/[Option] and scrollthe mouse wheelup or down to increase or decrease the value of the point (that is, move it along the verticalaxis). When moving an automation point, notice the pop-up value indicator.

Thisdisplaysthe current parameter value. The range and the type of value depend on the parameter being automated and on the current time value displayed in the Timebase selected in the Arrange view. [Right]/[Ctrl]-clickon anyautomation point to bring up the contextualmenu, where the point value and envelope color can be changed. In Studio One, you can drag an automation point asfar beyond the position of other automation pointsasneeded. Moving an automation point beyond other pointson the envelope causesthe other pointsto move aswell. The other pointsbeing moved are restored to their originalpositionson the timeline if the point that caused them to be moved ismoved back beyond their original positions. Note that when Audio Eventsor Instrument Partsare moved, anyunderlying Trackautomation ismoved along with the Events, bydefault. To disengage thisoption, see the Studio One/Options/Advanced (Mac OS X: Preferences/Advanced) menu and uncheckthe Automation FollowsEventsoption.

Delete an Automation Point

To delete an existing point on an automation envelope using the Arrow tool, first clickon a point to select it. Then, press [Delete] on the keyboard to delete the point. Alternatively, [Right]/[Ctrl]-clickon anyautomation point and select Delete from the pop-up menu to delete it.

Editing Multiple Points at Once

It ispossible to simultaneouslyedit anynumber of pointson an automation envelope. Using the Arrow tool, clickin the TrackLane, awayfrom anyexisting automation point, and then drag to draw a selection boxaround the pointsyou want to edit. You can also hold [Alt]/[Option] and clickin emptyspace, or directlyon a point, to select allpointson the envelope from that point in time forward. With multiple pointsselected, click-and-drag, using the Arrow tool, on anyof the selected points, in order to move them all. Moving multiple pointsverticallyto adjust the parameter valuesadjustseach parameter value relative to the point being moved.

Paint Tool Editing an automation envelope with the Paint toolallowsyou to draw manyautomation pointswith a single move of the mouse, effectivelypainting an envelope. However, a single clickwith the Paint tooladdsa single point. You can choose from severalfigureswhen using the Paint tool, or you can use the Transform editor, asdescribed in the following subsections. Be sure to Show Automation and select the Paint toolin the Arrange view before attempting the following processes.

178│Studio One Reference Manual Draw an Automation Envelope

To draw an automation envelope using the Paint tool, click-and-drag in the TrackLane. While you are drawing the envelope horizontally, pointsare added at different time incrementsbased on the current Timebase. However, when the mouse button isreleased after drawing an envelope with the Paint tool, the drawn curvesof the envelope are intelligently and accuratelyapproximated to achieve the desired result with asfew pointsaspossible, which mayor maynot remove some unnecessarypointsfrom the envelope. If Snap isengaged in the Arrange view, the envelope pointsbeing drawn snap to the grid accordingly. Drawing an envelope with the Paint toolover existing pointson an automation envelope causesthe existing pointsto be overwritten with the newlydrawn points. These actionscan be undone and redone.

Draw with Figures

When selecting the Paint tool, scrollthe mouse wheelto revealseveralfigure-drawing tools, including a Line tooland Square, Saw, Triangle, and Sine waveform tools. With anyof these toolsselected, click-and-drag on anyautomation envelope to draw the desired envelope. When using the waveform tools, you can hold [Alt] to adjust the frequencyof the waveform while dragging, or hold [Ctrl] to varywaveform phase (amplitude and polarity). Hold [Ctrl]/[Cmd]+[Alt] while dragging, to move the currentlydefined automation shape left or right along the timeline.

Transform Automation

You can also choose the Transform toolfrom the Paint tooldrop-down list to alter existing automation, or add new automation. With the Transform toolselected, click-and-drag a selection boxaround anyarea of an automation envelope; then adjust the selection boxbyclicking-and-dragging one of eight handles(four sidesand four corners) to scale the selected automation points.

Automation Modes In Studio One, automation modesare specificto deviceson each Track. A delayeffect on an Audio Trackmight be in Touch mode, while the volume, pan, and other effectson that Trackare in different modes. Thisallowsa great dealof flexibility.

CHAPTER 10│Studio One Reference Manual With Show Automation selected, the current automation mode isvisible. To select anymode, clickon the Automation Mode window and select from the list. The following describesthe automation modes.

Auto: Off When Auto: Off isselected in the Automation Mode window, allautomation for the current parameter and for allrelated parametersare turned off. For instance, if you are currentlyviewing the Attackenvelope for a compressor inserted on an Audio Track, and you select Auto:Off, allparameter automation for the compressor isturned off. However, automation envelopesfor parametersthat do not belong to the compressor can stilluse a different automation mode. Thisisnot the same asturning an individualautomation envelope on and off, asdescribed in the Turn Automation On/Off section of thischapter, asthat on/off button onlyaffectsthe currentlyvisible automation envelope.

Read When you select Read in the Automation Mode window, anyexisting automation envelopeson the Trackfor the related device isread, and these envelopescontroltheir related parameters. Read mode isautomaticallyengaged when you draw a new automation envelope with the mouse. Press[J] on the keyboard to switch to Read Automation Mode manuallyon the selected Tracks.

Touch When Touch isselected in the Automation Mode window, automation envelopescan be affected bytouch-sensitive, externalhardware controllers, so that new automation iswritten when a hardware controlistouched, and automation is read when the hardware controlisnot being touched. Thisallowsthe user to manipulate the controlat anytime in order to write new automation or overwrite existing automation. Studio One resumesreading automation when the controlis released. Press[K] on the keyboard to switch to Touch mode manuallyon the selected Tracks.

Touch mode can be used even if your hardware controller doesnot have touch sensitivity. In thiscase, automation is written when you move the hardware controller, and existing automation isread when you are not moving the hardware controller.

Latch When Latch isselected in the Automation Mode window, automation isread untila hardware controlismanipulated, at which point automation iswritten continuouslyuntilplaybackisstopped. When playbackisresumed, automation isread untila hardware controlisagain touched.

Write When Write isselected in the Automation Mode window, automation iscontinuouslywritten based on the current position of externalhardware controllers. Existing automation isnot read at anypoint and isinstead overwritten with the new automation.

Instrument Part Automation In a feature unique to Studio One, automation envelopesfor anygiven virtualinstrument can written and accessed directly within Instrument Parts, just like musicaldata parameterssuch asvelocityand pitch bend. Part automation isintegrated into Instrument Parts, so that no matter where an Instrument Part ismoved, or how it isedited, the automation staysin place. In thisway, virtualinstrument automation can be kept where it belongswith the Instrument Partsin your Song. Thus, Instrument Part automation isfunctionallysimilar to the Trackautomation system but isdedicated to Instrument Parts and the virtualinstruments they control, offering additionalflexibility.

180│Studio One Reference Manual Recording Part Automation When an Instrument Part isbeing recorded, and anyof a connected virtualor externalinstrument’scontrolsare manipulated with the mouse or with an externalhardware controller, those controlchangesare recorded into the Part as Part automation. At anytime, Part automation can be recorded live to a new or existing Part byenabling Record and manipulating the virtual instrument controls. The related Instrument Trackmust be connected to a virtualor externalinstrument in order for Part automation to be recorded.

View Part Automation To view and edit Part automation for an Instrument Part, select the desired Instrument Part and open the Edit view by pressing [F2] on the keyboard, double-clicking on the Instrument Part, or clicking on the [Edit] button.

Below the MusicEditor (which showsthe musicalnotesfor the selected Instrument Part), you can see the Part Automation lane. At the upper left of the lane, the Parameter tab showsthe parameter currentlydisplayed in the lane.

Manually Add and Edit a Part-Automation Envelope Clickon the Parameter tab to choose a parameter to view and edit in the Part Automation Lane. Bydefault, Velocity, Modulation, Pitch Bend, and Aftertouch (Pressure) are available. To add a new automation envelope to the Part Automation lane, select Add/Remove from the list to open the Automation dialog. Thiswindow isidenticalto the Automation dialog mentioned in the Automation Envelopes On the Track section of thischapter. Alternatively, you can edit the parameter of the desired instrument, then clickon the hand icon in the top left parameter window and drag the parameter to the MusicEditor to add a Part Automation envelope for that parameter to the Instrument Part. The parametersthat you can add to the Part Automation lane are based on the virtualinstrument to which the Instrument Trackthat containsthe selected Instrument Part isconnected. Onlythose parametersfor which an automation envelope doesnot alreadyexist are available. Editing Part automation envelopesisnearlyidenticalto editing Trackautomation envelopes, asdescribed in the Editing Automation Envelopes section of thischapter. The one exception isthat if you press[Alt]/[Option] on the keyboard when using the Paint toolto draw an automation envelope, you can draw straight linesof anylength, which onlyuse two envelope points.

CHAPTER 10│Studio One Reference Manual It ispossible to view and edit two different parametersin separate Part Automation lanes. Clickon the two Part Automation Envelope buttonsto the bottom left of the Part Automation lane to show/hide the two Part Automation lanes. Anywritten Part automation isread, regardlessof whether it iscurrentlybeing viewed in either Part Automation lane.

182│Studio One Reference Manual Control Link

Studio One featuresControlLink, a cutting-edge system for integrating externalhardware controllerswith your virtual instruments, effects, and other software parameters. The following chapter describesthissystem.

What is Control Link? In most DAW software, you can use externalhardware devicesto controlsoftware parameters. For instance, you could map severalknobson a hardware MIDI controller to the software knobsof an EQeffect, so that when the hardware knobs are turned, the software knobsare turned. However, in most casesthe implementation islimited and difficult to learn. Studio One improveson thismodelwith the ControlLinksystem, simplifying the controlmapping processwith no need for knowledge of MIDI. ControlLinkisalso capable of context-sensitive mapping, so the same hardware controlscan control manydifferent thingsbased on the current area of focus. The following sectionsdescribe how to use the ControlLinksystem.

Mackie Control/HUI Support Studio One isoptimized for use with Mackie Controland HUI-format devices, including ControlLinkMapping and Send slot navigation, with the abilityto scrollthrough, and select from the listsof available pluginsand instruments, and their presets. You can also controlvariousChanneland Trackparameterssuch asMute/Solo, and FX Bypass(EQbutton). Further information can be found in the Mackie Control section.

Set Up Your External Devices To use anyexternalhardware device with Studio One, the device must first be set up so that Studio One recognizesit. Once an externaldevice isset up, it isavailable for use in anySong. To set up an externalhardware controller, refer to the information in the Set Up Your MIDI Devices section of the Setup chapter.

Map Your Keyboard For the ControlLinksystem to workwith your Keyboard, a software map must be made of the hardware controlsyou wish to use. Thissimple processworksasfollows: 1. Open the Mixview bypressing [F3] on the computer keyboard, and open the Externalpanelbyclicking on Externalin the Console navigation column to the far left of the Console. 2. Double-clickon the desired device in the Externalpanelto open the Device ControlMap. 3. Intheupper leftcorner oftheDeviceControlMapwindow,clickonthe[MIDILearn]buttontoenter MIDILearn mode. 4. With MIDI Learn enabled, simplymove anyhardware controlto map it. Ascontrolsare mapped, the default Knob object created for that controlisdisplayed, and it movesin correspondence with itsrelated hardware control. 5. When editing the controlmap for a Keyboard device (MIDI Learn enabled), you can select Transmit Value from the contextualmenu for each control. Thisoption sendsparameter updatesfor a given hardware controlout of the Keyboard device'sMIDI Out port when the software parameter to which the controlislinked changes. This makesit possible for user-created Keyboard devicesthat have soft controls(endlessrotaryencoderswith LED indicators, motorized faders, etc.) to reflect the correct current state of anyparameter that isbeing controlled. (Thisoption isalso available for ControlSurfaces.) 6. When you have mapped allof the desired controls, clickon the [MIDI Learn] button to exit MIDI Learn mode.

CHAPTER 11│Studio One Reference Manual Now that the hardware controlsfor your Keyboard have been mapped, theycan be used to controlalmost anysoftware parameter, asdiscussed in the Control Linking section. Keyboard controlmapsare globalin Studio One and are used acrosseverySong, so you onlyneed to map your Keyboard once. When using predefined keyboard devices, it isnot possible to map new controlsfor the device. You must follow the instructionsin the Add Device window (for example, select a certain preset).

Controller Map Object Types The default Knob object isused when hardware controlsare mapped for the first time. Thisobject can be changed for each controlto better reflect the actualhardware controltype, making your mapped controlsmuch easier to recognize. To change the object for anymapped control, do the following: 1. ClickonMIDILearntoenter MIDILearnmode. 2. In MIDILearn mode,you can see a descriptionboxbeneath each control,with an arrow in the upper leftcorner. 3. Clickon the arrow to expose the Object Selection list, where you can choose a Knob, Fader, Button (On/Off), or Button (Press/Release). 4. Choose one of the object typesand notice the graphicchange for that control. 5. When you are finished changing the controlobjects, clickon the [MIDI Learn] button to exit MIDI Learn mode. Note that there isa functionaldifference between the two button object types. Some hardware controllerssend MIDI messagesto Studio One when a button ispressed or released, and some send messageswhen the button state istoggled between on and off. You must know how the buttonson your controller behave in order to select the correct button-object type. Use the MIDI Monitor to view thisbehavior directly. To use the MIDI Monitor, choose MIDI Monitor from the View menu. The MIDI Monitor isdisplayed and listsallincoming MIDI messagessent to Studio One. Pressthe buttonsin question to view their behavior so you can choose the correct map-object type. It ishighlyrecommended that the controlobjectsbe made to looksimilar to the controlstheyrepresent, using the map- object types, asthishelpsmake the relationship of the software object to the related hardware controleasier to recognize.

184│Studio One Reference Manual Control Linking With a Keyboard set up, and itscontrolmap created, you are one clickawayfrom controlling almost anysoftware parameter using ControlLink. The following describesthe variouswaysto use ControlLink.

Parameter Windows To the far left of the Arrange view toolbar in the Song window, you can see two windowsseparated bya button. The windowsare emptybydefault. The left window displaysthe name, value, and other related information regarding the last- changed software parameter; the right window displaysthe MIDI name and value of the last-changed, mapped hardware control.

You also can open Parameter windowsin each plug-in window. To do this, clickon the Edit Mapping button at the top of the plug-in window.

Link a Hardware Control to a Software Control The fastest wayto linka hardware and software controlis: 1. Manipulate the desired software controlwith the mouse. 2. Manipulate the desired hardware control; for instance, turn a knob. That controlshould appear in the right parameter window. 3. Clickon the Assign button in the middle of the two parameter windows, or press[Alt]/[Option]+[M] on the keyboard, and the button should light up. 4. Your hardware controlisnow linked to the software control; manipulating the hardware controlmanipulatesthe linked software control. A second wayto linkhardware and software controlsis: 1. Open the controlmap for the desired controller bydouble-clicking on it in the Externalpanelof the Console. 2. Manipulate the desired software controlwith the mouse. 3. Clickon the Hand icon in the leftparameter window and drag itover the desired hardware controlin the control map, then release the mouse button. 4. Your hardware controlisnow linked to the software control; manipulating the hardware controlmanipulatesthe linked software control. Finally, you can [Right]/[Ctrl]-clickon anyknob or fader in the Console, or in a plug-in editor, to linka hardware controlto a software control. To accomplish this, do the following: 1. Manipulate the desired hardware control; for instance, turn a knob. That controlshould appear in the right parameter window. 2. [Right]/[Ctrl]-clickon the desired software parameter and choose “Assign Xto Y,” where Xisthe software parameter and Y isthe hardware controlyou just manipulated. 3. Your hardware controlisnow linked to the software control; manipulating the hardware controlmanipulatesthe linked software control.

Global and Focus Mapping There are two modesfor mapping hardware and software controls: Globaland Focusmode.

CHAPTER 11│Studio One Reference Manual Global Mapping With Globalmapping, hardware and software controlsmaintain a one-to-one relationship, where a single hardware controlislinked directlyto a single software control. Some controls, such asTrackfader, pan, and mute, can onlybe mapped globally. To map a plug-in controlglobally, be sure Focusisdisengaged in the plug-in window byclicking on the Focusbutton for the Keyboard you are using, so that it isno longer highlighted.

Focus Mapping While onlyone software controlcan be manipulated at a time bya single hardware control, a hardware controlcan be linked to anynumber of software controls, based on context, using Focusmapping. For instance, a single hardware knob could controlthe release of a Gate plug-in, or the Gain of a distortion plug-in, or anynumber of other parameters, depending on which plug-in isin Focus. The processof Focusmapping isidenticalto Globalmapping, with one criticaldifference. To see thisdifference, open the interface for anyvirtualinstrument or effect. Bydefault, allvirtualinstrumentsand effectsopen in Focusmode, and the Focusbutton in the plug-in window’stoolbar ishighlighted. The Focusbutton displaysthe name of the related Keyboard. Onlyone plug-in window can be in Focusat anytime. Clickon the Focusbutton to enable Focusin anyopen plug-in window. When a parameter hasbeen mapped in Focus, the linkicon used in the parameter window isdifferent from the icon used when a parameter ismapped globally. Controlmapsonlyapplyto the plug-in window that isin Focus. For instance, a hardware knob might be linked to a software knob in an EQplug-in that isin Focus. When another plug-in isbrought into Focus, the hardware knob no longer affectsthe software knob in the EQ, and it ispossible to linkthishardware knob to a different controlfor the plug-in that isin Focus. In thisway, Focusmapping allowsdifferent controlmapsto be made for each plug-in, using the same hardware controls for each. Each Focusmap isstored with the plug-in, making it usable in anySong. Thus, you can make Focusmapsfor each of your favorite plug-insand never worryabout them again. In practice, thismeansthat your externalhardware alwayscontrolsthe plug-in that iscurrentlyin Focus. Certain parameterscannot be Focus-mapped, including Trackcontrolssuch asfader, pan, and mute.

Control Link with External Instruments Using the ControlLinksystem, it ispossible to controlyour MIDI-capable externalhardware instrument just like a software instrument. The first step in thisprocessisto add your hardware instrument asan externaldevice, asdiscussed in the Set Up Your MIDI Devices section of the Setup chapter. Once you have the device set up, create a new Song and open the Externalpanelof the Console. Double-clickon your externalinstrument in the Externalpanelto open the controlmap for the instrument. If you created a new instrument (that is, you are not using a predefined device), allpossible ContinuousController commands(MIDI CCs) are active and are represented byknobsin the controlmap. If you are using a predefined map, onlyrelevant controls appear. Also, notice the MIDI channelselector above the controlmap. OnlyMIDI channelsyou enabled for the instrument are selectable. When working with a new instrument, you willwant to customize itscontrolmap to include onlythe relevant controlswith the appropriate parameter names. To customize the controlmap, clickon the Wrench icon, which opensthe controllist. As mentioned, allContinuousControllersare enabled bydefault, and theyare labeled bytheir common uses. To add or remove anyCC from the list, clickitscorresponding checkbox. To edit the title of the CC, clickon the title and enter a new one. Related controlscan be grouped together in the controlmap byplacing them in the same folder in the control-map list. Clickin the Folder field of anycontrolin the controllist and type a folder name to group that controlwith other controlsthat have the same folder name.

186│Studio One Reference Manual Once you have finished editing the controlmap for the instrument, using the mouse to move anyknob in the controlmap should adjust the linked parameter on the hardware instrument. The parameter showsup in the left Parameter window, just like anyvirtualsoftware instrument parameter. Thismeansthe same ControlLinkfunctionsdescribed previouslyin thischapter for virtualsoftware instrumentsare now available for controlling (and even automating) your hardware instrument.

Using Multiple External Devices Anynumber of ExternalDevicescan be used simultaneously. Aslong asthe device hasa controlmap with some learned controls, it can be used with the ControlLinksystem. In each plug-in window, you can see mapping controlsto the right of the preset and automation controls. Onlythe ExternalDevice displayed in the Focusbutton can be used to Focus-map controls. If the ExternalDevice you are using isnot displayed there, the mapping isGlobal. To choose a different device with which to Focus-map a plug-in’scontrols, clickon the down-arrow menu button and choose the ExternalDevice you wish to use.

Automation with Hardware Controllers Asmentioned earlier in the Editing Automation Envelopes section of the Automation chapter, externalhardware controllerscan be used to edit automation. When an externalhardware controller hasbeen mapped, and controlsare linked to variousparametersusing ControlLink, hardware controller movements, and therefore the movementsof the software parameterstheycontrolcan be recorded asautomation. Combining Studio One’sautomation system with ControlLinkdeliversa powerfulintegrated hardware-and-software automation platform. The following describeshow these systemsare used together.

Hardware Controller Capabilities You need to understand the capabilitiesof your hardware controllers. For instance, some controllersoffer touch-sensitive fadersand knobs, and othersdo not. Some controllershave endlessrotaryencoders, and othershave fixed-position knobs. These capabilitiesaffect how the hardware controllersintegrate with the automation and ControlLinksystems.

Touch Sensitivity Variousautomation modesare discussed in the Automation Modes section of the Automation chapter. These modes directlyrelate to the specificcapabilityof your hardware controllers. Touch automation mode ismost effective if the hardware controlistouch-sensitive. However, you can use Touch automation with hardware controlsthat are not touch- sensitive.

Endless Rotary Encoders and Fixed-Position Knobs The type of controlsoffered with hardware controllersvarieswidely. Manycontrollersoffer knobscalled “endlessrotary encoders.” These encoderscan be rotated continuouslyin both directions. Theyincrement and decrement values, rather than sending absolute valuesbased on fixed positions, aswith fixed-position knobs. Therefore, you get different results when automating an endlessrotaryencoder versusa fixed-position knob. For example, if you are using a touch-sensitive, endlessrotaryencoder to controla software parameter that hasan automation envelope on a Track, setting the Trackto the Touch automation mode hasthe following results: During playback, touching the rotaryencoder writesautomation untilthe encoder isno longer being touched. When the encoder isnot being touched, anyexisting automation isread. If automation isbeing read during playback, and then the rotaryencoder isturned, automation iswritten byincre- menting/decrementing from the current automation position. In thisway, the new automation effectivelypicksup from the existing automation. If you do the same thing with a touch-sensitive, fixed-position knob, the following happens:

CHAPTER 11│Studio One Reference Manual During playback, touching the knob writesautomation untilthe controlisno longer being touched. When the controlisnot being touched, anywritten automation isread. If automation isbeing read during playback, and then the knob isturned, automation iswritten, starting at whatever the current value of the knob is, based on itsabsolute position. The new automation being written does not pickup from the existing automation.

Writing Track Automation There are three Track-automation modesin which automation can be written using externalcontrols: Write, Touch, and Latch. It isrecommended you be familiar with these modes, asdescribed in the Automation Modes section of the Automation chapter. To write Trackautomation using an externalcontrol, first linka controlto a software parameter, asdescribed in the Control Linking section of thischapter. Then show automation bypressing [A] on the keyboard, add an automation envelope to a Trackfor the desired parameter, and enable Touch, Latch, or Write mode. Finally, start playbackand manipulate the hardware controlto write the desired automation. Automation can be written using hardware controlsonlyduring playback. When overwriting existing automation, the three automation modesgive different results. Touch mode allowsautomation to be read untila touch-sensitive controlismanipulated; automation isread again when the controlisno longer being manipulated. Latch mode resultsin automation being read untila control, touch-sensitive or not, ismanipulated, after which automation is written untilplaybackis stopped. When in Write mode, no existing automation isread, and automation iswritten for the duration of playback.

Trackautomation cannot be written using an externalcontrolif Read or Off mode isselected on the Track.

Writing Instrument Part Automation Using externalcontrolswith Part automation issimilar to using them with Trackautomation, except that there are no automation modes. Existing Part automation isread and can be overwritten, and new automation can be written at all timeswhile recording to a Part, asexplained in the Instrument Part Automation section of the Automation chapter. Part automation isan integralpart of the Instrument Part and therefore isaccessible at alltimes.

Mackie Control Support Studio One supportsMackie Controland compatible hardware controldevices. The following isan overview of allremote controlfunctionscurrentlysupported with the Mackie Controlprotocol. If you haven’t set up your Mackie Control- compatible devices, you can do so from Options/External Devices (Mac OS: Preferences/External Devices). More information about using your controller can be found elsewhere in the Control Link chapter.

Mackie Control Setup Follow thisprocedure to set up your Mackie Control(or equivalent) main unit, aswellasanyextender units:

188│Studio One Reference Manual 1. Put the unit into Mackie ControlUniversalmode byholding down the Ch. 1 and Ch. 2 Select buttonswhile power- ing on the controller. Do not use a lexan overlay. 2. Addyour MackieControlinthe Options/External Devices (Mac OS: Preferences/External Devices). 3. Select the Send and Receive MIDI portsof your controller. 4. Repeatthisprocessfor anyextender unitsyouplantouse.

CHAPTER 11│Studio One Reference Manual Grouping Units

Use the Surface Placement option to create a Group and define the placement of each unit. Put two or more devicesin the same group to create a connected mixer bank.

Function Overview

Mixer Layout

The channelorder followsthe Remote Bankin the Studio One Mixer Bankpane. Here you can show and hide channelsfor the remote banks.

Channel Controls

Record Armsthe assigned audio trackof the Channel.

Solo Solosthe Channel(with Momentarymode).

Mute Mutesthe Channel(with Momentarymode).

Select Setsthe Channelto the Select state.

V-Pot Changesthe assigned parameter. Push to set the default value. For more infoma- tion, see Assignment Buttons.

Bank Channel-Type Filter Using Global View Buttons

Global View ShowsallStudio One channels(Send, Console, and Outputs).

190│Studio One Reference Manual Inputs Unused.

Audio Tracks Displays Audio Channels.

Audio Instrument Displays Instrument Output Channels.

Aux DisplaysFX Channel

Buses Displays Buses.

Outputs Displays Outputs.

User Displays all remote back channels.

Fader Flip Flip button flipsthe V-Potswith their corresponding faders.

Assignment Buttons The assignment buttonsare used to assign controlsto the V-Pots.

Pan (Default) Showsthe tracknamesin the LCD strip and assignsV-Potsto ChannelPan.

Sends Assigns V-Pot to Sends

"SE" displays all Sends per selected Channel.

"S1-8" displays Send slot 1-8 on all channels.

PressSendsseveraltimesto step through the layers.

Track Modifytrackparametersof the selected Channel.

Bypass all plug-ins.

Monitoring on/off.

Select ChannelInput.

Select Channel Output.

BypassSends1-4.

EQ Bypassfor Insert 1-8 of the selected Channel.

Plug-in Setsthe V-Potsto ControlLinkmode.

Instruments Unused.

Automation

Toggle the automation mode for the selected Channel.

Control Link for Plug-ins

In ControlLinkmode, you can customize the parametersshown in the plug-in mode for each plug-in. Thiscan also be done bydragging parametersto the Mackie Controldevice editor from the top left of the toolbar or from the plug-in editor.

CHAPTER 11│Studio One Reference Manual Each Mackie ControlUniversaland Mackie ControlExtender isa separate ControlLinkdevice.

Transport

The Play, Rec, Stop, FF, and RW buttonscontrolthe transport. With the Marker button enabled, FF and REWjump between markers, and the REC button insertsa marker at the cursor position.

Function Keys

Function keysare predefined but can be modified using the Mackie Controldevice editor.

F1 Show Inputs

F2 Show Track

F3 Console

F4 Open Channel

F5 Add Insert

F6 Add Send

F7 Show ChannelEditor

F8 Toggle Floating Window

Utility Functions

Save Pressthe Save button to save.

PressShift +Save button to open the Save Asdialog.

Undo Pressto undo the last edit.

PressShift +Undo to redo edit.

Cursor Keys Navigate in the arrangement.

Horizontaland verticalzoom when zoom button isenabled.

Can be used to navigate in the Insert/Send list and can be combined with Enter/Cancelto add plug-insor Sends.

Option + Bank Select Selectspreviousand next device in an open plug-in editor.

Option + Channel Selectspreviousand next preset in an open plug-in editor. Select

192│Studio One Reference Manual Cursor Keysnavigate the arrangement (depending on current window focus).

Wheeljumpsto the nearest bar in the Arrangement (no scrub support).

SMPTE/Beatsbutton toggles the time display.

Name/Value button togglesthe value and trackname in the displaywhen the assignment isSend 1-8 or Control Link Mode. Momentarymode for Solo and Mute: Pressthe button to quicklytoggle the state.

Pressand hold the button to switch momentarily.

Pressthe V-Pot to set the default parameter.

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194│Studio One Reference Manual Mastering

Mastering isthe processof preparing and transferring the finalmixto a master copyfrom which alldistribution copiesare made. In the mastering process, the source materialisusuallyprocessed using equalization, compression, and so on. Editing, leveladjustments, fades, noise reduction, and other signalrestoration and enhancement mayalso be done during mastering. IndividualSongsare put into their finalorder at thisstage, a processcommonlycalled “assembly” or “track sequencing.” The mastered materialisthen readyfor CD/DVD replication, vinylpressing, web distribution, etc. Studio One Professionalfeaturesthe Project page, a complete integrated mastering solution. Thiscreatesa tight, easy- to-manage creative workflow that spansallthe wayfrom recording to mastering. The Studio One ProfessionalProject page redefinesthisprocessinto one that issmart, simple, and efficient. In the Project page, your Songscan be mastered and arranged on a single timeline and then published to manyprofessionalformats. The following chapter describesthe mastering process, Project workflow, and how Songsand Projectsare integrated to provide a totalsolution not available in anyother DAW. Manyof the capabilitiesof the Song page are available in the Project page, such asControlLink. Assuch, you should become familiar with the Song page. The following section describesthe Project page workflow in detail.

Creating a New Project To create a new mastering Project, do one of the following: Select Create a New Project from the Start page.

Navigate to File/New Project.

Press [Ctrl]/[Cmd]+[Shift]+[N] on the keyboard.

From the Song page, clickon the [Project] quick-accessbutton if no Project iscurrentlyopen.

Project Setup In the New Project dialog, you can specifya Project Title and save a location, aswellasthe Project sample rate. Clickon OKto create the New Project.

CHAPTER 12│Studio One Reference Manual Disc Title and Artist Name You can enter a title for the album in the Discfield, and an artist name (if applicable) in the Artist field. Adrop-down arrow below these fieldsgivesyou accessto a varietyof additionalmetadata fields(such asEAN, songwriter, and genre) that you can fillout asneeded. Meta-information isused when publishing your Project to anymedium. You should fillin this information so your production isaccuratelylabeled when published and distributed to your adoring fans. When selecting artwork, the image size islimited to 512 x512 pixels, and can be automaticallyscaled to fit.

Adding Tracks The first step in the mastering processisto place the desired source materialinto a Project.

The Browser Just ason the Song page, the Project page hasan integrated Browser, allowing you to browse for audio effectsand filesto add to your mastering Project. Press[F5] on the keyboard, or clickon Browse in the lower right hand corner of the Project page interface, to open the Browser.

Add a Song AnySong created in Studio One Professionalcan be added directlyto a Project byimporting the Song file into the Project. There isno need to create a mixdown of the Song first, asthisprocessisautomated. Bydefault, your Song filesare contained in the Content/Songsfolder of the File Browser, with each Song file contained in itsown Song folder. To add a Song to your Project, browse to the desired Song in the File Browser and then click-and- drag the Song file to the Trackcolumn or TrackLane. Adding the Song to your Project placesit in the Trackcolumn. If no master file existsfor the Song, you are asked if you would like to create a mixof the current state of the Song, which can then be rendered and added to the TrackLane.

196│Studio One Reference Manual When Studio One rendersa mixof the Song you added, the length the of the mixisdetermined bythe Song Start and End markers, asseen in the Marker Trackof the Arrange view. Be sure these markersare set to the desired locationsin the Song.

Track Time

Asyou edit Songswithin your Project, it isusefulto be able to keep trackof where you are in time within each Song, aswell asthe entiretyof your Project. When you place the cursor along the timeline, the TrackTime displayin the transport shows you the position of the cursor within the current Song, and the main time displayshowsthe cursor position within the whole Project.

Add an Audio File Of course, anyWave, Ogg Vorbis, AIFF, REX, or MP3 audio file can also be added to the Project bydragging it into the Project from the Browser, just asyou would with a Song. Imported MP3 filesare converted to Wave format using the sample rate of the current Project.

Track Column AllSongsand audio filesin your Project are listed verticallyin the Trackcolumn, with the name of the Song or audio file clearly displayed.

CHAPTER 12│Studio One Reference Manual Meta-Information At the top of the Trackcolumn, you can see Discand Artist meta-information fields. To edit these fields, clickin the space next to the field, type your text, and then pressEnter. Beneath the file-type icon for each Trackin the TrackColumn, there isa down-arrow button. Clickon thisbutton to reveal allother meta-information fields. These fieldsmaybe edited on a Track-by-Trackbasis, or multiple Tracksmaybe selected and their fields edited simultaneously.

198│Studio One Reference Manual Meta-information isused when publishing your Project to anymedium. You should fillin thisinformation so your production isaccuratelylabeled when published and distributed to your fans. When selecting artwork, the image size islimited to 1400x1400 pixels, and can be automaticallyscaled to fit. Meta-information that hasbeen filled in for anySong isautomaticallyimported to anymastering Project that includesthe Song, Anychangesmade to the meta-information of a Song after import into a Project are not automaticallyapplied to Song meta-information inside a Project, and must be updated manually.

Pause It iscommon for the trackson audio CDsto be separated bya brief pause. Bydefault, anyTrackadded to the Project hasa Pause setting of two seconds, asper the Red Bookstandard. In practice, thismeansthat two secondsof silence are appended to the beginning of the Track, so that although the Trackbeginsimmediatelyafter the end of the previous Track, there isa brief pause in playbackin between. The Pause setting can be set to anyamount of time up to 10 seconds, asper the Red BookAudio CD standard. The timing between Tracksisan important creative part of the mastering processand often differsbetween Projects. To change the Pause setting, clickin the Pause field for a Trackin the TrackColumn and type in a value or click-and-drag the audio Eventsin the Timeline.

CD Time Display Thisdisplayshowsthe CD Length of your Project based on the totallength of allincluded audio materials.

Track Sequencing To sequence the Tracksin your Projects, simplyclickon the file-type icon for anyTrackand drag the Trackabove or below the other Tracksin the Trackcolumn. Notice that the Tracksare automaticallyrelocated in the Timeline of the TrackLane, with allother Tracksequencing still intact, including Track pauses.

Track Lane and Timeline The TrackLane iswhere your Tracksare represented asAudio Events. You maynotice that the Tracksare staggered in the TrackLane, alternating between an upper and lower position acrossthe Timeline. Thisallowstwo adjacent Tracksto overlap. Bydefault, the Tracksare separated byan amount of time dependent on the Pause setting for each Track. To move anyTrackmanuallyacrossthe Timeline, click-and-drag the Trackleft or right. Notice that the sequencing of all other Tracksin the Project ismaintained when anyTrackismoved acrossthe Timeline.

Editing Tracks

Sizing Tracks Tracksin the TrackLane can be sized with the Arrow tool, asdescribed in the Size an Event section of the Editing chapter. The relative sequencing of allother Tracksin the Project ismaintained when anyTrackissized. Note that a Track cannot be sized to lessthan four secondsin length, per the Red BookCD standard.

Volume Envelope Editing Each Trackin the TrackLane featuresa volume envelope, which can be edited like the volume envelopesof Audio Events, asdescribed in the Adjust Audio Event Volume Envelopes section of the Editing chapter. A volume envelope lets you create fade-insand fade-outs.

CHAPTER 12│Studio One Reference Manual Crossfading Overlapping Tracks When a Trackismanuallymoved acrossthe Timeline so that it overlapsin time with another Track, it ispossible to crossfade the two Tracksso that one fadesout asthe other fadesin. To crossfade overlapping Tracks, select the two Tracksand press[X] on the keyboard. A linear crossfade isdrawn that can be edited byclicking-and-dragging on each Track’s fade handle.

AnyTrackthat beginsafter another Trackin time isnormallythe beginning of a new trackon a CD or other medium. Its starting position servesasthe beginning of the track, regardlessof the timing of crossfades. If you want to change the point at which the new CD trackbegins, simplydrag the song marker to a new location within the overlapping range.

Splitting Tracks To split anyTrack, set the playbackcursor where you want the split and press[Alt]+[X] on the keyboard. The resulting two Trackscan now be edited like anyother, including editing meta-information in the Trackcolumn. Splitting a Trackfor a Song doesnot adverselyaffect the abilityto automaticallyupdate that Song'smastering file, so it ispossible, for instance, to split a long live performance into manyTracksin a Project and stilledit the related Song normally. Note it isnot possible to split a Trackwhere the resulting two Trackswould not be at least four secondsin length, per the Red BookCD standard.

Enabling and Disabling Tracks AnyTrackcan be disabled at anytime. Disabling a Trackremovesthe Trackfrom the Timeline but keepsthe Trackin the Trackcolumn, with the label“ThisTrackisdisabled.” Thisishelpfulif you need to remove a Trackfrom the Project timeline but are unsure of whether the Trackshould be removed completely. To disable anyTrack, select it in the Trackcolumn and choose Disable Trackfrom the Project menu. To enable a disabled Track, select it and choose Enable Trackfrom the Project menu. You can also enable or disable a trackby[Right]/[Ctrl]- clicking the trackin the list, and choosing Enable Trackor Disable trackfrom the contextualmenu.

Track Markers AllTracksin a Project automaticallyhave a Trackmarker attached to the beginning of the Event in the Timeline. It is possible to manuallyinsert other TrackMarkersbyfloating the mouse between the Timeline ruler and the Tracklanesuntil the Arrow toolturnsinto the Marker tool, then simplyclicking where you want to put the TrackMarker. Manuallyinserted

200│Studio One Reference Manual TrackMarkersare green in color, while automaticallyplaced markersare blue in color. TrackMarkerscan be moved acrossthe Timeline byclicking-and-dragging left or right. Note that TrackMarkersare onlyused when burning a CD, or exporting an image file or DDPfile. When exporting a digital release, manuallyplaced TrackMarkersare ignored, and separate filesare onlyrendered for actualTracks, aslisted in the Trackcolumn.

Using Insert Effects Insert effectscan be used in the Project page in much the same wayason the Song page. Each Trackhasa dedicated Device Rack, and there isalso a Master Device Rack. Insertsare handled in the Project page asdescribed in the Configuring Inserts section of the Mixing chapter, including the abilityto use FX Chainsand the built-in effectsMicro Views.

Track Device Rack Insertsin the TrackDevice Rackcan be used to processeach Trackindividually. The most common use isto achieve a balance with other Tracksin the mastering Project, so that anyMaster Device Rackprocessing affectseach Trackin a similar way. For instance, each Trackprobablyrequiresindividualequalization. A Trackfader isavailable in the Track Device Rackto fine-tune the output levelof each Track, and an Insert Device RackActivate Allbutton enablesyou to quickly A/B any processing. At the top of the TrackDevice Rack, a LoudnessInformation dropdown menu isavailable, in which you can detect Loudnessfor the Track. DynamicRange, R128 Loudness, and left and right channelpeaks, RMS, and DC levelsare measured and displayed here. Thisinformation can help when making levelbalance decisionsfrom Trackto Trackacross the Project. If you make changesto a Song and later wish to re-calculate itsloudness, [Right]/[Ctrl]-clickthe song in the Trackcolumn or lane, and choose Detect Loudnessfrom the pop-up menu.

Track Editor

Each Trackin your Project hasa TrackEditor, in which you can create a varietyof advanced effect configurations, with assignable Macro Controls. You can open the TrackEditor for a Trackbyclicking the knob-shaped Editor button in its TrackDevice Rack. For more information, see Channel Editor, which explainsthe equivalent function in the Console in Song view.

Copy a Track’s Effects to Another Track To quicklycopyanyeffect from one Track’sDevice Rackto another, simplyclick-and-drag the effect from the Device Rack onto another Trackin the Trackcolumn. To copyalleffectsfrom one Trackto another, clickand drag the Insert Device Rackheader from the source Track, and drop it onto your chosen Trackin the TrackColumn or TrackLane. You can also save the entire Device Rackasa single preset, called an FX Chain, byclicking on the arrow next to “Inserts” at the top of the Device Rackand selecting Store Preset. Then locate the FXChain in the Browser under Audio Effects and drag it onto anyTrackin your Project.

Using Hardware Inserts in a Project As fully discussed in Pipeline, you can use hardware insertsbymeansof the Pipeline plug-in in Studio One Professional. When using Pipeline, you mayneed to accessthe audio I/Osetup for your Project (found in the Project/Project Setup/Audio I/O Setup menu) in order to configure the inputsand outputsyour hardware insert uses. Note that when Pipeline isinserted anywhere in a Project, it isno longer possible to render audio exportsoffline for CD burning, discimage creation, or digitalrelease creation. Real-time processing isused, asthisisrequired to incorporate your hardware insert into the audio export.

CHAPTER 12│Studio One Reference Manual Master Device Rack Insertsin the Master Device Rackaffect everyTrackin the mastering Project. Peaklimiting, multiband dynamics processing, and other similar processesare commonlyused in the Master Device Rackto finelyadjust the overallsound of the Project. Generally, a certain amount of balance and equalization between allTracksin the mastering Project should be achieved before applying Master Device Rackprocessing. Effectsand FX Chainscan be dragged to and from the Master Device Rack, just as with other types of Device Racks. Pre- and post-fader Insert Racksare provided, each with Activate Allbuttons, for ultimate flexibilityin adding and auditioning anyprocessing. If you plan to use a third-partyplug-in to provide dithering, place the Insert post-fader and be sure to disable the Use Dithering for Playbackand File Export option in the Studio One/Options/Advanced/Audio pane (Mac OS X: Preferences/Advanced/Audio). Note that bydefault, Studio One onlyditherswhen necessary(e.g., for reducing bit depth within a device or during file export) and alwaysusestriangular-type dither with no noise-shaping. A Master Channeloutput fader isavailable to dialin the master output levelof your Project, and you can select the output for your audio device (audio interface). Note that thisdirectlyaffectsthe output levelof your Project for allexport mediums. Allof the output pairsprovided on your audio interface can be accessed byclicking on the currentlydisplayed audio output.

Metering High-qualitymetering iscriticalduring the mastering process. The Project page offersthree typesof meters, each visible at alltimes, to help you make creative and technicaldecisionswhile processing your material.

Spectrum Meter The Spectrum Meter isa flexible audio-spectrum meter that offersoctave, 1/3-octave, and FFT, Waterfall(WF), and Sonogram (Sono) displaymodes. The Spectrum Meter displaysstandard peaklevelsand can be adjusted to displayPeak Hold levelsfor Short, Medium, and Long time intervals, aswellasaverage (RMS) levelswithin Fast, Medium, and Slow time intervals. Asyou move the cursor around the frequencydisplay, the note value of the current frequencyisdisplayed. When using the FFT display, a -3 dB/octave line isdisplayed in addition to the frequencyand levelcrosshair. Thisline representscompensation for the shrinking frequency-width of the FFT bandstowardsthe higher end of the spectrum, which leadsto a lower energycontent. A well-balanced mixshould somewhat approximate the slope of thisline.

Level Meter The LevelMeter islocated directlybeneath the Spectrum Displayand iscapable of displaying high-resolution peak/RMS levels, aswellasthe three K-System scalesdescribed in the K-System Metering section of the Mixing chapter. Nowhere isit more important to accuratelymeter levelsthan at the mastering stage of production. It iscriticalto be sure that the levelsacrossallTracksare asconsistent asdesired and that the signalsare never clipped. When anyamount of clipping occursin your Project, a red clip indicator illuminatesat the top of the Spectrum Meter display, which can onlybe cleared by clicking on the indicator. When Peak/RMS mode isselected, you can [Right]/[Ctrl]-clickon the meter displayto show additionalmetering options, such asRMSLength, VU Hold, and Hold Length.

Phase Meter The Phase Meter, located to the right of the LevelMeter, ishelpfulwhen checking stereo playbackissuesand mono compatibility. There are two componentsto thismeter: a Goniometer at the center of the plug-in window and a Correlation Meter at the verybottom. The Goniometer displaysleft- versusright-channelamplitude on an X/Y oscilloscope. A verticalline in the Goniometer representsa mono signal. The horizontalCorrelation Meter comparesthe amount of in-phase and out-of-phase audio signalin the left and right channels. The parametersof the Correlation Meter range from +1 (mono signal) to -1 (reversed-phase mono signal), with 0 indicating the presence of totallyindependent signals(true stereo).

202│Studio One Reference Manual Publishing Your Project When your Project hasbeen mastered, the next step isto publish it. The Project page offersmanyoptions, categorized into three main operations, including burning an audio CD, making a discimage file, and making audio files.

Burn an Audio CD You can burn your mastered Project to a standard Red Bookaudio CD directlyfrom the Project page. Red Bookisthe most widelyadopted technicalstandard for audio CDs, and it includesspecificationsfor minimum and maximum track durations, maximum number of tracks, and how audio isencoded to the CD. Because the Project page adheresto this standard, you can be sure your audio CDsare compatible with almost anyCD player. To burn your Project to an audio CD, clickon the [Burn] button at the top of the Project page. In the Burn Audio CD dialog, you can select the device you wish to use to burn the CD, aswellasthe speed of the burning process. In general, using slower speedsin the burning processreducesthe chance for errors.

Burn Options Severaloptionsin the Burn Audio CD dialog are intended to prevent common CD-burning errors: Test Write, Use Burnproof, and Use TemporaryImagefile. These optionsusuallyincrease the time it takesto burn a CD in the Project page but theyhelp to prevent wasting time and blankCDson failed attempts. The Test Write option runstestsbefore attempting to burn the CD in order to be sure the necessarycomputer resources are available. Burnproof isa technologycapable of preventing buffer under-run errorswith some CD burners, in which the CD-writing processisinterrupted, and the CD writer isforced to stop burning the CD before it isfinished. The Use TemporaryImagefile option changesthe burn processso that an image of the CD to be burned iscreated before attempting to burn the CD. Thishelpsto eliminate potentialproblemsrelated to data not being made available fast enough while writing to the CD.

Make a Disc Image Publishing your Project might require a disc-image file. For instance, sending your Project to a professionalCD duplicator might require digitaltransmission of the content of your CD, rather than sending a potentiallyimperfect physicalcopy. Also, you maywish to use a different application to burn your CDs, in which case you need an image file. There are manyfile formatsfor discimages, some better suited to audio CD creation than others. Studio One usesa continuousaudio Wave file and a cue file to achieve the most universalsupport. To create an image of your Project, clickon the [Image] button at the top of the Project page. Optionsare available for file format, resolution, and sample rate, aswellasthe abilityto toggle Realtime Processing and simultaneouslyupload the Project to a linked SoundCloud account. In making an image, Studio One createsa cue file and a single, continuousaudio file of your entire Project and placesthem in your Project folder. The cue file containsallof the necessaryinformation to create the separate audio tracksfor your CD byreferencing the continuousWave file. Manythird-partyCD-burning applicationscan create a CD using the Wave and cue filestogether.

DDP Export DDP imagesare quicklybecoming the standard method of getting a discimage from mastering to discmanufacturing. The DDP image containsallthe contentsof your master disc, plusformatting information that ensuresyour replicasexactly match your master. To create a DDPimage of your Project, clickon the [DDP] button at the top of the Project page. Allof the DDPimage data isexported to a single folder with the name of the Project appended with "DDP." Thisfolder can be delivered to a duplicator.

CHAPTER 12│Studio One Reference Manual Digital Release It ispossible to publish your Project to a single folder containing allTracksin your Project, properlytagged with the appropriate meta-information. A common use for thiswould be to quicklycreate an MP3 album in one folder and then upload it to a Web site or online retailer for distribution. Thisprocessissimilar to creating a mixon the Song page, as described in the Create a Mixdown section. Clickon the [DigitalRelease] button at the top of the Project page to open the DigitalRelease dialog. In thisdialog, you can choose whether you want to create WAV, AIFF, FLAC, CAF, Ogg Vorbis, or MP3 files(or, at 384 kHzsample rate, just WAV, AIFF, or FLAC), and where you wish to store the files. You can also choose a sample rate and a resolution (bit rate), depending on the format. You also have the option to simultaneouslyupload your Project to a linked SoundCloud account. The folder to which allnew filesare written isnamed according to the Artist and Discfieldsin the Project meta-information, at the top of the TrackColumn. If the Artist field isdisabled, the new folder takesitstitle from the Discname field. If the Artist field isenabled, the new folder title showsthe artist name followed bythe disctitle. If neither the Artist or Discfieldshave been filled in, the folder getsitstitle from the name of the Project. The name of each Trackin the Trackcolumn isused for the name of the new filescreated. In the Optionssection of this window, you can include Tracknumbersand the artist name in the name of each new file to be created in the album. All other meta-information supplied for each Trackisused to tag the new filesappropriately. You can also choose Realtime Processing, to mixthe Project down in realtime.

SoundCloud Integration PreSonushaspartnered with the popular SoundCloud Web service to make it possible for you to upload your musicto SoundCloud from within Studio One. Thisintegration isthe first of itskind.

Connect with SoundCloud

To publish your musicto SoundCloud, you first need a SoundCloud account. Visit http://www.soundcloud.com to create your free account. Then, open the Studio One/SoundCloud Client dialog and clickon Connect with SoundCloud. Your Web browser then opensto a specialpage to allow Studio One to connect with your SoundCloud account. Log in to your SoundCloud account on thispage, clickon Connect. Studio One isnow connected to your SoundCloud account.

Upload to SoundCloud

Once Studio One isconnected to SoundCloud, you can upload musicfrom your Project to SoundCloud directlyfrom Studio One. To do this, create a digitalrelease from anyProject and choose Upload to SoundCloud in the options, or open the Studio One/SoundCloud Client dialog. If creating a digitalrelease, the Tracksfrom the digitalrelease are added to the SoundCloud Client window automatically, with the appropriate meta-information alreadyfilled in. If accessing the client directly, clickon Add Tracksto add anyaudio file to the list. SoundCloud supportsthe upload of anyaudio file from Studio One, at anyresolution, and at anyfile size. Any number of Trackscan be uploaded at once, added from a digitalrelease or manually.

204│Studio One Reference Manual After adding your Tracks, select anyTrackin the list to edit itsinformation in TrackInfo and More Info. If you want the Track to be available publicly, meaning anySoundCloud user can see it, select thisoption under TrackInfo. If you want the uploaded file for Trackto be downloadable or streamable, select the corresponding option under More Info. When finished editing Trackinformation, clickon Upload to upload the Tracksto SoundCloud. The Tracksappear in your SoundCloud account once the upload hascompleted.

Song and Project Integration At the center of Studio One Professional’sdesign isSong and Project integration. Thisiswhere the usualgapsbetween mixing and mastering have finallybeen eliminated. When Songsare placed in a Project, a linkisestablished that allowsthe Song and Project to be intelligentlyaware of each other so that changesto either are known to both. Thisintegration, as described in the following sections, issure to change the wayyou thinkabout mixing and mastering.

Open a Song from Within a Project During mastering, changesare often needed in variousTracksin a Project, after which changesto the mixare made. Traditionally, thisprocesscan be grosslyinefficient, taking manyhours, if not daysor weeks. In Studio One, however, you can quicklymake changesto the mixof a Song in your Project. To open a Song in your Project, clickon the [Edit] button (labeled with a smallicon of a wrench) in anyTrackin the Trackcolumn. Your Song opens on the Song page, where you can make your changes. When finished, save and close the Song. When you go backto the Project page, or open the Project in the future, you are prompted with a message informing you that the master file isno longer current for the Song to which you just made changes, and you are given the opportunityto update the master file. The AutomaticUpdate of Mastering Filessection below explainsthisoption.

Automatic Update of Mastering Files Of the most common questionsthat arise when mastering isalso one of the most time-consuming: “Are these mixesthe most current versions?” Often, changesare made to multitrackmixesin response to problemsfound during mastering. When these changesare made, new mixeshave to be created and reinserted into the mastering Project. There can be manyroundsof changesfor each track, resulting in a potentiallyconfusing situation in which it ishard to tell which mixiswhich, and which isthe finalversion that should be in the mastering Project. When the right mixfile isfinally found, the old mixisremoved, and the new mixisadded backinto the Project, usuallyrequiring re-sequencing the tracksin the Project.

CHAPTER 12│Studio One Reference Manual Studio One Professionalsolvesthisproblem with automaticupdating of mastering filesfor anySong in a Project. When you change anySong included in a Project, and then open the Project, you are asked if you would like to update that Song’smastering file. If you choose to do so, the following happens: The Song isautomaticallyopened in itslast saved state.

Amixdown of the Song isrendered.

The new mixfile replacesthe old one in the Project.

The Song is automatically closed.

A report isdisplayed in the Project indicating which fileswere updated and how long the entire processtook.

Note that when Songsare automaticallyupdated, and a new mixisrendered, the length of the mixisdetermined bythe Song Start and End markers, asseen in the Marker Trackof the Arrange view. Be sure that these markersare set to the desired locationsin the Song. If an update of a Song fails, checkthe Song for missing filesand plug-in effectsand then try the update again. Anynumber of mastering filescan be updated in a single process. Thisway, everytime you open a Project, you can be sure you have the latest mixof each Song. When a mastering file in a Project isnot up to date, a red light appearsto the left of the Trackname in the Trackcolumn, as wellasin the lower left corner of the Trackin the TrackLane. You can choose to manuallyupdate anyof these filesby [Right]/[Ctrl]-clicking on the Trackand selecting Update Mastering File. When the file isup to date, a blue light appears. You can also update everymastering file in the Project at once byclicking on the [Update] button at the top of the Project page. Anyfilesthat need to be updated because saved changeshave occurred to the Songsare updated in the same process described earlier.

Add Currently Open Song to a Project To add a Song you are currentlyworking on to a new or open Project, select Add to Project from the Song menu. Select anyopen Project from the list or select New Project. Thisaddsthe Song file to the desired Project and automatically rendersa mixdown, placing it in the Project timeline.

Update a Mastering File from the Song Page To update a mastering file for the currentlyopen Song from within the Song page, select Update Mastering File from the Song file menu. Thisupdatesthe mastering file for the Song, which can exist in anynumber of Projects. The next time any Project that containsthe Song isopened, the new mastering file appearsautomaticallyfor that Song.

206│Studio One Reference Manual Built-In Effects

Studio One featuresa number of built-in, high-quality, 64-bit audio effectsand virtualinstruments. The following chapter describeseach audio effect in detail. Virtualinstrumentsare covered in the Built-in Virtual Instruments chapter.

Built-in Effect Micro Views Allof the built-in effectsfeature Micro Views, which are small, expandable controlpanelswithin the Insert Device Rackthat allow controlover the criticalparametersof each effect. Using the Micro View in the Insert Device Rackoften prevents having to open the entire effect interface, and it also allowseasymonitoring of compression, gating, and other effects. Try the built-in effectsMicro Viewsin both the smalland large Console views.

CHAPTER 13│Studio One Reference Manual To expand the Micro View for anybuilt-in effect, open the Console and clickonce on the effect in the Insert Device Rack. The Micro View expandsdownward, revealing certain parametersof the effect. Not allparametersof each effect are available in the Micro View, onlythose you are likelyto change frequently.

208│Studio One Reference Manual In the large Console view, notice the arrowsat the verytop and bottom of the Insert Device Rack. Clickon these arrowsto scrollup and down in the Insert Device Rackto view anynumber of open Micro Views. To collapse anyMicro View, click once on the effect name at the top of the Micro View.

Metering, Analysis, and Signal Generation Some of the following metering and analysisplug-inscan switch between Peak/RMS and a range of K-System level metering modes. If available, you can [Right]/[Ctrl]-clicka plug-in'sPeak/RMS meter to open a list of alternate metering modesto choose from.

Phase Meter

The Phase meter ishelpfulwhen checking stereo-playbackissuesand mono compatibility. There are two componentsto thismeter: a large goniometer at the center of the plug-in window and a correlation meter at the verybottom. The goniometer displaysleft versusright channelamplitude on severalaxes. A line in the following directionsof the Goniometer display would mean: M-Axis Mono signal

+/-S Axis Mono with one channeltotallyout-of-phase

L/R Axes Mono on one channel(left or right)

M/S Axes Channelsin a Mid-Side (MS) encoded or recorded signal

The correlation meter showsthe average amount of in-phase and out-of-phase audio signal. Correlation meter parametersare:

CHAPTER 13│Studio One Reference Manual +1 Mono signal

-1 Reversed-phase mono signal

0 Independent signals(true stereo or dualmono)

Spectrum Meter

Spectrum Meter ishelpfulwhen determining the frequencycontent of an audio signal. For instance, you might know that a drum loop needssome EQ, but you might not be sure what frequenciesto bring up or down. Or there might be an annoying ring in a guitar part that you want to get rid of but you do not know the frequencyof the ring. Spectrum Meter can help diagnose these problems, and manyothers. Spectrum Meter isfullyadjustable using the following parametersat the bottom of the plug-in window: Channels When Spectrum Meter isinserted on a stereo Track, you can choose from the following channelsto be analyzed in the meter: L Left channelonly

R Right channelonly

L+R Sum of left and right channels

L-R Difference between left and right channels

Analysis

210│Studio One Reference Manual Oct-Band Octave Band displaysfrequencycontent divided into octaves, usefulfor determining broad balance across the frequencyspectrum. 3rd-Oct-Band Third-Octave Band displaysfrequencycontent divided into 1/3 of an octave, usefulfor determining balance with good precision acrossthe frequencyspectrum. FFT A Fast Fourier Transform, or FFT, displaysfrequencycontent divided into manybands. It’susefulfor accurate metering of a specificrange of the frequencyspectrum. When FFT isselected, you can select the FFT window size (FFT size =time vs. frequencyresolution). You can choose from 16,384; 8,192; 4,096; and 2,048. The default setting is16,384. AsFFT measurementsare divided into bands, exact frequenciesacrossthe entire spectrum are not measured. When using the FFT display, a -3 dB/octave line isdisplayed in addition to the frequencyand level crosshair. Thisline representscompensation for the shrinking frequency-width of the FFT bandstoward the higher end of the spectrum, which leadsto a lower energycontent. A well-balanced mixshould somewhat approximate the slope of thisline. Level Range Min. Level Minimum amplitude to be displayed for allfrequencies. Variable from -144 dB to 6 dB lessthan the maximum level. Max. Level Maximum amplitude to be displayed for allfrequencies. Variable from 0 dBto 6 dBmore than the minimum level. Frequency Range Min Freq. Minimum frequencyto be displayed. Variable from 20 Hzto within 10 Hzof the maximum frequency.

Max Freq. Maximum frequencyto be displayed. Variable from 20 kHzto within 10 Hzof the minimum frequency.

The Min and MaxLevel/Freq valuescan be changed bytyping in a new value, or byclicking-and-dragging up or down on the value. Sidechain Input To enable the sidechain feature, clickthe Sidechain button. Thisbringsup a second spectrum displaybelow the main display, showing the frequencycontent of anysignalyou route to the Spectrum Analyzer'ssidechain. Thisletsyou compare the frequencyresponse of two different signalssimultaneously, such asa rough mixand a reference track. For more information on routing signalsto effect sidechains, see Sidechaining, in the Signal Routing section.

Tuner

The Tuner provesinvaluable when inserted on guitar, bass, and other instrumentsthat require frequent tuning. The Tuner featuresa switchable standard/strobe display, with exact Frequencyand Difference readoutsin the upper left and right-hand corners. A Calibration knob enablescalibrating the Tuner to a center frequencyfrom 415 Hzto 465 Hz. Click on the [Strobe Mode] button to enable the strobe display, in which the rotation speed isa measure of the amount you need to tune.

CHAPTER 13│Studio One Reference Manual There isa center-note indicator with an arrow to either side. When the left arrow isdisplayed, the signalistuned below the closest note; when the right arrow isdisplayed, the signalistuned above the closest note. When both arrowsare displayed, the signalis perfectly tuned.

Level Meter

The LevelMeter plug-in isa levelmeter that can be sized asa horizontalor verticaldisplaytype. The following parameters are available in the LevelMeter: Conf Choose from Peak/RMS, K-20, K-14, and K-12 modes, and set RMSand Hold Lengths

Corr Engage to displayphase correlation.

TP Enable to displayTrue Peakmetering.

Scope

The Scope providesthe functionsan engineer would expect from a digitaloscilloscope and isusefulfor debugging problems in the studio, such as analyzing crosstalk and noise levels. There are three signalchannelsand one math channel. Each channelcan either show the left or right signalof the Insert Channel, or sidechain input, while the math channelcan show the difference between two of the signalchannels. (B and C can be inverted to sum instead, or to do a polarityflip.)

212│Studio One Reference Manual Each of the channelscan be scaled and offset in the Y axis, and scaling isshown aspercent of fullscale per division. (Full scale is1.f, equivalent to 0 dB.) Allchannelscan be activated/deactivated byclicking on the colored channelletter. The time (xaxis) can also be scaled and offset. Thissetting isfor allchannels. The unitsfollow the samples/secondsswitch on the left, and offset isshown with a green verticalline. The scope istriggered from one of the following sources: Slope Triggerswhen the signallevelon a selected signalchannel(not the math channel) crossesa threshold level(which isadjusted bythe Levelcontrol) in the right direction. Transients Thisusesthe same audio channel, and the Slope and Levelcontrolsstillapply, but the transient level isusuallymuch more narrow: somewhere above 0%and typicallyaround 1.5%. External Signals Notessent to the scope MIDI input or not sent at all(free).

Engaging Oneshot turnstriggering off after the first received trigger. Retrig waitsfor one new trigger in case you get the wrong signalor change the signal. The Scope displayislatching, meaning that a signalisshown onlyon the second trigger. Note that the scope doesnot clear itsbuffer on stop, so there maybe unwanted signalshown untilanother displaytrigger occurs. The Hold controladjuststhe length of time shown for a trigger signal, and during thisperiod, no new signaltriggersthe scope. Thisisadjusted in percent of the displaywidth and isalso shown in the selected time unit and asa green vertical line. The displayisclipped on a new trigger. Finally, there isa crosshair for measuring the signals. It hasa tool-tip readout using the unitsdisplayed in relation to the selected channel. Use thisfor measuring distances/differencesfor the selection, where dB levelsare rectified signallevels, so you can compare positive and negative peaklevels.

Tone Generator

Tone Generator iscapable of generating noise, frequencysweeps, and other signaltypescommonlyused for signal-path testing and calibration. The Scope would commonlybe used in conjunction with Tone Generator to analyze return signals at the end of the signalpath being tested or calibrated. The following parametersare available in Tone Generator: Waveform Choose from sine, saw, rectangle, pinknoise, and white noise. Anti-Alias The saw and rectangle waveformshave Anti-Aliasing engaged bydefault in order to prevent aliasing artifacts from appearing. Frequency Setthe tone frequencyfrom 1 Hzto 22 kHz.

Modulation Wobble Engage thisto make the tone frequencymove from the set frequencyto the modulation Target Frequency, according to the Modulation settings. Log Sweep Engage to make the frequencysweep logarithmicinstead of linear.

Length Set the length in time of the sweep from Frequencyto Target Frequency; range isfrom 10 msto 59.9 s.

CHAPTER 13│Studio One Reference Manual Phase Shift Set the phase shift that occursover the chosen Length of time, from 0 to 180.

Target Frequency The end frequencyto which the tone isswept during modulation.

Off/Gated/On Default isOff. Gated allowsthe output to be turned on via a note played on a Keyboard (set the output of an Instrument Trackto Tone Generator), and On simplyturnson the output. Level The output levelof Tone Generator, from -144 dBto +24 dB. (Use caution!)

IR Maker

[Screenshot] IRMaker - IR Maker plug-in window. IR Maker isa utilityplug-in that allowsyou to capture your own impulse responsesfor use with OpenAIR and with the cabinet section of Ampire XT. The following describesgeneralguidelineson how to use IR Maker to create impulses: 1. In the Song/Song Setup/Audio IO Setup menu, create an Output Channelconfigured with the physicaloutput on your interface that the IR Maker sweep signalroutesthrough. That output might be connected to a speaker in the space for which you want to capture an IR, or to the EffectsReturn on an amplifier connected to a cabinet for capturing a guitar cabinet IR. 2. Then,createanInputChannelin Song/Audio IO Setup, configured with the physicalinput on your interface that IR Maker getsthe return signalfrom. Amicrophone, or the output of a hardware processor, connectsto thisinput when capturing the IR. 3. Now createanAudioTrackinaSong,setitsinputandoutputtotheInputandOutputyoujustcreated,andinsert IR Maker on the Track. 4. Signal-path latencyisimportant. That latencymayvarybecause of the distance of the micfrom the source, for instance, and maybe a part of the impulse response to be captured. So, it iseasiest to detect the signalpath latencywith a loopbackfrom interface output to interface input. To do this, you need to route the physicaloutput directlyinto the physicalinput, creating a loopbackfor the I/Oyou created before. Then, pressDetect in the LatencyCompensation section. If the latencyboxstillshowszero after testing, then something iswrong with your audio setup (levels, audio I/O ports, monitors, cables, interface settings, etc.). 5. After detecting latencyin the signalpath, disconnect the loopbackfrom before. Connect the output to the device that receives/outputsthe IR Sweep signal(a speaker in a room, a guitar amplifier EffectsReturn, etc.), and the

214│Studio One Reference Manual inputto the device that capturesthe IR (a microphone in a room or in frontof a guitar cabinet,or the outputof a hardware device). 6. ThefileOutputPathisstructuredasabasepart(thepathtothefolder whereyour IRsreside),adevicepart(the subfolder for that cabinet, space, etc.), and an IR base-name (mic/mic-position). 7. Select the Sweep Length (longer =higher-frequencyresolution and lessnoise). In general, 60 secondsshould be enough for high fidelity. IR Length can alwaysbe shortened later to save CPU resourcesbut it should be long enough to contain the whole response. Asa default for cabinets, we recommend using 0.1 s. Shorter Sweep and IR Lengthsget calculated much faster. 8. Normalizing ensuresmaximum loudnessin IR but can be done later, and can destroyloudnessrelationships between different devices. 9. Usuallyyou need to trigger the sweeping severaltimesto adjust the levels. It helpsto show Input and Output Channelsin the mixer to watch the metering closely. 10. Checkthe Open checkboxto have your computer'sfile browser open the newlycreated impulse response after calculation. You can then drag that onto a new Trackto view the IR and make anyeditsyou desire, such asfades; or drag the IR into OpenAIR or Ampire XT for immediate use.

Delay

Analog Delay

The Analog Delayemulatesa one-head tape delaywith optionaltempo sync, LFO, filtered feedback, and other features. It can be used to create deteriorating echoes, echoeswith changing delayand pitch, and flanging/choruseffects. These typesof soundsare often used in Dub Musicor ’70srock. The following parametersare available in the Analog Delay: Time The base delaytime.

Sync OptionalSyncmode for Time. Syncdisengaged resultsin speed expressed astime from 1 msto 3 s.

Syncengaged resultsin time expressed asbeatsfrom 4/1 to 1/64, with triplets.

Speed Factor Modifiestape speed. Variable from 0.5 (double the delaylength) to 2 (half the delaylength).

Inertia Modifiesspeed of changesover time, based on Factor. Variable from 0 to 5.

LFO Mod Modifiesthe effect of the LFOon delayspeed. Variable from -50%to 50%.

Shape The shape of the LFOwaveform; select from triangle, sine, sawtooth, and square.

CHAPTER 13│Studio One Reference Manual Sync OptionalSyncmode for LFOSpeed. Syncdisengaged resultsresult in Speed expressed asfrequency, from 0.01 Hzto 5 Hz.

Syncengaged resultsin Speed expressed asbeats, from 4/1 to 1/64, with triplet and dotted-time variants. Synced LFOand synced delaywith LFOslower than delaymeansthat modulation isnot perceptible (except with high inertia). Damping Low Cut Filtersfrequenciesbelow thisvalue from the delayed signal. Variable from Off to 20 Hzto 3.2 kHz. Filter is6 dBper octave. High Cut Filtersfrequenciesabove thisvalue from the delayed signal. Variable from 400 Hzto 16 kHzto Off. Fil- ter is6 dBper octave. Feed Feedback Feedbackpercentage; that is, the amount of delayed signalto be fed backinto the delayinput. Vari- able from 0 to 100%. Boost Enable thisparameter to boost feedbacklevels.

Width Regulatesthe stereo width of the delayfeedback. Variable from inverted stereo (ping pong) to fullstereo width. Select L or R for stereo ping-pong effects. Select [C] for a mono delay. L/C/R Select the channel(or combination of channels) that feedsthe delay. In ping pong mode, selecting [L] or [R] producestwo opposite delaypanning effects. Click[C] to feed a mono-summed mixof both channelsinto the delay. Sat Saturation; emulatestape saturation. Variable percentage from 0 to 100%.

Mix Adjuststhe mixof processed signaland the originaldrysignal. Variable from 0 to 100%. A setting of 100%is likely to increase feedback.

Beat Delay

The Beat Delayisa tempo-synced delaywith optionalcross-delayand filtered feedback. Use thiseffect for adding/changing the feelof rhythmicparts(e.g., adding off-beats) or “spatiallydoubling” parts(for instance, slap-back echo). Beat Delayhasthe following parameters: Cross Delay When not set to Off (center), the input issent, in mono, to the left or right channel, with a delayed sig- nalsent to the other channel. Variable from L 50 ms(right channeldry, left channeldelayed 50 ms) to R 50 ms (left channeldry, right channeldelayed 50 ms). Extreme left or right settingscreate a pronounced stereo effect. Beats Delaytime expressed asbeats. Variable from 4/1 to 1/64, with triplet and dotted-time variants. Offset Adjustsa time offset from -30 to +30%of the specified Beatsvalue.

Pingfactor Applies a multiplier to delay time, in line with a variety of rhythmic subdivisions.

Feedback Percentage of delayed signaladded backinto the delayinput. Variable from 0 to 99.99%.

216│Studio One Reference Manual Width Regulatesthe stereo width of the delayfeedback. Variable from inverted stereo (ping-pong) to fullstereo width. Low Cut Filtersfrequenciesbelow thisvalue from the delayed signal. Variable from 20 Hzto 1 kHz. The filter is6 dB per octave. High Cut Filtersfrequenciesabove thisvalue from the delayed signal. Variable from 1 kHzto 20 kHz. The filter is 6 dBper octave. Mix Adjustsmixof processed signalwith the originaldrysignal. Variable from 0 to 100%.

Groove Delay

[Screenshot] GrooveDelay - Groove Delay plug-in editing window The Groove Delayisa four-tap, tempo-synced delaywith variable filtersand a variable beat grid. Use the Groove Delayto create tempo-synced delaypatternsranging from simple subdivision tapsto intricate evolving groovesor granular effects. The Groove Delayhasthe following parameters: Grid Display Thisdisplayshowsthe current value for each tap for either Level, Pan, Cutoff, or Swing, based on the selected view mode acrossa grid of beats. The current value for each tap iscolor-coded and can be edited with the mouse directlywithin the display. Tap 1, 2, 3, 4 Clickon these buttonsto select the respective Tap parametersin the Tap Edit menu in the bottom left of the interface. Level, Pan, Cutoff, Swing Clickon these buttonsto displayand edit the respective parameter for each tap in the Grid display. Level Adjuststhe output leveland timing for each tap.

Pan Adjuststhe pan and timing for each tap.

Cutoff Adjuststhe filter cutoff frequencyfor each tap.

Swing Adjuststhe Groove parameter for alltapsthat fallon off-beat positionsbetween straight and dotted values, while simultaneouslyadjusting Tap 4 and possiblyTap 2 levels(for allon- or off-beat positions). Helps achieve “swing” grooves.

CHAPTER 13│Studio One Reference Manual Tap Parameters Beats Adjuststhe delaylength for the currentlyselect tap, in beats. Variable from one beat to two bars.

Groove Adjuststhe delaytime relative to the Beat setting asa percentage. Variable from Triolic(=66.67%, the last note of the previoustriplet) to Dotted (=150%). Filter Clickon the [Filter] button to engage the filter for the currentlyselected tap.

X/Y Grids Cut/Reso Adjust the cutoff frequency and resonance of the filter by dragging the point around the X/Y grid. Cut Mod Drag the horizontalfader to adjust the relative amount that the Cutoff Mod LFOcan affect the cutoff setting for the filter. Variable from -1 to 1. (Negative valuesdiffer from positive onlyin phase.) LP, Peak, HP/BP Adjuststhe character of the filter (xaxis: low-passto high-pass; yaxis: bandpassto peak) bydragging the point around the X/Ygrid. Feedback Adjuststhe amount of signalfed backinto the delayeffect.

Level Adjuststhe levelof the currentlyselected tap asa percentage of the input level. Variable from 0 to 100%.

Pan Adjuststhe pan of the currentlyselected tap. Variable from Left to Center to Right.

Tap 4 hasan additionalFeedbackoutput (unfiltered and not panned), which isnormallyused asa feedbackcontrolonly. Grid Beatlength Adjuststhe Grid subdivisionsbynote value. Variable from 1/2 to 1/64.

Cutoff Mod The Cutoff Mod isan LFOthat can affect the cutoff value of the filter for each tap, depending on each tap’sCut Mod setting. Beats/Speed Adjuststhe speed of the LFO. Beatsvariable from 4/1 to 1/64 with triplet and dotted time variants. Speed isvariable from 0.1 Hzto 30 Hz. Sync Clickto engage Cutoff Mod LFOsync; enablesLFOspeed adjustment in beats(synced to Song position). Mix Dry/Wet Adjuststhe mixof processed signalwith the originaldrysignal. Variable from 0 to 100%.

Lock Locksthe Dry/Wet controlposition in place.

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Distortion Distortion effectsfocuson the creation of a range of audio clipping artifactsthat can add character and attitude to sounds—or destroy them completely. Studio One includes the following distortion-oriented processors:

218│Studio One Reference Manual Ampire XT

Ampire isan easy-to-use amplifier-modeling plug-in that featuresa wide range of guitar- and bass-amplifier models, convolution-modeled speaker cabinets, with variable microphone positioning and effects stompboxes. Use this effect to emulate guitar amplifiersand cabinetsand create rougher, harmonicallyenriched sounds. The following parametersare available in Ampire XT: Amplifier Model Select the characteristicsof the amplifier directlybyclicking on the Modelselection box. The amp modelchangesthe characteristicsof the entire amplifier, including preamp and power amp distortion and amplification, A- and B-channeldifferences, and tone stackbehavior. Select LegacyAmp from thismenu to access the models available in Studio One 1. Input Gain Trim the input gain directlyat Ampire’sinput to pullup weakinstrument signalsor to attenuate loud, processed signals. With a good input level, the signalisin the optimalrange for dynamicdistortion within Ampire. Variable from -12 dBto 24 dB. Thisparameter isnot saved with each preset. It staysat a staticsetting for each instance of Ampire XT untilyou change it. A and B Channels The A and B channelshave different distortion and amplification strength, depending on the selected amp model. Use the channelsto create two different sounds(e.g., rhythm and solo, or chorusand verse) and switch between them. Drive Adjuststhe degree of overdrive/amplification in the preamplifier. Variable from 0 to 11.

Bass, Mid, Treble, Presence Controlsthe emulation of the tone stackmodel(resultsdependent on the selected amp model). Each parameter isvariable from 0 to 10. Gain Adjuststhe degree of overdrive/amplification in the power amplifier. Variable from 0 to 11.

CHAPTER 13│Studio One Reference Manual Cabinet Model Clickon the Cabinet Modelselection boxto choose a cabinet model, or choose Bypassfrom that menu if no cabinet isdesired. You can also drag and drop Impulse Response wave filesinto the slotsfor User Cabinet. Select LegacyCabinet from thismenu to accessthe presetsavailable in Studio One 1. Edit Mic Clickon Edit Micfor anyof the supplied cabinetsin order to alter the characteristicsof the micro- phonesused in capturing the sound of the cabinet. Mic A/B Blend Adjust thishorizontalfader left or right to achieve the desired mixof MicAand MicB, from 100%MicAto 100%MicB. Mic B/C Additional Distance Add distance to MicBand MicC processing, from 0 to 1 meter.

C Mix AdjustthemixofMicC withtheA/Bmix,from 0 to 50%.

Body Adjust the character of the cabinet byaltering the length from 0 to 100%of the audio impulses used in the convolution process. Mic Mix Thisparameter isonlyshown when a LegacyCabinet isselected. Select the relative front and back microphone mixfor the cabinet. Thiseffectivelyadjustsbalance between speaker emulation and cabinet emulation. Variable from 100%front to 100%back. Output Gain Distortion and amplifier emulation mayresult in massive levelchanges. Use Output Gain to adjust the signalto normallevels. Variable from -24 dBto 12 dB.

Stomp Boxes

Ampire XT featuresthe following effects, which are each bypassed bydefault. The Pre/Post switch setsthe effect for pre- or post-amplifier processing. Alleffectsare pre-cabinet processing, except for the Delayand Reverb which can be switched to pre- or post-processing. Note that alleffectscan be disabled at once with the Disable button. Wah-Wah Type Selection Box Selectsthe type of wah-wah desired.

Amount Adjuststhe amount of the wah-wah effect from 0 to 100%, equivalent to rocking a traditional wah-wah pedalforward and backward. Equalizer Guitar/Bass Selectsthe appropriate style, which adjuststhe frequencyvaluesfor each band of the graphic EQ. Band Faders Adjustseach band fader up or down to achieve the desired EQsetting.

Tube Driver Amount Adjuststhe amount of drive from 0 to 11.

Modulation Chorus/Flanger/Phaser Selectsthe type of modulation.

Chorus Delay Adjuststhe delayof the chorussignalfrom 2 to 20 ms.

Speed Adjuststhe chorusspeed from 0.01 to 10 Hz.

Width Adjustsdepth of delayline modulation, from 0 to 100%.

Depth Adjuststhe chorusdepth from 0 to 100%.

Flanger Delay Adjuststhe delayof the flanged signalfrom .2 to 4 ms.

Speed Adjust the flanger speed from 0.01 to 10 Hz.

220│Studio One Reference Manual Sync Engage thisif you want to syncthe flanger speed to tempo.

Beats Selectsa beat value for the synced flanger speed.

Feed Adjuststhe amount of feedbackfrom 0 to 100%.

Width Adjuststhe flanger LFOwidth from 0 to 100%.

Depth Adjuststhe flanger depth from 0 to 100%.

Phaser Phase Adjuststhe frequencyof the phaser from 240 Hzto 8 kHz.

Speed Adjuststhe speed of the phaser from 0.01 to 10 Hz.

Sync Engage thisif you want to syncthe phaser speed to tempo.

Beats Selectsa beat value for the synced phaser speed.

Feed Adjuststhe amount of feedbackfrom 0 to 100%.

Width Adjuststhe phaser LFOwidth from 0 to 100%.

Depth Adjuststhe phaser depth from 0 to 100%.

Pan Speed Adjust the pan speed from 0.01 to 10 Hz. Sync Engage thisif you want to syncthe pan speed to tempo.

Beats Selectsa beat value for the synced pan speed.

Depth Adjuststhe pan depth from 0 to 100%.

Tremolo Speed Adjuststhe tremolo speed from 0.01 to 10 Hz. Sync Engage thisif you want to syncthe tremolo speed to tempo.

Beats Selectsa beat value for the synced tremolo speed.

Depth Adjuststhe tremolo depth from 0 to 100%.

Delay Speed Adjuststhe delayspeed from 0.01 to 10 Hz. Sync Engage thisif you want to syncthe delayspeed to tempo.

Beats Selectsa beat value for the synced delayspeed.

LC Setsthe frequencyof the low-cut filter from 20 Hzto 1 kHz.

HC Setsthe frequencyof the high-cut filter from 1 kHzto 20 kHz.

Feed Adjuststhe amount of feedbackfrom 0 to 100%.

Mix Adjuststhe mixof the delayed signalwith the originalsignalfrom 0 to 50%.

CHAPTER 13│Studio One Reference Manual Reverb Size Thiscontrolaffectsseveralparametersto approximate an overallroom size. It adjuststhe size of the reverberated signalfrom 0 to 100%, with lower percentagesrepresenting smaller roomsand therefore shorter reverb tailsand higher percentagesrepresenting larger roomsand longer tails. Mix Adjuststhe mixof the delayed signalwith the originalsignalfrom 0 to 50%.

LC Setsthe frequencyof the low-cut filter from 20 Hzto 1 kHz.

HC Setsthe frequencyof the high-cut filter from 1 kHzto 20 kHz.

Damp Adjuststhe dampening of the reverberated signalfrom 0 to 100%.

Bitcrusher

Perfect for audio abuse, Bitcrusher combinesoverdrive, bit-depth reduction, downsampling and clipping into a single plug- in. Bit depth reduction and downsampling are both digitalresolution-reduction techniques, but each hasitsown sonic effect. When used in combination, theycreate a wide varietyof tonaloptions. The following parametersare available in Bitcrusher: Overdrive Letsyou applya warm distortion effect, ranging from clean to fuzzy.

Bit Depth Letsyou specifythe levelof Bit Depth reduction to apply, from 24-bit to 1-bit. Dirt Enable thisto introduce a high-frequencyinstabilityin the Bit Depth reduction effect, good for creating aggressive sounds. Downsample Letsyou specifythe levelof downsampling to apply. Zero Enable thisto emphasize the high-frequencyringing effectsadded bythe downsampling process. When disabled, a smoothing interpolation processis applied to the signal, lessening audible artifacts. Clip Letsyou set the threshold for the signalclipping effect. At 0, the signalisunaffected, and settingsbelow 0, the signal is clipped in your choice of the following ways: Digital Standard digitalclipping. Squarelyclipsthe peaksof the waveform at the chosen threshold.

Foldback Introducesharmonicsbyinverting waveform peaksat the chosen threshold (and at zero).

Overflow Invertsand offsetspeaksat a faster interval

Gain Letsyou raise or lower the overalllevelof your signal(-24 to +24 dB). Enable the Auto option to set Gain automatically, to match the gain changescreated byother Bitcrusher processors. Mix Letsyou blend between the dry(0%) and effected (100%) signals.

The centralwaveform displayshowsa rough representation of the wave-shaping effectscurrentlybeing applied.

222│Studio One Reference Manual Red Light Distortion

Red Light Distortion isan analog-distortion emulator with severalselectable distortion models. The following parametersare available in Red Light Distortion: In Input gain to the distortion. Variable from -12 dBto 24 dB.

Distortion Onlyfor Hard and Bad Tube types, thisisthe tube working-point adjustment (bias). Variable from 0 to 10.00. Low Freq Filtersfrequenciesbelow thisvalue from the distorted signal. Variable from 20 Hzto 5 kHz, depending on the High Freq setting. High Freq Filtersfrequenciesabove thisvalue from the distorted signal. Variable from 800 Hzto 16 kHz.

CHAPTER 13│Studio One Reference Manual Drive Amplification during overdrive. Variable from 0 to 11; drive increasesa lot between 10 and 11 for reallydis- torted sounds. Stages Number of overdrive stagesused seriallyin the signalpath (including filters). Select from 1, 2, or 3 with the horizontalfader. Model Select the type of distortion emulation byclicking on the displayand selecting Soft Tube, Hard Tube, Bad Tube, Transistor, Fuzz, or OpAmp from the list. Bypass Clickto Engage/Disengage bypassof the entire Red Light Distortion signalpath.

Out Adjust the output gain of Red Light Distortion. Variable from -12 dBto 24 dB.

Mix Thisparameter letsyou set a mixbetween the wet (effected) and dry(unaffected) signalsrunning through the plug-in, allowing for parallelprocessing effects.

Dynamics Dynamicsprocessing isa keyaspect of mixing and mastering. Studio One featuresveryhigh-qualitydynamicsprocessors that give you complete control. The following sectionscontain fundamentaldetailson the shaping of audio dynamics, as wellasthe functionsof Studio One’sdynamicsprocessors.

Compressor

The Compressor isa full-featured, RMS-based mono/stereo compression processor with internaland external sidechains. Use thiseffect to reduce the dynamicrange (signalpeaks) of anysignal. The following parametersare available in the Compressor: Ratio Adjustscompression range. Variable from 1:1 (no compression) to 20:1.

Threshold Adjuststhe lower limit for compression. Variable from -48 dB to 0 dB.

Knee Adjuststhe soft-knee width. (Width refersto the distance from the threshold to the end of the soft knee.) Variable from 0.1 dBto 20 dB. Look Ahead Clickto engage/disengage 2 msLookAhead function.

Stereo Link Clickto engage/disengage Stereo Link. Stereo Linksumsa stereo input signalto mono for signalpower detection. Display Input Level Displays input level + RMS.

224│Studio One Reference Manual Reduction Displayslevelof compressor attenuation (-60 dB to +3 dB) and the maximum reduction amount. The highest peakisheld untilsurpassed byanother peakor untilparametersare adjusted or clicked on. Compression Curve Click in the display to control curve settings. Ratio Clickthe top right handle to adjust when Auto-Gain isnot engaged.

Threshold Clickthe middle handle to adjust when Auto-Gain isnot engaged.

Knee Use the mouse wheelwhile floating the cursor over the middle handle to adjust when Auto-Gain isnot engaged. If you don’t have a mouse wheel, type in a value or use the Knee knob. Gain Clickthe bottom left handle to adjust when Auto-Gain isnot engaged.

Auto-Gain Engaged Clickon the middle handle to adjust allparameters.

Output Level Displaysoutput level+ RMS.

Input Gain Attenuatesor amplifiesthe compressor input. Variable from -12 dB to 24 dB.

Auto-Gain. Engage to automaticallyfixthe 0 dBinput levelto the 0 dBoutput level(guaranteesthat a 0 dB input levelresultsin a 0 dB output level). When Auto isnot engaged, Gain (output gain) isvariable from0dBto48dB. Attack Adjustsattacktime for dynamicsprocessing. Variable from 0.1 msto 400 ms.

Release Adjustsrelease time for dynamicsprocessing. Variable from 1 msto 2s.

Speed Auto Engage Auto to automaticallyset varying attackand release settingsbased on signalcontent.

Adaptive Engage to automaticallyvaryattackand release timesin order to avoid pumping. Thisresults in less-aggressive but smoother compression. Sidechain Engage byclicking [Sidechain] button at the top of the effect window to allow other sourcesto control the Compressor or use the internalfilter sidechain. Sidechain Channel Display Displays the current sidechain channelsource.

Filter Click to activate internalsidechain filtering (for frequency-dependent compression). Uses 48 dB/octave filters. Listen Filter Clickto listen to the filtered controlsignalof the internalsidechain. Helpsfind specifictarget frequencyfor controlsignalwhen de-essing, transient damping, etc. Lowcut and Highcut Frequencyselection for internalsidechain filters. LC isvariable from Off to20Hzto16kHz;HC isvariablefrom20Hzto16kHztoOff. Swap Clickto swap the frequenciesused for LC and HC.

Mix Thisparameter letsyou set a mixbetween the wet (effected) and dry(unaffected) signalsrunning through the plug-in, allowing for parallelprocessing effects.

CHAPTER 13│Studio One Reference Manual Expander

Expander isa fullyvariable downward expander with range control. It featuressidechain capability, including an internal sidechain filter with variable low-cut and high-cut. Expandersincrease the dynamicrange of a signalsuch that low-level signalsare attenuated while the louder portionsare neither attenuated nor amplified. Thisiseffectivelythe opposite of compression. Use Expander to decrease the levelsof unwanted noise or bleed from other sourcesin the desired signalor to restore dynamicrange to a compressed signal. The following parametersare available for the Expander: Threshold Adjuststhe maximum amplitude at which processing occurs. Variable from -60 dB to 0 dB.

Range Adjust the maximum amount of attenuation applied to the signal. Variable from -72 dB to 0 dB.

Ratio Adjust the ratio of the Expander. Variable from 1:1 to 1:20.

Look Ahead Clickto engage/disengage 2 msLookAhead function.

Attack Adjustsattacktime for dynamicsprocessing, reaction speed to falling signal. Variable from 0.1 msto 500 ms. Release Adjustsrelease time for dynamicsprocessing, reaction speed to rising signal. Variable from 50 msto 2 s.

Sidechain Engage byclicking the [Sidechain] button at the top of the effect window to allow other sourcescontrol the Expander. Sidechain Channel Display Displays the current sidechain channelsource.

Filter Click to activate internalsidechain filtering (for frequency-dependent expansion). Uses 48 dB/octave filters. Listen Filter Clickto listen to the filtered controlsignalof the internalsidechain. Thishelpsfind a specifictarget frequencyfor the controlsignalwhen de-essing, transient damping, etc. Lowcut and Highcut Frequencyselection for internalsidechain filters. LC variable from Off to 20Hzto16kHz;HC variablefrom20Hzto16kHztoOff. Swap Clickto swap the frequenciesused for LC and HC.

226│Studio One Reference Manual Gate

Gate isa noise-gate processor with range control. It featuressidechain capabilitywith an internalsidechain filter that includesvariable low cut and high cut. Gating isan extreme form of expansion that severelyattenuatesthe processed signalor silencesit entirely. Use Gate to eliminate unwanted noise or low levelsin anyTrackor to creativelycontrolthe levelof a given Trackusing another Trackvia the sidechain. The following parametersare available for the Gate: Threshold Open Adjust the signallevelthreshold at which the Gate switchesbetween closed and open. Variable from-60dBto0dB. Close Set the levelat which the gate closes, relative to the threshold. Variable from -24 dBto 24 dBfrom the Threshold value. Range Adjuststhe maximum amount of reduction. Variable from -72 dB to 0 dB.

Reduction Display Displaysthe amount of reduction, ranging from -72 dBto 0 dB.

Attack Adjust the amount of time it takesfor the gate to open and let signalthrough. Variable from 0.05 msto 500 ms. Hold Adjust the amount of time the gate isheld open once the signalhasdropped below the Threshold setting. Variablefrom1msto1s. Release Adjust the amount of time it takesfor the gate to close after the Hold period. Variable from 50 msto 2 s.

LkA (Look Ahead) Clickto engage/disengage the 2 msLookAhead function.

Trigger - Active Clickto engage sending a trigger when the gate opens. Adjuststhe note and velocityto send. Select the gate asan input on anyInstrument Track. Sidechain Engage byclicking [Sidechain] button at the top of the effect window to allow other sourcescontrolthe gate. Sidechain Channel Display Displays the current sidechain channelsource.

Filter Clickto activate internalsidechain filtering (for frequency-dependent gating). Uses48 dB/octave filters. Listen Filter Clickto listen to the filtered controlsignalof the internalsidechain. Helpsfind specifictarget frequencyfor controlsignalwhen removing narrow-band noise. LC/HC Freq Frequencyselection for internalsidechain filters. LC variable from Off to 20 Hzto 16 kHz; HC variablefrom 20Hzto16kHztoOff. Swap Clickto swap the frequenciesused for LC and HC.

Duck (for external sidechain) Engage to invert the externalsidechain source signal.

CHAPTER 13│Studio One Reference Manual Limiter

The Limiter isa brickwalllimiting processor with optional K-System Metering. Use it to prevent your output signalfrom clipping or to maximize signals with very dynamic peaks. The following parametersare available for Limiter: Input Adjuststhe input levelinto the limiter. Variable from 0 dB to 18 dB.

Ceiling Adjuststhe ceiling—that is, the maximum output—of the limiter. Variable from -12 dB to 0 dB.

Threshold AllowsLimiter to be used asa leveling amp. When Threshold isbelow Ceiling, a soft knee and 1:20 ratio between Threshold and Ceiling valuesisused. Threshold setting isrelative to Ceiling. The numericaldisplay isan absolute value. Variable from Ceiling value to 12 dB below Ceiling value. Release Adjust the amount of time it takesfor the limiter to stop processing once the input levelhasfallen below the Ceiling setting. Variable from 2 msto 1 s. True Peak (TP) Often the sample that representsthe "peak" of a waveform isnot trulyat the peak, but rather just near it. Thiscan create inter-sample peaks, in which the true outputted amplitude can surge past the limiter threshold. Enable TP to detect and protect from these inter-sample peaks. Softclip Reducessquare wave clipping characteristicswhen the limiter isclipped. Clickto engage Softclip.

Metering PkRMS Clickto engage Peak/RMS metering.

K-14, K-20, K-12 Clickto engage a K-System metering option.

Reduction Displaysthe amount of limiting reduction, ranging from -24 dB to 0 dB. Max Displaysthe maximum reduction levelreached in dB.

228│Studio One Reference Manual Mastering

Multiband Dynamics

Multiband Dynamics is a compressor/expander with five completely independent compression/expansion bands, optional simultaneousadjustment over allbands, and multiband metering. Use it to reduce unwanted signalsor banded noise and to emphasize or limit instruments. In practice, thiseffect can function asa dynamicequalizer or can be used for mastering compression on a complete mix. Thistype of compression isregarded bymanyasan art form, and can be difficult for beginnersto use. We recommend you load the factorypresetsasa starting point and learn how Multiband Dynamicsworksbyusing it. The following parametersare available for Multiband Dynamics: Global Display Float mouse in displayto view parameter-editing Tooltipsabove the display.

Input Horizontallinesrepresent Low and High Threshold for dynamicsprocessing.

Output Horizontallinesrepresent transformation of the High and Low Thresholdsusing Gain and Ratio. A signal at the Low Threshold on the input would be at the low levelon the output. Color Coded Output Gain Red meansattenuation, green meansamplification.

Mix Thiscontrolletsyou set the mixbetween effected and non-effected (dry) signals, allowing for parallel processing. Dynamicchangesoccur onlybetween Low/High Threshold and Low/High Gain. If the signalisabove or below these settings, only linear gain is applied. Bands L,LM,M,HM,H Low, Low Mid, Mid, High Mid, High. Frequency Knob Adjust crossover frequencybetween bands. You must have at least one octave between adjacent bands. M, S, Bypass Mute, Solo, and Bypassengage buttonsfor each band.

Editing the crossover frequenciesin the displaymovesother bandswhen the bandwidth isbelow one octave. Editing using automation islimited to a one octave bandwidth. Moving the crossover to limit frequenciesdisablesbands.

CHAPTER 13│Studio One Reference Manual Metering Range Low Thisisthe lowest amplitude to be displayed in band meters. Clickto select from -120 dB, - 80dB,-48dB,-24dB,or -12dB. Range High Thisisthe highest amplitude to be displayed in band meters. Clickto select from +12 dB, 0 dB,-12dB,-24dB,or -48dB. Metering On/Off Clickto engage/disengage metering for allbands.

Edit All Relative Click to engage/disengage relative dynamics-settings editing for allbands. When engaged, changing dynamicssettingsfor the selected band changesthe same settingsfor allbandsbythe same amount. Auto Speed Clickto engage/disengage Auto Speed for the dynamicsfor allbands. Setsadaptive Attackand Release timesfor allbandsglobally. Dynamics Clickon anyband to select it and view/edit dynamicssettingsfor that band. Dynamics Display Click on handles in display to adjust dynamics settings.

Thresholds No dynamicsprocessing occursfor signalsoutside of the Threshold settings—onlygain amplification/attenuation. Low Threshold Adjuststhe lower limit for signalto be processed. Variable from -60 dBto 2xthe knee length. High Threshold Adjuststhe upper limit for signalto be processed. Variable from 0 dBto 2xthe knee length. Ratio Adjustsdynamicsprocessing ratio. Variable from 1:10 (gating) to 20:1 (limiting).

Gain Adjustsoutput gain. Variable from -36 dBto 36 dB.

Attack Adjustsattacktime for dynamicsprocessing. Variable from 1 msto 200 ms.

Release Adjustsrelease time for dynamicsprocessing. Variable from 4 msto 200 ms.

Dynamicsspeedsare adapted to provide a comparable smoothnessat the same setting for expansion and compression, so expansion isslightlyslower than the shown length.

Tricomp™

Tricomp isa three-band compressor. It providesautomaticthreshold and ratio settingsfor allthree bandsand relative controlfor the low and high bands, aswellasswitchable automaticattackand release controls. Tricomp can be used to finalize your mixor to add brilliance or punch to frequency-rich signals. The following parametersare available for Tricomp: In Gain Set overallInput Gain to the compressor

Input Meter Displays Tricomp’s input level.

230│Studio One Reference Manual Low Adjuststhe relative amount of compression to be applied to the Low compression band. Variable from -5 to 5 depending on the Compresssetting. Low Freq Adjuststhe upper corner frequencyof the Low compression band. Variable from 80 Hzto 480 Hz.

High Adjuststhe relative amount of compression to be applied to the High compression band. Variable from - 0.50 to 0.50, depending on the Compresssetting. High Freq Adjuststhe lower corner frequencyof the High compression band. Variable from 800 Hzto 12 kHz.

Compression Amount The relative amount of compression to be applied to allthree compression bands. Vari- ablefrom0to10. Speed When Auto Speed isnot engaged, thisadjuststhe compressor attackand release timessimultaneously. Attackisvariable from 0.1 msto 10 ms; Release isvariable from 3 msto 300 ms. Autospeed Clickto engage adaptive settingsfor the compressor attackand release times, based on signalcontent. Knee Adjuststhe distance/curve of the compressor knee. Variable from 0 dB (hard knee) to 6 dB (soft knee).

Gain Set overalloutput Gain.

Saturation Saturation emulatesthe saturation sound found in famousleveling amplifiers. Variable from 0 to 100%. Mix Adjust the mixbetween dry(unaffected) and wet (effected) signals, for parallelcompression effects.

Mixing Manytoolscan help to achieve proper balance and create space for the variouspartsof your mix. The following effects can help you craft your mixwith precision and excellent sound quality.

Binaural Pan

The BinauralPan isa panning effect that employsmid/side processing to manipulate the perceived width of stereo signals, from mono to double the normalwidth. Use the BinauralPan on anystereo Trackto tightlycontrolitsstereo width and pan, aswellasto checkfor mono compatibilityusing the Mono switch. The following parametersare available for the BinauralPan: Width Adjuststhe stereo width of the stereo Track. Variable from 0 (mono) to 200%(double stereo width).

Mono Switch to mono playbackof the stereo Track.

Pan Adjuststhe balance in the left and right channelsfor the stereo Track. Variable from 100%L to 100%R.

The BinauralPan can onlybe used on stereo Tracks. If loaded onto a mono Track, the plug-in displayshows“MONO CHANNEL.”

CHAPTER 13│Studio One Reference Manual Channel Strip

ChannelStrip featuresthree processorsin one, including a low-cut filter, dynamicsprocessor, and three-band parametric EQ. ChannelStrip optionallyappliesautomaticgain correction to the EQso that the input-signalpower matchesthe output signalpower. Use ChannelStrip on anymono or stereo Trackthat needsbasicchannelprocessing. The following parametersare available for ChannelStrip: LC and Freq Clickon the [LC] button to engage/disengage the Low Cut filter. Adjust frequencyto change the filter cutoff frequency. Compress Adjuststhe compression amount. Variable from Off to 100%. Simultaneouslyadjuststhreshold (0 dB to-20dB) andratio(2:1to10:1). Expand Adjuststhe expansion amount. Variable from Off to 100%. Simultaneouslyadjuststhreshold (-64 dB to - 24 dB) and ratio (1.5:1 to 2.5:1). Active gain reduction isindicated bya red “LED"-like indicator.

Fast, Medium, Slow Adjuststhe RMS averaging speed, slower speed mayreduce artifactswith some audio material. Default isMedium, and Studio One version 1 presetsopen set to Fast. Adaptive Q Enable to change band Qdepending on the levelof boost or cut applied.

Display Displayslow-cut filter and parametricEQsettings. Clickon handlesto adjust gain (up/down) and frequency (left/right). Low, Mid, High Adjustsgain and frequencyfor each band of the parametricEQ. Each band hasfixed Q.

Gain Adjuststhe output gain of the ChannelStrip. Variable from -12 dBto 12 dB. Auto Clickto engage automaticoutput-gain setting. Thisguaranteesthat a 0 dB input signalequalsa 0 dB output signal.

Dual Pan

DualPan isa fullyvariable stereo panner with input balance control, selectable pan law, and independent left/right panning. The following parametersare available for DualPan: Input Balance Adjuststhe balance of the stereo input signalfrom fullleft to fullright.

Pan Law Select a pan law, choose from -6 dBLinear, -3 dBConstant Power Sin/Cos, -3 dBConstant Power Sqrt, 0 dBBalance Sin/Cos, and 0 dBLinear.

232│Studio One Reference Manual Pan Left Adjuststhe pan of the left input signalfrom fullleft to fullright.

Right Adjuststhe pan of the right input signalfrom fullleft to fullright.

Link Linkthe Left and Right panning.

Fat Channel

Fat Channelisa complete virtualversion of the channel strip found on the StudioLive 32.4.2 AI mixer, which allowsyou to use allFat Channel presetsin both Studio One and on StudioLive AI. With gate/expander, compressor, parametricEQ and limiter functions, Fat Channelcombinesmanyessentialprocessing functionsinto one easy-to-use tool.

Fat Channel Preset Interchange

To send a Studio One Fat Channelpreset to StudioLive AI, clickExport ChannelPreset in the Preset Options menu of the Fat Channelplug-in header. Thissavesthe current preset to the Universal ControlAI user preset folder, for use bya connected StudioLive AI mixer. Newlyadded presets from a connected StudioLive AI mixer are automaticallyadded to the Studio One Fat Channel presetslist each time Studio One is launched.

Fat Channel Controls

Fat Channelfeaturesthe following controls:

High-Pass Filter Module

Freq Setsthe frequencyof the high-passfilter. Turn allthe wayleft to disengage the filter.

Gate/Expander

Enable/Disable Clickthisbutton to enable or disable the Gate module.

Key Filter Thisknob adjuststhe frequencyat which the gate opens. Setting a specificfrequency, in addition to a specificdecibellevel, providesmore sonicshaping. The keyfilter can be triggered bythe selected channelor bus’s signalor bysidechaining a channeland using itssignalasthe source. Threshold Thisknob setsthe levelat which the gate opens. Essentially, allsignalsabove the threshold setting are passed through unaffected, whereassignalsbelow the threshold setting are reduced in levelbythe amount set bythe range control. If the threshold isset allthe wayto the left, the gate isturned off (alwaysopen), allowing allsignalsto passthrough unaffected. You can set the threshold from 0 to -84 dB. Range Thisadjuststhe amount of gain reduction the gate produces. The range can be set from 0 to -84 dB. The Range controlisnot available when using the expander.

CHAPTER 13│Studio One Reference Manual Attack (Att) Thisadjuststhe rate at which the gate openson the selected channelor output. You can set the attacktime from 0.02 to 500 ms. Release (Rel) Adjustsand displaysthe rate at which the gate closeson the selected channel. The release time can be set from 0.05 to 2 seconds. Listen Thisbutton engagesand disengagesthe KeyListen function, which letsyou hear how the gate KeyFilter is set. Expand Switch the gate into expander mode.

Interactive Graph Thisgraph providesa visualrepresentation of the settingsand current activityof the gate. You can also adjust the setting bymoving the blue dotsto adjust Threshold and Range.

Compressor Module

Enable/Disable Clickthisbutton to enable or disable the Compressor module.

Threshold Thisknob adjuststhe compressor threshold for the selected channel. The compressor engagesas soon asthe signallevel(amplitude) exceedsthe threshold value. Moving thiscontrolto the left lowersthe threshold so that compression beginsat a lower amplitude value. The threshold can be set from -56 to 0 dB. Ratio Thisknob adjuststhe compression ratio (or slope) for the selected channel. The ratio isa function of the output levelversusthe input level. For example, if you have the ratio set at 2:1, anysignallevelsabove the threshold setting are compressed at a ratio of 2:1. Thismeansthat for every2 dBof levelincrease above the threshold, the compressor’soutput onlyincreasesbys1 dB. The ratio can be set from 1:1 to 18:1 or “limit” which isthe equivalent of infinity:1. Gain Thissetsand displaysthe makeup gain of the compressor for the selected channel. Compressing a signal usuallyresultsin an overallreduction in level(gain reduction), and the Makeup Gain controlletsyou increase the volume to make up for thisgain loss, if desired. You can adjust the Makeup Gain from 0 dB(no gain adjustment) to +28 dB. Attack Thisadjuststhe speed at which the compressor actson the input signal. A slow attacktime (moving the slider to the right) allowsthe beginning component of a signal(commonlyreferred to asthe initialtransient) to passthrough, uncompressed, whereasa fast attacktime (fullyto the left) triggerscompression immediatelywhen a signalexceedsthe threshold. You can set the attackfrom 0.2 to 150 milliseconds. Release Thisdeterminesthe length of time the compressor takesto return the gain reduction backto zero (no gain reduction) after crossing below the compression threshold. Release can be set from 2.5 to 900 milliseconds. Auto ThisenablesAutomaticAttackand Release mode. When Auto mode isactive, the Attackand Release con- trolsbecome inoperative, and a pre-programmed attackand release curve isused that setsthe attackto 10 ms and the release to 150 ms. Meanwhile, allother compressor parameterscan stillbe adjusted manually. Soft Thisengagessoft-knee compression. In normaloperating mode, the compressor isset for hard-knee compression, meaning the gain reduction applied to the signaloccursassoon asthe input signallevelexceedsthe threshold value. When the Soft Knee button isengaged, the ratio increasesgraduallyasthe signalreachesthe threshold. Interactive Graph Thisgraph providesa visualrepresentation of the settingsand current activityof the compressor. You can also adjust the setting bymoving the blue dot to change the Threshold and Ratio values.

Equalizer Module

Enable/Disable Clickthisbutton to enable or disable the Equalizer module.

High/Low Shelf Button These buttonsturnsShelving mode on or off for the High and Low bands. When the Shelf button isengaged, the associated High or Low frequencysection isswitched from parametricEQto shelving EQ. Band Enable/Disable Buttons These buttonsselect which EQband isbeing controlled bythe Frequency, Gain, and Qcontrols.

234│Studio One Reference Manual Freq Thisknob selectsthe center frequencyof the corresponding band. You can adjust the center frequencyin the following rangesfor each band: Low Band: 36 to 465 HzLow-Mids: 90 Hzto 1.2 kHzHi-Mids: 380 Hzto 5 kHz Highs: 1.4 to 18 kHz Gain Thisknob boostsand attenuatesthe selected frequencywith a range of -15 to +15 dB.

Q Thisadjuststhe Qvalue for the corresponding frequencyband. The Qisthe ratio of the center frequencyto the bandwidth. When the center frequencyisconstant, the bandwidth isinverselyproportionalto the Q, so asyou raise the Q, you narrow the bandwidth. Hence, the smaller the number, the wider the curve. Interactive Graph Thisgraph providesa visualrepresentation of the current settings. You can change the set- tingsbymoving the blue dotsto adjust the frequencyand gain at the same time. The first time you touch a dot, the associated band automaticallyturnson. Tapping or clicking a dot turnsthe band on and off.

Limiter Module

Enable/Disable Clickthisbutton to enable or disable the Limiter module.

Threshold Setsand displaysthe threshold of the limiter on the selected channel. The limiter engagesassoon as the signallevel(amplitude) exceedsthe threshold value. Moving thiscontrolto the left lowersthe threshold so that limiting beginsat a lower amplitude value. The threshold can be set from -28 to 0 dB.

Mixtool

Mixtoolprovides common track utilities, including independent left- and right-channelinversion, left- and right-channel swap, and MS transformation of stereo signals. Use Mixtoolwhen inverting channelsto correct for phase cancellation and correlation issues, aswellasto provide MS transformation to decode signalsrecorded with Mid-Side stereo configurations. The following parametersare available for Mixtoolwhen used on a stereo Track: Gain Set overalloutput Gain.

Block DC Offset Re-centersthe incoming waveform, to remove anyDC Offset in the audio signal.

Invert Left Clickto invert the phase of the left playbackchannelfor a stereo Track.

Invert Right Clickto invert the phase of the right playbackchannelfor a stereo Track.

Swap Channels Clickto swap left and right Mixtoolinput channels. Stereo Tracksonly.

MS Transform Clickto perform a Mid-Side transform on the Mixtoolinput channels. Stereo Tracksonly. Gen- erallyused to decode MS-recorded signalsor to create MS signalsfor stereo image processing. When used on a mono Track, the Mixtoolplug-in hasone controlto invert the phase of the signal.

CHAPTER 13│Studio One Reference Manual Pro EQ

Pro EQ isa seven-band parametricequalizer with optionalspectrum metering; variable low-cut, high-cut, low-frequency, and high-frequencymultimode filters; and an optionalAuto-Gain output gain setting. Use Pro EQon anymono or stereo Track to accuratelyapply highly musicalequalization to any signal. The following parametersare available for Pro EQ: Display Click-and-drag frequency-band handlesin the displayto edit Gain (up/down) and Freq (left/right) parameters. If you clickon a handle, the mouse wheeleditsthe Q. (If you don’t have a mouse wheel, clickon the desired Qknob or type in a value below the knob.) Show Curve All/Current Clickto select Allor Current.

All Simultaneouslydisplayscurvesfor each band and for the resulting EQcurve being applied to the signal (white). Current Displaysthe resulting EQcurve (white), aswellasone curve for anyband being activelyedited.

Spectrum Clickto engage/disengage Pro EQoutput-spectrum metering, which isavailable in 3rd Octave, FFT Curve, and Waterfallmodes. A second signalcan be routed into the spectrum displayusing the included Sidechain input, for com- parison. TheSpectrum displayisfixedat20Hzto20kHzand-24dBto24dB.

236│Studio One Reference Manual EQ Controls Show/Hide Clickthe arrow on the border between the spectrum displayand EQcontrolsto hide or show the EQcontrols. High Quality Clickto engage High Qualitymode, allowing more accurate equalization. Thisisachieved using 2x oversampling and requiresmore computer processing power. Note that when High Qualityisenabled, due to oversampling, the signalisslightlyaltered, even when allcontrolsare set to neutralsettings. Bands ClickActivate button to engage/disengage each band. LC,HC Low-cut and high-cut filters. Freq Adjust point at which filter cut begins.

Slope Select from 6, 12, 24, 36, and 48 dBper octave. Thisaffectsthe shape of the filter curve.

LF,HF Selectable low-frequency and high-frequency, shelf or peaking filters.

Q Adjust the Qof the frequencyband. Q=the ratio of center frequencyto bandwidth. When the center frequencyisconstant, Qisinverselyproportionalto bandwidth (i.e., higher Q=narrower bandwidth). Gain Attenuate/amplify frequency band.

Filter Mode Select from Peaking and Shelf, with 6, 12, or 24 dBper octave slope.

Freq Adjust the center frequencyof the band.

LMF,MF,HMF Peaking filters. Q Adjust the Q(center-frequency:bandwidth) of the frequencyband.

Gain Attenuate/amplify frequency band.

Freq Adjust the band center frequency.

Auto Clickto engage Auto-Gain, which adjustsPro EQoutput levelto match the originalinput-signalpower (guar- anteesa 0 dBinput signalequalsa 0 dBoutput signal). Output Meter Peak/RMS meter; RMS levelisrepresented bya white horizontalline.

Modulation Modulation processorsare great toolsfor creating interesting and innovative sounds. Studio One featuresthe following modulation processors:

Auto Filter

Auto Filter featurestwo resonant filterswith sixselectable filter models. The filter cutoff frequencyand resonance can be modulated byan LFOusing standard waveforms, a 16-step sequencer, and an envelope. Use Auto Filter to create filtered effectsfrom basicfilter sweepsto complextempo-synced rhythmicfilter patterns. The following parametersare available for Auto Filter:

CHAPTER 13│Studio One Reference Manual Filter 1 and Filter 2 Select from 6 filter emulation types, including Ladder LP 12 dB, 18 dB, and 24 dB; Analog SVF 12 dBand 24 dB, DigitalSVF 12 dB, Comb, and Zero DelayLP24 dB(asfound in the included Mai Tai and Presence XT instruments). SVFs State Variable Filterscan blend between low-pass, bandpass, and high-pass. Click-and-drag the Filter Mixhorizontalfader (below the filter-modelselection) to blend filter types. FLT Spread Adjust the spread between Filter 1 and Filter 2 Cutoff Frequencies. Variable from -2 octavesto 2 octaves. (Filter 2 Cutoff isthe result of the Cutoff setting and FLT Spread amount.) Chained/Parallel Switch the two filtersbetween chained in series(Filter 1 followed byFilter 2; good for adding peaks, creating band-reject filters, etc.) and parallel(Filter 1 and Filter 2 processand output the same signalsimultaneously; good for creating wide bandpassfilters). Drive Adjust the filter’sfeedbackoverdrive. Variable from 0 to 100%.

Cutoff Set filter cutoff frequency. Variable from 30 Hzto 16 kHz.

Can be modulated bythe envelope and LFO.

Adjust the modulation amount from each using the Envand LFOverticalfaders. Variable from - 100%to 100%. Negative valuesare phase-inverted. LFOmodulatesaround the value. Reso Adjust the resonance of the filters. Variable from 0 to 100%. Can be modulated bythe envelope or LFO.

Adjust the modulation amount from each using the Envand LFOverticalfaders. Variable from - 100%to 100%. Negative valuesare phase-inverted. LFOmodulatesaround the value. Envelope Length Adjust the attackand release timesof the volume envelope (Env), affecting cutoff and resonance. Auto Click to engage/disengage automatic envelope-length selection

Sidechain Clickthe Sidechain button at the top of the effect window to engage sidechain for envelope detection. (Use another Trackto controlthe envelope.) LFO Clickon waveform buttonsto select from 16-step, triangle, sine, sawtooth, and square waveforms. LFO Speed Canbesyncedtotempoor runfree.

Sync Clickto engage/disengage LFOtempo sync. When tempo issynced, the speed isvariable from 4/1 to 1/64, with varioustriplet and duple time variants. 16-step When 16-step isengaged, clickin the displayto edit valuesfor each step. It dividescurrent Speed/Beatstime into 16 steps, each step variable from -1 to +1. Gain AdjustsAuto Filter output gain. Variable from -6 dBto 6 dB.

Auto Clickto enage Auto-Gain, to keep input and output signalsat equivalent levels.

Mix Adjuststhe mixof the Auto Filter-processed signalwith the originaldrysignal. Variable from 0 to 100%.

Chorus

238│Studio One Reference Manual The Chorusisa 1-3-voice chorusprocessor with optionalLFOdelaytime modulation and stereo width control. Chorus processing isoften used on vocaltracksto help create a more fullvocalsound so the trackfitsbetter in the overallmix. Guitar and synth partssometimesfeature chorusprocessing for similar reasons. The following parametersare available for the Chorus: Mode Choose between Doubler mode (equivalent to the Choruseffect in Studio One 2.5 and earlier) and Chorusmode, which employsinverse all-passmovement, for truer choruseffect. Delay Adjuststhe delayof the Chorusvoices. The value you set isthe delaytime between voices.

Voices Adjuststhe number of added voicesin the Chorus; select from 1, 2, or 3.

LFO The LFOmodulatesthe Spacing parameter.

LFO Speed Adjuststhe speed of the LFO.

LFO Shape Choose between the following waveformsfor the LFO: Triangle, Sine, Sawtooth, or Square. LFO Width Adjuststhe range of the LFOmodulation of Spacing. Variable from 0 to 100%. Avalue of 100%would modulate the Spacing parameter from 0 to 2xSpacing. Depth Adjuststhe mixof the processed Chorusoutput with the dryinput signal. Variable from 0 to 100%.

Stereo Width Adjuststhe spreading of the Chorusvoicesin the stereo field.

Low Freq Setsthe corner frequencyof the low-cut filter

High Freq Setsthe corner frequencyof the high-cut filter

Flanger

Flanger createsspatialdepths, swirls, timbre shifts, and percussive effects. Flanging isoften used on guitar tracksto create interesting shiftsin timbre and tone, and it can help create lush synth sounds, aswell. It worksbysplitting an audio signalinto two identicalsignals; applying a varying, short delayto one signal; feeding itsoutput backto itsinput byvarying amounts; and mixing the processed and unprocessed signals. You can modulate Flanger’sdelaytime with an LFO, which can be tempo-synced. The following parametersare available for Flanger: LFO The LFOmodulatesthe Speed/Beatsparameter. LFO Width Adjuststhe range of the LFOmodulation on delaytime (speed). Variable from 0 to 100%. A value of 100%would modulate the Speed parameter from 0 to 2xSpeed. Speed/Beats Adjust the speed of the LFO.

CHAPTER 13│Studio One Reference Manual Sync Clickto engage LFOtempo sync. Time isexpressed asBeats.

Speed Variable from 0.01 Hzto 10 Hz.

Beats Select from 4/1 to 1/64 with triplet and dotted-time variants.

Depth Adjuststhe wet/drymixof the Flanger output.

Feedback Adjuststhe amount of delayed output to be fed backinto the input. Variable from -90%to 90%. Neg- ative value results in inverted feedback. Delay Adjuststhe delaytime for the copied input signal. Variable from 0.25 msto 10 ms.

Depth Adjuststhe mixof the processed Flanger output with the originaldryinput signal. Variable from 0 to 100%.

Phaser

Phaser appliesa variable number of allpassfiltersin series(one fed into the other), along with one overallfeedbackloop, to the input signal. Phaser featuresan LFOto modulate the center frequenciesfor each all-passfilter. The allpassfiltersfunction asfrequency-dependent delays, so that when the filtered output isadded to the originalinput signal, certain frequenciescan be attenuated or amplified asthe result of phase shifting. Phasersare commonlyused on manytypesof signals, including synths, guitars, and even vocals, to create a distinctive frequency-shifting effect. The following parametersare available for Phaser: LFO Modulatesthe center frequencyfor the allpassfiltersbetween the range set byRange Low and Range High. Range Low Adjuststhe lowest center frequencyfor the allpassfilters. Variable from 10 Hzto either 8 kHzor the Range High value. Range High Adjuststhe highest center frequencyfor the allpassfilters. Variable from either 10 Hzor the Range Low value to 8 kHz. Speed/Beats Adjuststhe speed of the LFO. Sync Clickto engage LFOtempo sync. Time isexpressed asBeats.

Speed Variable from 0.01 Hzto 10 Hz.

Beats Select from 4/1 to 1/64, with triplet and dotted-time variants.

Feedback Adjuststhe amount of the filtered output signalto be fed backinto the input. Variable from 0 to 95%.

Stages Adjuststhe number of allpassfilter stagesin the Phaser. Variable from 2 to 20.

Spread Adjuststhe spread of each allpassfilter from 0 to 100%

Depth Adjuststhe mixof the processed Phaser output with the originaldryinput signal. Variable from 0 to 100%.

240│Studio One Reference Manual Rotor

Rotor isa rotaryspeaker effect that simulatesthe sound of a tube-powered amplifier with independentlyrotating high-mid horn and basswoofer, asyou might find attached to a classicelectricorgan. Rotor excelsat adding a sense of motion and unique tonalcharacter to organ sounds, guitars, or anything you want to try. Each speaker'srotation can be set to a range of speeds, with realisticbraking and acceleration effectswhen changing speeds. The following parametersare available for Rotor: Drive Letsyou add the desired amount of amp drive to your tone. Lower settingsare cleaner, higher settingsare more overdriven. Horn Q Letsyou blend in a midrange peakthat emulatesthe resonance of rotating horn speakers. Lower settingsare more flat, higher settingshave a more pronounced resonance. Off/On Togglesthe rotating action of the virtualspeakerson and off, with a smooth speed transition between states. Slow/Fast Togglesbetween the two preset speedsfor the woofer and horn, with a smooth transition between speeds. Distance Letsyou choose the position of the virtualmicrophone that picksup the rotating speaker. At low settings, the micisclose to the speaker, and the stereo sweeping effectsare more pronounced. At higher settings, the micisfurther awayfrom the speaker, and the effect issubtler and more diffuse. Balance Letsyou blend between the woofer and horn, to achieve the desired tonalbalance. Fullydown, you mainlyhear the woofer. Fullyup, you mainlyhear the horn. Spread Letsyou controlthe stereo width of the rotating speaker elements. At low settings, the part of the signal signifying the front of each rotating element movesin a tight, distinct band acrossthe stereo spectrum. At higher settings, the rotating element appearswider and more diffuse. Woofer Speed and Horn Speed These dual-slider controlslet you set the speed at which the woofer and horn spin at slow and fast speed settings. You can set them to identicalvaluesfor more coordinated rotation between woofer and horn, or to differing valuesthat set up contrasting rotations.

CHAPTER 13│Studio One Reference Manual X-Trem

X-Trem isa tremolo effect that appliesamplitude modulation at a varying amount and rate over time. The X-Trem featurestempo syncand a variable LFOwith selectable 16-step and 16-gate sequencers, aswellasauto-pan capability. Use X-Trem on anyTrackto create anything from subtle shiftsin amplitude to tempo-synced, glitchy, gated drums; trancy, gated pads; panned hi-hats; and other popular sounds. The following parametersare available for X-Trem: Depth Adjust the relative amount of maximum amplitude modulation. Variable from 0 to 100%.

Speed/Beats Adjust the speed of the LFO. Sync Clickto engage LFOtempo sync. Time isexpressed asBeats.

Speed Variable from 0.01 Hzto 30 Hz.

Beats Select from 4/1 to 1/64 with triplet and dotted-time variants.

Pan/Trem Clickto switch the mode of the X-Trem to affect overallamplitude (Trem) or the left- and right-channel balance (Pan). Pan isonlyselectable on stereo Tracks. LFO Mode Select from triangle, sine, sawtooth, or square LFOwaveformsor a 16-step or 16-gate sequencer. 16 Steps Clickin the LFOdisplayto adjust each step. The stepsdivide the current Speed/Beatstime value; the value of each step representsamplitude/pan at that step from 0/hard left to 100%/hard right. 16 Gates Clickin the LFOdisplayto open/close the gate at each step. The stepsdivide the current Speed/Beatstime value. For each step, no color fillmeansthe gate isclosed, and totalcolor fillmeans gate isopen.

Reverb Reverb effectsare used in almost allmusicproductionsand for a varietyof purposes. In everydaylife, reverberation isthe result of the manyreflectionsof sound that occur in a given room or other space. In an ambient space, sound maytravel directlyto your ear and also be reflected manytimesoff the wallsand ceiling of a room before again reaching your ear. With each reflection, the sound isattenuated assound energyisabsorbed bythe reflecting surfacesand dissipated by traveling through a medium (usuallyair). Thiscollection of reflected and attenuated soundsiswhat we know asreverb. Reverb providesessentialauralcuesabout the nature of anygiven space. Assuch, reverb iscommonlyused in music production to create virtualspacesin which the variouspartsof a mixcan interact. Studio One featurestwo built-in reverbs: Mixverb and Room Reverb. three built-in reverbs: Mixverb, Room Reverb, and OpenAIR. The following describesthese reverb effects.

242│Studio One Reference Manual Mixverb™

Mixverb isa simple and efficient reverb that ismeant to be used asan Insert on mono or stereo Tracks. Mixverb features adjustable size, predelay, and damping, aswellasan adjustable gate and stereo width control. Mixverb offersthe following parameters: Predelay Adjust the predelaytime. Variable from 0 msto 500 ms. Predelayisthe amount of time before the first reverberated signalsare heard. Size Adjust the relative size of the reverberating space. Variable from 0 to 100%.

Damp Adjust the relative amount of damping (attenuation of the upper frequencies) of the reverberated signal. Variable from 0 to 100%. Gate The gate isapplied to the reverb output signal. Gate. Clickto engage/disengage the gate.

Gate Thresh Adjust the threshold of the gate. Variable from -36 dBto 12 dB.

Gate Release Adjust the release time of the gate. Variable from 10 msto 250 ms.

Width Adjust the width of the stereo field. Variable from 0 to 100%. Onlyfor stereo Tracks.

Mix Adjust mixof processed signalwith the originaldrysignal. Variable from 0 to 100%.

Lock Locksthe Mixcontrolin place.

CHAPTER 13│Studio One Reference Manual OpenAIR

[Screenshot] OpenAIR - OpenAIR plug-in editing window OpenAIR is a highlyefficient convolution reverb capable of delivering ultra-realisticreverberation based on impulses captured from both realspacesand classichardware reverbs. OpenAIR provides the following parameters: Predelay Defaultsto 0 ms; addspredelayto the impulse response with a positive value, or truncatesexisting pre- delayin the impulse response with a negative value. Valuesrange from -150 to 300 ms. Length For valuessmaller than the originalimpulse response length, thiscutsthe end (that is, shortensthe reverb). For larger values, the range between the ER/LR (earlyreflections/late reflections) crossover point and the impulse response end getstimestretched. The beginning (up to the ER/LR crossover point) isnot stretched, so the room impression created bythe earlyreflectionsstaysintact. [Ctrl]/[Cmd]-clickrestoresthe length to the impulse response length. IR Display and Selection Log Time When engaged, thisshowsmore detailsfor the earlyreflections, making it easier to set ER/LR crossover point. Log Level When engaged, thismakesit easier to see RMS curves.

IR Name Clickto open file selector, or drag and drop anyIR file here.

Prev/Next Switchesthe impulse response to the previousor next file in the same file location asthe existing impulse response. ER/LR Scalesvolumesbefore and after the ER/LR crossover point, from 0 to 1.00.

Gain Setsthe overalloutput volume.

Mix Thisisthe wet/drymix, from 0 to 100%.

244│Studio One Reference Manual Envelope Fade-In Fadesin the impulse response, from 0 msto 2.0 s.

ER/LR Crossover. Setsthe crossover point in time for earlyand late reflections; affectsthe impulse response processing. Range isfrom 0 to 500 ms. Fade-Out Fadesout the impulse response, from 1 msto the length of the impulse response.

Shorten with Stretch When thisisactivated, and the length issmaller than the originalimpulse response, the impulse response isnot cut and isinstead timestretched between the ER/LR breakpoint and impulse response end. (The content of the impulse response before the ER/LR breakpoint isnot stretched or compressed, pre- serving the character of those reflectionsand thusa large part of the reverb character.) Stretch with Pitch When thisisactivated, timestretching isnot used for length changes, and res- ampling isused instead. Thisscalesthe earlyreflectionsaswell. Processing AsOpenAIR doesnot feature true stereo processing, channelcross-feed and cross-delayisbuilt-in. Cross-Feed Adjuststhe amount of the delayed “other” channelthat getsfed into the left and right IR channels, from 0 to 100% Cross-Delay Adjuststhe delayof the cross-fed channels, effectivelyacting asstereo distance, from 0 to 25 ms. Asymmetry Adjustsdelaysand the mixof cross-feed to simulate an asymmetricrecording setup, from fullleft to fullright. 6-band Graphic EQ Scalesfrequencyrangesin the impulse response.

Room Reverb

Room Reverb isa room simulator reverb that adjustsitsinternalreverb parametersbased on virtual-room models. It is meant for use asa send effect or asa Main Output Channeleffect. Room Reverb featuresvariable room parametersand geometry, selectable room models, and population, damping, and surface-smoothness controls. Room Reverb providesthe following parameters:

CHAPTER 13│Studio One Reference Manual Display Displaysthe overallreverb characteristicsacrossa self-adjusting time scale. Earlyreflectionsare represented byverticallines, and the reverb tailisrepresented bya colored envelope. Pre Adjuststhe offset for room-derived naturalpredelayamount. Variable from 0 msto a higher value determined bycurrent Room settings. Length Adjuststhe offset for room-derived naturalreverb taillength. Value range isvariable based on current Room settings. Room Size Adjuststhe geometricaverage of the width, depth, and height of the virtual-room model. Variable from1mto20m. Width Adjuststhe width relative to size. Variable from 0.1 to 2.

Height Adjuststhe height relative to size. Variable from 0.1 to 1.

Geometry Dist Adjuststhe relative distance between the source and the listener position within the virtualroom. Variable from 0.1 to 1. Asy Adjuststhe left and right asymmetrybetween the source and the listener position. Variable from -1 (listener position far right) to 1 (listener position far left). Plane Adjuststhe relative height of the stereo source and listener position within the virtualroom. Vari- able from 0 (half the height of the room) to 1 (ceiling). Room Model Select a syntheticreverb model: SmallRoom, Room, Medium Hall, and Large Hall. W, D, H Display Displaysapproximate room dimensionsbased on current Room settings.

Character Population Adjuststhe relative population of people in the virtualroom. Variable from 0 to 1. Value of 0 resultsin enhanced bass, “static” tail.

Value of 1 resultsin attenuated bass, “moving” tail.

Dampness Adjuststhe relative humidityof the air in the room. Thishasthe effect of attenuating the upper frequenciesof the reverberated signal. Variable from 0 to 1. Reflexivity Adjuststhe relative smoothnessof the surfacesof the virtualroom. Variable from 0 to 1. Higher valuesevoke a more echo-like reverb tail. Reverb Mix Adjust the mixof the reverb tailand earlyreflections. Variable from 0 to 1. Reverb displayisupdated to indicate this mix. Dry/Wet Mix Adjust the mixof the Room Reverb signalwith the originaldrysignal. Variable from 0 to 100%.

Perform/Quality Qualitymode isselected bydefault. Engage Perform mode (economyperformance mode) to use fewer CPU resourcesbydisabling floor and ceiling reflectionsand reducing the calculation accuracyfor the reverberation.

Pipeline Asmentioned in the Remove an Insert section, Pipeline allowshardware processorsto be inserted on Audio Channelsin much the same waythat virtualeffectsare inserted. Thisfeature iscommonlycalled a “hardware insert.”

246│Studio One Reference Manual Configuring an Instance of Pipeline Insert an instance of Pipeline on anyChanneljust like anyother effect, either bydragging it in from the Browser, or through the Add menu in the Insert Device Rack. Note that there are Mono and Stereo versionsof Pipeline; use the version that is appropriate for your hardware processor. The Pipeline interface featuresthe following controls: Signal Scope Displaysan overlayof the send and return signals. Label Clickin the emptyspace to type in a label. Thisisused to clearlyidentifythe inserted hardware.

Send Controls: Gain Adjust the send gain to prevent clipping the hardware input.

Output Selection Select the Output Channelthat isused to route audio from Studio One to your hardware processor. Offset Set an offset value in samplesto account for the latencyinduced directlybyAD/DA convertersand hardware processors. Return Controls: Gain Adjust the return gain asneeded to prevent clipping after the hardware insert.

Input Selection Select the Input Channelthat isused to route audio from your hardware processor into Studio One. Mix Adjust the mixof send and return signal. Thismakesparallelprocessing possible.

Phase Invert Invert the phase of the return signal(relative to the send signal). Thisisusefulwhen auditioning for calibration purposes To the far left and right of the Pipeline interface are Send and Return meterswith separate clip indicators, enabling you to accuratelymonitor send and return levels.

CHAPTER 13│Studio One Reference Manual Automatic Latency Compensation Pipeline automaticallycompensatesfor the latencyinvolved in routing audio from Studio One to your audio interface and back. Thisisbased on the reported input and output latencyfrom your hardware interface driver. The roundtrip latency being compensated for isdisplayed in millisecondsat the bottom of the Pipeline interface.

Manual Offset For practicalpurposes, analog hardware processorsdo not introduce latency(aside from the latencyintroduced bythe interface), astheir processing takesplace at close to the speed of light. However, a few other sourcesof latencymayaffect the signal, including DA/AD-converter latency and digitalsignalprocessing (DSP) latency. Thislatencyisnot compensated for automatically, which could result in the signalbeing delayed veryslightly, altering its phase relationship to the rest of the mix. Adjust the Offset knob to compensate for latencyintroduced bythe hardware processor. The Offset value isadded to the totalroundtrip latency. Setting a positive value increasesthe latency-compensation time, and setting a negative value decreasesthe latency-compensation time. Therefore, set a positive Offset value when compensating for hardware processor latency. To assist in determining the appropriate Offset value, Pipeline includesa signalscope that can displaythe send and return signalssimultaneously, and it offersa Ping function to passa specificwaveform through the signalpath for calibration. Once an instance of Pipeline hasbeen configured to route audio between your hardware processor and your interface, you should calibrate the Offset value using the Ping function. You want the hardware processor to be in Bypass, if possible, so that no processing isdone on the signal, and you want the send and return signallevelsto match ascloselyaspossible. 1. Clickon the [Ping] button. Thissendsa short sound through the entire signalpath. The send signalisdisplayed in red on the scope, and the return signalisin blue. 2. The return signalislikelyto be slightlybehind the send signalin time, indicating some amount of signalpath latencyispresent. You can compensate for thistime using the Offset value. You can turn the knob, or enter a value directly, to set a positive Offset value that bringsthe return signalbackin time to align with the send signalon the scope. 3. Asyou move the knob or set a value, the signalpath isautomaticallypinged again, and the scope updatesto provide instant feedbackon the calibration. 4. You can also clickon the [Difference] button to see the difference between the send and return signals. The smaller the waveform becomes(lessamplitude), the more aligned the signalsare. Thisisalso helpfulfor matching send and return levels. Once you have the correct Offset value established, you should store a preset, asdescribed in the next section. When Ping isdisabled, the real-time send and return signalsare displayed. Using the Sense fader, it ispossible to trigger the displayto onlyupdate based on detected transients. For instance, you maywant to see how the kickand snare drums are lining up from a drum-buschannel, and you’d want to avoid having the scope displaythe entire signalallof the time. To do this, move the Sense fader to the right untilthe onlythe transientsyou want to see—in thiscase a kickor snare hit—are displayed.

Storing Pipeline Presets Once Pipeline hasbeen configured for a particular piece of hardware, you should store the setting asa preset so that the configuration can be recalled at a later time, aswith an effectspreset. Anynumber of presetscan be stored, which allows you to recallconfigurationsfor anynumber of hardware processors. These presetsappear under the Pipeline effect in the Browser, just like a preset stored for a virtualeffect. If you create new I/Ochannelsin the Audio I/OSetup while configuring a Pipeline preset, be sure to clickon Make Default before exiting the dialog. Thisensuresthat the required I/Ofor that Pipeline preset isavailable in everySong and Project.

248│Studio One Reference Manual Normally, you would use onlyone instance at a time of Pipeline with a particular I/Oconfiguration. However, it ispossible to insert the same Pipeline preset on multiple Channels, in which case the signalfrom each Channeleffectivelysumsat the specified output, and that summed signalreturnsfrom the hardware processor to everyChannelsimultaneously. While this might lead to interesting possibilities, exercise caution, as levels could easily become excessive.

Mixing Down with Pipeline When Pipeline isbeing used in anySong, you must render a mixdown in realtime, asthisisrequired in order for your hardware insert to be incorporated in the mix. Thisishandled automatically, so that when anyinstance of Pipeline isinserted in a Song or Project, the mixdown isalways done in realtime.

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250│Studio One Reference Manual Built-in Virtual Instruments

Studio One hasfive built-in virtualinstruments: SampleOne, Impact, Presence XT, MaiTai, and Mojito. These instruments provide a solid foundation for musicproduction in anystyle. The following sectionsdescribe each instrument in detail.

SampleOne

A sample player iscloselyrelated to a synthesizer. However, instead of generating sounds, a sample player startswith an audio clip, or “sample,” and then playsthat sample based on how the instrument isconfigured. SampleOne isa basicsample player with adjustable keymap range and loop capabilities, pitch, amplifier, filter envelopes, and LFO-modulation parameters. The following section describeshow to use SampleOne.

Interface The main displayshowsthe currentlyselected sample waveform and allowsplayback/loop-range and keymap-range editing, aswellassample zoom. To the right of thisdisplayisthe list of allcurrentlyloaded samples, which trigger simultaneouslyand can therefore be considered sample layers. Below the main displayare the amplifier, filter, and LFO parametersthat can be set for each sample.

Add and Play a Sample To add a sample to SampleOne, drag anyaudio clip from the Browser, or anyAudio Event or selected range from the Arrange view, into the sample list. The waveform for the audio clip appearsin the main display. If you drag in a selected range from the Arrange view, the range isbounced to a separate audio file and then added to SampleOne. Note you can quicklyaccesssamplesthat are in the same file location asa loaded sample byusing the [Previous] and [Next] button to switch to the previousor next sample in that file location.

CHAPTER 14│Studio One Reference Manual Bydefault, the keymap range isset from C0 to B5, with C3 set asthe sample’sroot note. With the SampleOne instrument Trackproperlyset up, and Monitor engaged, pressanykeywithin the default keymap range on your keyboard to playthe loaded sample. C3 isset bydefault asthe sample’sroot note, so playing the C3 (middle C) keyon your keyboard playsthe sample at itsoriginalpitch and speed. Playing the keysabove C3 shiftsthe sample pitch higher, and playing below C3 shifts the sample pitch lower and slowsdown playbackspeed. When adding a REXfile to SampleOne from the Browser with the Send to New SampleOne command, the REXfile’s individualslicesare mapped acrossthe keymap (starting at C3 bydefault, dependent on number of slices), with each slice given itsown note. Samplescan be tuned byadjusting the Tune parameter near the Pitch Envelope controls. Float the mouse over the Tune parameter and use the mouse wheelto adjust the parameter, or clickand enter a value. The Tune parameter is expressed in cents. Bydefault, up to 32 voicescan playsimultaneously, meaning you can play32 separate notesbefore the first note you played are cut off to allow more voicesto play. Clickon the [Monophonic] button if you want onlyone voice to playbackat a time. Clickthe [Glide] button to engage Glide, and adjust the relative amount of Glide using the Glide Time knob. Glide creates gradualshifting over time between consecutive notes, asopposed to the usualimmediate switch from one note to the next. Adjust the PB Range value to change the range of the pitch-bend wheel, expressed in semitones.

Adjust Sample Playback Range To adjust the time range of the sample that playswhen triggered, float the mouse to the left or right edge of the sample untilthe Hand cursor appears, then click-and-drag left or right. The range highlighted in blue playswhen the sample is triggered.

Loop a Sample To loop playbackof a sample, clickthe [No Loop] button above the main displayto select a looping playbackmode. A Loop Range displayappearsabove the sample waveform, indicating the section of the sample to be looped. Anyrange of the sample can be looped. If the loop range beginsafter the initialplaybackrange begins, the sample playsfrom the beginning of the playback-range position to the end of the loop-range position; then it playsfrom the start of the loop range to the end of the loop range and backfor aslong asthe sample istriggered.

Change Root Note and Keymap Range To change the Root note, click-and-drag the root-note handle (displayed immediatelyabove the keyboard display, C3 by default) left or right acrossthe keyboard display. The noteson your keyboard that trigger the sample are indicated in the Keymap Range display, which isthe blue bar extending to the right and left of the note handle. To restrict the range of notesthat can trigger the sample, click-and-drag the left or right edge of the Keymap Range display.

Playing Multiple Samples Up to 96 samplescan be loaded into SampleOne at once, with each loaded sample displayed in the sample list. Select any sample in the list to edit itsplayback, loop, and keymap range, aswellasitsroot note and loop status. Allloaded samples are triggered simultaneously, depending on the keymap range for each sample. For instance, if C3 on your keyboard is set to trigger everysample, pressing C3 triggerseverysample at once. In thisway, multilayered, or multitimbralsample- playback can be achieved. Note that the amplifier envelope, filter envelope, and LFOare globaland affect the overalloutput of SampleOne.

Replace a Sample To replace a sample in SampleOne, select, in the sample list, the sample that you wish to replace. Then drag anyaudio clip from the Browser, or anyAudio Event from the Arrange view, into the main display. The sample replacesthe previousone in the sample list, and the previouslydisplayed sample waveform updatesto reflect the new sample.

252│Studio One Reference Manual Edit Pitch, Filter, and Amplifier Envelopes The output of each sample loaded in SampleOne can be modified with pitch, filter, and amplifier envelopes. Note the [Edit All] button, which allowsthe simultaneousediting of allsample parametersat once when engaged. The following describesthe use of these envelopes. Pitch Envelope Modifiesthe pitch characteristicsof the audio output. Clickthe button in the upper left corner of the module to activate/deactivate the effectsof thisenvelope. Tune Adjuststhe tuning of the sample. Variable from -100 centsto 100 cents. LFO Adjuststhe range within which the LFOaffectspitch. Variable from -1 octave to 1 octave.

Env Adjuststhe range within which the envelope affectspitch. Variable from -1 octave to 1 octave. Attack (A) Adjuststhe amount of time it takesto reach the Envvalue from the originalpitch of the sample once a sample hasbeen triggered. Variable from 0.98 msto 1,024 s. Decay (D) Adjuststhe amount of time it takesto reach the sustain levelafter reaching fullvolume. Vari- able from 0.98 msto 1,024 s. Sustain (S) Adjuststhe Sustain level. Variable from -64 dB to 0 dB. The sustain period continuesuntil the sample trigger stops. Release (R) Adjuststhe amount of time it takesto reach the originalpitch after sample trigger has stopped. Variable from 0.98 msto 1,024 s. Filter Envelope Modifiesthe frequencycharacteristicsof the audio output. Clickthe button in the upper left corner of the module to activate/deactivate the effectsof thisenvelope. Cutoff Adjuststhe filter cutoff frequency. Variable from 19.4 Hzto 19.913 kHz. Velo Adjuststhe maximum range, in octaves, within which note velocitycan affect the maximum filter range (the value used when velocityequals127). Wheel Adjuststhe range, expressed asdistance in octaves, within which the modulation wheel on your Keyboard can adjust the instantaneousfilter cutoff frequency(the value used when the mod wheelvalue equals127). LFO Adjuststhe range within which the LFOaffectsthe cutoff frequenecy. Variable from -6.7 octavesto 6.7 octaves. Env Adjuststhe range within which the envelope affectsthe cutoff frequency. Variable from -10 octavesto 10 octaves. Reso Adjuststhe relative resonance of the filter. Variable from 0 to 100.

Type Selectsthe filter type. Choose from LP, BP, and HPand between 12 and 24 dB.

Attack (A) Adjuststhe amount of time it takesfor the filter cutoff frequencyto move from the frequency value to the envelope value once a sample hasbeen triggered. Variable from 0.98 msto 101.6 s. Decay (D) Adjuststhe amount of time it takesto reach the sustain levelafter reaching the envelope value. Variable from 0.98 msto 101.6 s. Sustain (S) Adjuststhe sustain level, which isthe mixof the signalfiltered at the envelope value with the signalfiltered at the frequencyvalue. Variable from -96 dB to 0 dB. The sustain period continuesuntilthe sample trigger stops. Release (R) Adjuststhe amount of time it takesthe filter to reach the frequencyvalue after the sample trigger hasstopped. Variable from 0.98 msto 101.6 s. Amplifier Envelope Modifiesthe amplitude characteristicsof the audio output. Clickthe button in the upper left corner of the module to activate/deactivate the effectsof thisenvelope.

CHAPTER 14│Studio One Reference Manual Gain Adjuststhe maximum volume of the audio output. Variable from -∞ to 6 dB. Velo Adjuststhe amount, in dB, that note velocityaffectsthe maximum amplitude. Variable from -144 to 0 dB(the value used when velocityequals127). Wheel Adjuststhe range, expressed in dB, with which the modulation wheelon your Keyboard can adjust the instantaneousamplitude at anytime. Variable from -144 to 0 dB (the value used when the mod-wheelvalue equals127). LFO Adjuststhe range with which the LFOaffectsplaybackvolume. Variable from -∞ to 0 dB.

Pan Adjuststhe stereo pan of the audio output. Variable from fullL to fullR.

Attack (A) Adjuststhe amount of time it takesto reach fullvolume once a sample hasbeen triggered. Variable from 0.98 msto 1,024 s. Decay (D) Adjuststhe amount of time it takesto reach the sustain levelafter reaching fullvolume. Vari- able from 0.98 msto 1,024 s. Sustain (S) Adjuststhe sustain level. Variable from -64 dB to 0 dB. The sustain period continuesuntil the sample trigger stops. Release (R) Adjuststhe amount of time it takesto reach a levelof -∞ after the sample trigger has stopped. Variable from 0.98 msto 1,024 s.

Modulate Parameters with LFO Variousparametersof SampleOne can be modulated, or varied over time, with the LFO. The following describeshow to use the LFOto modulate parameters. LFO Click the Activate button to activate/deactivate. Sync/Free Choose to syncthe modulation speed to tempo (variable from 1/64T to 4 bars), adjust the speed freelyasfrequency(variable from 0.01 Hzto 500 Hz), or syncto note-on byselecting neither Sync nor Free (variable from 0.01 Hzto 500 Hz). Beats/Speed Set the modulation speed of the LFO, in either rhythmicsubdivisionsof the Song tempo (Beats), or milliseconds(Speed), depending on Sync/Free status. Type Clickto select, from top to bottom, the triangle, sine, sawtooth, or square LFOwaveform.

Delay Adjuststhe amount of time before the LFOaffectsanything once a sample istriggered. Variable from0.98msto18s. Wheel Adjuststhe peakamplitude amount with which the modulation wheelcontrolsthe LFOsignal strength (LFOstrength when mod wheelvalue equals127). Variable from -144 to 0 dB.

254│Studio One Reference Manual Presence XT

Presence XT isa virtualsample-player instrument that enablesyou to playan endlessvarietyof sounds. Presence XT usesa genericmultisample format (also supported byBitwig Studio), packaged into Sound Sets, and can also load and playsoundsin SoundFont format. The bundled Sound Setsinclude a varietyof high-qualityinstruments.You can shape your soundswith the provided filter, LFOs, envelopes, mod matrix, and effects. Presence XT isa virtualsample-player instrument that enablesyou to playan endlessvarietyof sounds. Presence XT usesa genericmultisample format (also supported byBitwig Studio) packaged into Sound Sets, and can also load and playpresetsin EXS, Giga, Kontakt (version 4 and below), and SoundFont formats. The bundled Sound Setsinclude a varietyof high-qualityinstruments.You can shape your soundswith the provided filter, LFOs, envelopes, mod matrix, and effects. Presence XT employsa high-performance disk-streaming sample playbacksystem, enabling the use of presetsthat use verylong samples. Up to 200 sample voicescan playsimultaneously. One voice isoften equivalent to one note. However, some soundshave elements(such aslayersand articulations) that can consume more than one voice per note played. The centralpreset displayshowsthe number of sample voicesbeing used at anymoment, aswellasthe name and size of the loaded preset. The Voice Limit parameter letsyou set the levelof polyphonyyou want (1-200, 64 bydefault).

CHAPTER 14│Studio One Reference Manual Loading and Playing Sounds

You can locate and load presetsfrom Studio One Sound Setsin the following ways: Clickthe Preset menu in Presence XT, browse to your preset of choice, and clickthe preset to load.

With the Presence XT window open, choose a Presence XT preset in the Instrumentssection of the Browser, and double-clickthe preset to load. Drag a preset from the Soundssection of the Browser onto the Presence XT plug-in window or the Trackon which Presence XT resides. Create a new Instrument Trackwith Presence XT and your choice of preset alreadyloaded, bydragging the preset between two Tracks(or next to the top or bottom Track) in the Arrange view. Once loaded, the preset isimmediatelyplayable with your MIDI controller, or byclicking the virtualkeyboard at the bottom of the plug-in window.

Working with Presence Content

Presence XT takesthe place of the Presence sample playbackinstrument, featured in previousversionsof Studio One. Songsthat use the Presence instrument open asexpected in Studio One 3, with Presence XT replacing anyinstancesof Presence. However, Presence XT featuresan improved Reverb effect algorithm, so songscreated using Presence (and itsbuilt-in reverb) show a difference in sound when played with Presence XT in place.Thisdifference can be minimized byadjusting the settingsof the new Reverb effect.

256│Studio One Reference Manual You maystillnotice some slight sound differencesbetween presetsplayed through Presence and the same presets played through Presence XT. You can alwaysopen affected songsin a previousversion of Studio One and transform the affected tracksto audio. Songssaved in thisstate sound exactlythe same when opened in Studio One 3.

Find More Sounds in the PreSonus Shop

Sample librariescreated especiallyfor Presence XT are available in the PreSonusShop. For more info on purchasing content from the Shop, see PreSonus Shop.

Using 3rd-Party Sample Formats

Soundsin EXS, Giga, Kontakt (version 4 and below), and SoundFont formatscan be loaded directly, with no conversion required. You can load these presetsbydragging from the WindowsExplorer or MacOS Finder onto the plug-in window, or onto a Trackwith Presence XT loaded. You can create a new Instrument Trackwith Presence XT and your choice of preset alreadyloaded, bydragging the preset between two Tracks(or next to the top or bottom Track) in Arrange view. You can also locate and access3rd-partypresetsusing the Filestab in the Browser. If you have an established directory for sampler content, you can create a new Browser tab pointing to that directory, for quickaccess. For more on setting up new tabsin the Browser, see Make Finding Your Favorite Files Easy. We recommend storing your sampler presetsand anyneeded sample collectionstogether, in the same directory. If needed samplescannot be found when loading a preset, you are given the chance to locate them in your file system.

Relative Parameter Control

Multiple samplesare used to create soundsin a single instrument, and presetscan potentiallycomprise multiple instruments. Each sample in anygiven preset can have different absolute settings. Expressive controlof such complex presetsisachieved bythe use of relative controls, that can modifyallsamplessimultaneously. Changesare made relative to the absolute settingswithin the loaded preset.

Script Controls

Some soundsoffer additionalcontrolsthat interact with a controlscript built into the sound. When Script Controlsare available in a loaded sound, theyappear in the centraldisplay. You can tweakand automate these specialcontrolsjust as you would the built-in controlsin Presence XT.

CHAPTER 14│Studio One Reference Manual In some cases, Script Controlscan replace the functionalityof one or more of the standard controls(such asenvelope settings). When working with soundssuch asthese, use the provided Script Controlsto affect those parameters.

Articulation Key Switches

Some sound librariesare built with a specialarea of the keyboard that actsasa set of switchesbetween different versions of the sound. For example, a guitar sound might offer open notes, muted notes, slides, and so on. These different articulationsare instantlyavailable asyou playor program a part, bypressing a key(or programming a MIDI note) in that special range. When Articulation KeySwitchesare available in a sound, the name of the currentlyselected articulation isshown at the upper-right corner of the centraldisplayof Presence XT. Clickthisname to toggle a list of available articulation switches and their placeson the keyboard. These keysare also marked with red barson the virtualkeyboard. When you playone of these keys, the new articulation isshown in the centraldisplay, and the character of the sound changesaccording to the waythe sound wasdesigned.

Controls Overview The main controlpanelletsyou controlthe Filter, LFOs, Envelope Generators, and sample playbackparameters. These are the primarycontrolsyou'lluse to sculpt your sound. To the right of these controlsare the Globalparameters: Volume, Velocity, and key mode (Poly, Mono & Glide). Along the bottom of the window, you'llsee the Mod/FX section (which givesyou accessto the modulation matrixand

effects) and the virtualkeyboard. You can hide or show each of these elementsbypressing the [MOD/FX] and buttons.

LFO1 and LFO2

LFOstandsfor Low FrequencyOscillator, and Presence XT hastwo of them. LFOscreate slow-moving regular cyclesof controlsignalthat are usefulfor modulating other parametersover time. One common example isthe waymanykeyboard patchesrespond when you move the Mod Wheelup from zero; the pitch of the oscillatorswaversup and down in an expressive manner, much like the sound of vocalvibrato. Thisissimplyan LFOmodulating oscillator pitch to a degree set bythe position of the mod wheel. LFO1 and 2 have identicalcontrols, so the following explanationsapplyto both:

258│Studio One Reference Manual Bypass Clickthe [LFO1]or [LFO2]button to turn the selectedLFOon or off.

LFO Type Choose between Sine, Triangle, Sawtooth, Square, and Random shapesfor the oscillation of the LFO. Rate Setsthe rate at which the LFOoscillates, from inaudiblylow (0.01 Hz) for long, sweeping changes, allthe wayto higher ranges(up to 8 kHz) usefulfor FM and AM techniques. When the LFO's[Sync] button isengaged, Rate can be set in termsof rhythmicvaluesrelative to Song tempo, such 1/8th-note and 1/4-note. Sync Engage thisoption to enable setting LFORate to a rhythmicvalue (such as1/8th-note or 1/4-note) relative to Song tempo. Disengage to set Rate byHz. Key Engage thisoption to bind LFOspeed to incoming note pitch. Higher notesresult in higher LFOspeeds, while lower notesresult in lower LFOspeeds. Free Engage thisoption to let the LFOrun continuously, resulting in a differing LFOstart point for each note played. Disengage to restart the LFOwaveform at the start of each note. Delay Thiscontrolletsyou specifyan amount of time (in milliseconds) for the LFOto wait before becoming active after a note isplayed. Thisletsyou do thingslike adding a bit of expression to held notes, or creating layersof modulation that start at different pointsin each note bysetting distinct Delayvaluesfor each LFO.

Sample Playback Parameters

Thisset of controlsletsyou manipulate the waythat Presence XT playsthe samplesin the currentlyloaded preset. Sample Start Mod Letsyou specifyan amount of negative or positive velocity-controlled offset, applied to the point in the sample at which playbackbegins. At settingsabove and below the default of 0, lower-velocitynotes trigger a smaller amount of sample offset, and higher-velocitynotestrigger a larger amount of offset. Pitch Fine Tune Letsyou tune sample pitch in a range of -100 to +100 cents(equaling one semitone up or down). Sample Shift Letsyou manipulate sample playbackspeed with no change in pitch. While pitch isnot affected, the range of Sample Shift is-36 to +36 semitones, which referencesthe amount of transposition that would normally be needed to shift a sample'sspeed the specified amount. When playing one-shot (non-looping) samples, this controlvariesthe length of the sample. When playing looped samples, thiscontrolenablesusefultexturaland har- monic changes. Transpose Letsyou transpose incoming note pitch in a range of -12 to +12 semitones.

CHAPTER 14│Studio One Reference Manual Filter

Presence XT offersa versatile multi-mode Filter, which letsyou shape and enhance your sounds. The filter isoften one of the most important defining elementsto the sound of an analog synthesizer, and likewise, thisfilter'sunique characteristics have much to do with the sound of Presence XT. The Filter offersthe following controls: Bypass Clickthe [Filter] button to turn the filter on or off.

Filter Mode Choose from the following filter modes, each with itsown sound-shaping characteristics.

LP 24 dB Ladder Thismode emulatesa classic24-dB-per-octave low-passfilter based on a transistor- ladder configuration, asfound in manyclassicsynthesizers. Thistype of filter allowsfrequenciesbelow the chosen Cutoff frequencyto passthrough, which cutting frequenciesabove Cutoff at a rate of 24 decibels per octave—a fairly aggressive slope. LP 24 dB Zero Thisisa 24-dB-per-octave low-passfilter, based on a zero-delay-feedbackarchitecture that closelymodelsthe tone and modulation behavior of analog filters. LP 12 dB Ladder Thisisa low-passfilter with a 12-dB-per-octave curve, which cutsfrequenciesless aggressivelythan the 24 dB filters. BP 12 dB Ladder Thisisa high-passand low-passfilter in series, known collectivelyasa band-passfilter. It allowsa selected band of frequenciesto passthrough, then cutsfrequenciesabove and below that band at a rate of 12 decibelsper octave. HP 12 dB Ladder Thisisa high-passfilter with a 12-dB-per-octave slope. Thisletsfrequenciesabove the chosen Cutoff frequencypassthrough, while cutting frequenciesbelow Cutoff at a rate of 12 decibels per octave. LP 12 State, BP 12 State, HP 12 State, Eco Filter These are a set of simple, clean digitalfilter models, in low-pass, band-pass, high-pass, and eco (low-CPU low-pass) modes. You can accessthese filter typesin the drop-down menu at the end of the row of Filter Mode switches. Cutoff Thisletsyou set the corner frequencyof the filter—the point in the slope of the filter at which the filter cuts incoming audio by3 dB. In the case of the Band-Passfilter, thissetsthe center frequencyof the passed frequency band. Soft Thiscontrolletsyou switch between two differing analog-modeled processing circuitswithin the filter. Engage Soft for a mellower, darker tone. Disengage it for a brighter, more aggressive sound. Drive Thisletsyou specifyan amount of filter overdrive, to add fullnessand saturation artifactsto your sound.

260│Studio One Reference Manual Punch Thiscontrolletsyou add a range of percussive attackto the start of each note. At the lowest setting, dynamicsare unchanged. At higher settings, the sound becomesmore aggressive and more readilypops through the mix. Resonance (Res)Thisletsyou set the amount of resonance in the filter, which isan emphasiscentered on the chosen cutoff frequency. At lower settings, the filter cutsfrequenciessmoothly. Asyou increase Res, the emphasisat the cutoff frequencybecomesmore pronounced, able to mimicresonancessuch asthose in voices or acousticinstruments, aswellasmanyclassicsynthesiseffects. At the highest settings, the filter can self-oscillate, emitting a pitched tone at the current cutoff frequency. Thisfilter oscillation can be treated somewhat like an extra oscillator, especiallyin conjunction with the Key parameter. Velocity (Vel) Thiscontrolsetsthe relationship between incoming note Velocityand filter Cutoff. When set at the center, velocitydoesnot affect cutoff. When moved to the right, cutoff risesasnote velocityincreases. When moved to the left, cutoff lowersasnote velocityincreases. Key Thiscontrolsetsthe relationship between incoming note Pitch and filter Cutoff. In physicalinstruments, higher notestend to produce higher harmonics, brightening slightlyasyou go up the scale. On a synthesized instrument, if the filter staysstatic, setting the proper tone in the lower note rangesmaycause inappropriate dull- nessin the higher notes. So, with the Keyparameter, we can compensate for this, and create a more natural- sounding range of timbresup and down the keyboard. When Keyisset allthe wayto the left, the filter isunaffected bynote pitch. In the middle, cutoff follows note pitch subtly, allowing high notesto shine. When set allthe wayright, filter cutoff followsnote pitch closelyin a relative fashion, moving upward and downward in semitone valuesasnotesare received. Thisletsyou use the filter asan additionalpitched oscillator or resonator when filter Resisset high.

CHAPTER 14│Studio One Reference Manual Envelopes

Envelope generatorsare a vitalpart of sound synthesis, giving usthe abilityto shape the amplitude and timbre of our soundswithin the time-scale of each note. Presence XT hastwo envelope generators, labeled Amp Env(so named because it ishard-wired to amplitude), and Env2 (which isoften routed to filter cutoff, for timbralshaping). Both Envmodulesare triggered when a note isplayed. Each Envthen outputsa controlsignalthat followsthe shape set by the following controls: Attack (A) Thiscontrolletsyou set the time required for the envelope to go from zero (silence) to fullamplitude, inarangefrom0msto20seconds. Decay (D) Thiscontrolletsyou set the time required to drop from fullamplitude to the sustain level, in a range from 0 msto 20 seconds. Sustain (S) Thiscontrolletsyou set the signallevelthat ismaintained from the end of the decayperiod, untilthe keyisreleased, in a range from -∞ dB(silence) to 0.0 dB(fullamplitude).

262│Studio One Reference Manual Release (R) Thiscontrolletsyou set the time required to fallbackto silence after the keyisreleased, in a range from 0 msto 30 seconds. Delay (△ - Env 2 only) Thiscontrolletsyou specifya length of time (in ms) for the Envto pause before starting itsattackphase after a note isplayed. Thiscan assist in creating evolving sounds, where cyclesof modulation occur at differing timesover the length of a note.

Envelope Graphical Display

Each envelope hasa corresponding graphicaldisplaythat representsthe shape created bythe settingsof itsparameters. There are handleson the cornersand slopesof each envelope that you can clickand drag, letting you shape the ADSR envelope and the curve between itspointsvisually. If you wish to lengthen anyphase of the envelope beyond the time limits of the current display, simplydrag the point toward the right of the graph, and the time scale adjuststo properlydisplaythe new setting.

Global Settings

The following Globalparameterslet you configure Presence XT'soverallbehavior and capabilities, to meet your needs. Volume Thiscontrolletsyou set the totaloutput volume, in a range from -∞ dB(silence) to +10.0 dB(ten decibels above unitygain). Velocity Thiscontrolletsyou set the degree to which Presence XT'svolume isaffected bynote velocity, from zero (no velocity sensitivity) to 1.0 (full velocity sensitivity). Poly, Mono, and Glide Enable Polymode to allow polyphonicplaying (more than one note at a time). Enable Mono mode to playjust one note at a time. When in Mono mode, you can enable Glide to cause the pitch to sweep smoothlyfrom that of the currentlyheld note to that of the next note, when played legato (one note played while the previousnote isheld). The Glide knob letsyou set the rate of pitch change over time, from 1 msto 1 second.

CHAPTER 14│Studio One Reference Manual Effects Presence XT offersseven built-in effectsprocessorsto add dimension to your sounds. Theyare arranged in two banks: FXA(Modulation, Delay, and Reverb) and FXB(Gater, EQ, Distortion, and Pan). You can enable or disable each effect byclicking itsname. You can show or hide the Mod/FX section of the plug-in window byclicking the [Mod/FX] button.

Modulation

Thisprocessor createstime-based modulation effects. Choose from the following modesbyclicking the [Chorus], [Flanger], or [Phaser] button: Chorus Thisprocessor createseffectssimilar to that of multiple identicalinstrumentsplaying the same part simultaneously. The synth signalisfed through a short, modulated delay, which isthen mixed with the drysignal. Chorusoffersthe following controls: Mono Engage thisoption to sum the wet (effected) signalto mono.

Delay Thiscontrolletsyou set the length of the modulated delay. Higher settingscreate full-bodied chorusing effects, while lower settingscreate more pronounced harmonics, akin to the effectsof a Flanger. Speed Thiscontrolletsyou set the speed at which the delayline ismodulated. Lower settingscreate slow, sweeping effects, while higher settingscreate faster, more aggressive modulation. Width Thiscontrolletsyou set the degree to which the delayline ismodulated. Lower settingsproduce subtler chorusing effects, while higher settingsproduce more pronounced changesin timbre over time. Depth Thiscontrolletsyou blend between the drysignal(allthe wayleft) and the chorused signal(allthe way right). Flanger Thisprocessor createsresonant, hollow-sounding sweeping effects. The synth signalisfed through a short, modulated delay, which ismixed with the drysignal. While similar to the workingsof a Choruseffect, Flangersget their signature sound byemploying smaller delaytimesthan those used in chorusing, combined with a feedbacksystem that can add extra resonance to the sweep. Flanger offersthe following controls: Mono Engage thisoption to sum the wet (effected) signalto mono.

Delay Thiscontrolletsyou set the length of the modulated delay(in ms), which changesthe pitch of the resultant resonance. Higher settingscreate lower-pitched resonance, while lower settingscreate res- onancesat a higher pitch. Speed Thiscontrolletsyou set the speed at which the delayline ismodulated. Lower settingscreate slow, sweeping effects, while higher settingscreate faster, more aggressive modulation. Width Thiscontrolletsyou set the degree to which the delayline ismodulated. Lower settingsproduce subtler flanging effects, while higher settingsproduce more pronounced changesin timbre over time. Feedback (FB) Thiscontrolletsyou set the amount of output signalto feed backinto the Flanger. Higher amountsof Feedbackadd to the resonance of the sweeping effect. Sync Engage thisoption to enable setting Flanger modulation speed to a rhythmicvalue (such as1/8th- note or 1/4-note) relative to Song tempo. Disengage to set Rate on a continuousscale. Depth Thiscontrolletsyou blend between the drysignal(allthe wayleft) and the flanged signal(allthe way right). Phaser Thisprocessor createsdreamy, otherworldlysweeping effects. The synth signalisfed through a seriesof all-passfiltersthat alter itsphase. When mixed with the drysignal, thiscreatesa seriesof peaksand valleysin the

264│Studio One Reference Manual frequencyresponse that changesdepending on the degree of phase shift applied. Phaser offersthe following controls: Mono Engage thisoption to sum the wet (effected) signalto mono.

Shift Thiscontrolletsyou specifythe amount of phase shift to apply. Lower settingsfocusthe phasing effect in the lower frequencies, while higher settingsfocusthe effect in higher frequencies. Speed Thiscontrolletsyou set the speed of modulation applied to the phase shift amount. Lower settingscreate slow, sweeping effects, while higher settingscreate faster, more aggressive modulation. Width Thiscontrolletsyou set the degree to which the phase shift amount ismodulated. Lower settings produce subtler effects, while higher settingsproduce more pronounced changesin timbre over time. Feedback (FB) Thiscontrolletsyou set the amount of output signalto feed backinto the Phaser. Higher amountsof Feedbackadd to the resonance of the sweeping effect. Sync Engage thisoption to enable setting Phaser modulation speed to a rhythmicvalue (such as1/8th- note or 1/4-note) relative to Song tempo. Disengage to set Rate on a continuousscale. Depth Thiscontrolletsyou blend between the drysignal(allthe wayleft) and the phase-shifted signal (allthe wayright).

Delay

Thisprocessor createsan echo effect, either asa single delayed repeat of the input signal, or a trailing seriesof echoes. The Delayeffect offersthe following controls: Low and High These controlslet you set the cutoff frequenciesof the provided high-passand low-passfilters, which effect onlythe delayed signal. Delay Time Thiscontrolletsyou specifythe length of the delayeffect, in rhythmicvalues(such as1/8th-note or 16th-note) relative to the tempo of the Song. Feedback (FB) Thiscontrolletsyou set the amount of effected signalthat isfed backinto the Delayeffect. At zero, there isjust one repeat. Asyou increase the value, the trailof repeatsgrows. Mix Thiscontrolletsyou blend between the drysignal(allthe wayleft) and the delayed signal(allthe wayright).

Ping-Pong Mode Thismenu letsyou enable and configure the stereo Ping-Pong delaymode. You can choose from the following modes: Off The delayworksasnormal, without ping-pong functions.

Panned Using a multi-tap delaystructure, thismode panseach delayrepeat to the right or left, in sequence. Dotted and Double These modesworksimilarlyto Panned mode, but employstaggered spacing of the delaytapsto produce a dotted-note or syncopated straight rhythm in the delayrepeats. Reverb Enable thisoption to route the output of the Delayeffect to the Reverb effect, enabling further diffusion and abstraction of the delaysignal.

CHAPTER 14│Studio One Reference Manual Reverb

Thiseffect placesthe synth signalwithin a synthesized reverberant physicalspace, ranging from short reverbsthat emulate smaller rooms, to long reverbsthat evoke the soundsof large spaces, such ashallsand cathedrals. Reverb offers the following controls: Pre-Delay (Pre) Thisparameter letsyou specifyan amount of delayapplied to the reverb-processed signal, in a range between zero and 500 ms. Thisemulatesthe delayinherent in large spacesbetween the impact of a sound and itsaudible reverberation. Lower settingsare best suited to shorter reverb times, and longer settingswith longer reverb times, but let your own taste be the judge. Damping (Damp) Thiscontrolletsyou set an amount of high-frequencyattenuation to applyto the reverb signal. Spaceswith soft surfacestend to lose treble quicklyasthe sound reverberates, resulting in a short bright reverb followed bya progressivelydarker tail. Spaceswith harder surfacesretain high-end more efficientlyover time. Set Damp to itslower range to emulate hard surfaces, and to the higher rangesto enable further damping, to emulate softer surfaces. Size Thiscontrolletsyou set the length of reverberation from the moment a sound starts, in a range between 100 msand 10 seconds. The larger the size, the longer the tailof the reverb, and the larger the emulated space sounds. Low and High These controlslet you set the cutoff frequenciesof the provided high-passand low-passfilters, which effect onlythe reverb signal. Mix Thiscontrolletsyou blend between the drysignal(allthe wayleft) and the reverb signal(allthe wayright).

Gater

Thisisa rhythmicgating effect, able to create a seriesof syncopated breaksin the synth signal. A varietyof presetsare provided, each with a different rhythmicgating pattern. However, the fun reallybeginswhen you create your own. Gater offers the following controls: Beats Thiscontrolletsyou set the length of the gating cycle, in rhythmicvalues(such as1 bar or 1/2-note) relative to Song tempo. For example, at a setting of 1 bar, the 16 stepsin the cycle repeat everybar, effectivelyrep- resenting 16th-notes. At a 1/2-note setting, the 16 stepsrepeat each half-bar, representing 32nd-note values. Beat Steps Thisgrid letsyou specifywhich stepsin the cycle let signalpassthrough, and which gate the signalto silence. Clickon a step to enable or disable gating for that step. Stereo Engaging thisoption createsa separate beat grid for each side of the stereo field. When engaged, you'll see two rowsof beat steps, the top row specifying gate stepsfor the left channel, and the bottom row gating the right channel. Depth Thiscontrolletsyou blend between the gated and drysignals, allowing for rhythmicgating effectswhile retaining the continuityof the synth sound.

266│Studio One Reference Manual EQ

Thisisa graphicequalizer effect, perfect for quicktonalshaping. Set the EQbandsto emphasize or attenuate bandsof frequenciesto suit your needs. When a band isin the center of itsrange, it neither addsnor subtracts. When moved above the center, it emphasizesthe chosen frequency. Moved below the center, it attenuatesthat frequency. Choose between Lead mode, with frequencieschosen to suit aggressive, up-front sounds, or Bassmode, with wider- ranging frequenciesthat workbetter for bassesand mellower chordalparts.

Distortion

Thisisa variable distortion effect, which addsgrit and character to your sounds. Choose from a varietyof distortion types, from fizzytransistor fuzzesto thick, warm tube overdrives. Set the amount of distortion with the Drive knob.

Pan

Thisisan auto-pan effect, which pansthe synth signalleft and right over time. Pan offersthe following controls: Speed Thiscontrolletsyou set the speed at which the signalispanned left and right.

Sync Enable thisoption to set pan speed to a rhythmicvalue (such as1/4-note or 16th-note) relative to Song tempo. Disable thisoption to set pan speed along a continuousrange. Depth Thiscontrolletsyou set the degree to which the signalispanned. Lower settingsgive a subtlypanned effect, while higher settingspan the signalmore radically, allthe wayto fullyleft and right in each cycle.

Modulation Matrix

CHAPTER 14│Studio One Reference Manual Presence XT provides16 configurable modulation routings, in two banksof eight (Mod A and Mod B). Modulation signals can be routed from a selection of incoming MIDI controller signals(such asPitch Bend, Mod Wheel, and Aftertouch), modulation generators(such asthe LFOsand envelopes), or the pitch or velocityof played notes. These modulation signalscan be used to varymost of the parametersthroughout Presence XT, including modulation sourcesthemselves(such asLFO2 modulating the rate of LFO1, or the Decayof Env2). Each modulation slot hasa bypassbutton at the top, which letsyou enable or disable the flow of modulation signal. Below that are the input selector and modifier selector. If you assign a modulation source to the input selector only, that signalis routed directlyto the chosen destination. In some cases, you’llwant to govern the flow of one mod source before it reaches itsdestination, using the signalfrom another mod source. For example, you maywant to controlthe output levelof LFO1 (routed to a parameter such asoscillator pitch) with the Mod Wheel. In thiscase, you'd choose Mod Wheelwith the input selector, and LFO1 with the modifier selector below. Below that isa slider that controlsthe amplitude and polarityof the modulation signal. Set at itscenter, no modulation occurs. Move the handle right of center to send an increasing amount of the modulation signal, at itsnormal(positive) polarity, to the chosen destination. Move it left of center to send the signalto itsdestination with a negative value. If the parameter you wish to modulate isset to a high value, you maywant to send a negative modulation signalto it, driving the setting downward and causing more audible effects. Positive-going modulation signalsare more efficient when modulating parametersset to low values. A selector at the bottom of each modulation slot letsyou choose the destination of the chosen modulation signals.

Virtual Keyboard

The virtualkeyboard letsyou easilyclickto playnotesor manipulate the Pitch and Mod wheels, while auditioning or editing patcheswhen you're awayfrom a MIDI keyboard. The keyboard displayalso showsyou which notesare currentlybeing played. Note that for a more playable keyboard experience when awayfrom your MIDI controller, you can also use Studio One's QWERTY Keyboard Device to playnotesusing your computer'skeyboard. Next to the virtualkeyboard isthe Bend parameter, which letsyou set the pitch bend range of the Pitch wheel, in semitones. The upper value setsup-bend range, and the lower value setsdown-bend range.

268│Studio One Reference Manual Impact

Impact featuresa grid of padsinto which samplesare loaded and played backindependently, aswith manypopular hardware drum-sample players. Each pad hasitsown pitch, amplifier, and filter controlswith accompanying envelopes. There are multiple stereo and mono outputsfor each pad, making sophisticated output busing simple.

Interface Impact isarranged asa 4x4 grid of pads, with controlsfor each pad. Below each pad are Solo and Mute controls, aswell asan Output Channelassignment. Clickon anypad to select it and view itsparameters, located on the right side of the interface. In the lower left corner of the waveform displayare Offset Start and End controls, which let you offset the playbackof a sample start or end from -0.5 to 0.5 s. To the right of these controlsare Add and Remove sample buttonsfor adding or removing a sample from the currentlyselected pad, aswellasPreviousand Next buttonsto select the previous or next sample in the same file location asthe existing sample. Above these controlson the far right isa sample-zoom control, with a scrollbar to the left. Clickon the Zoom controlto zoom in or out on the sample, and use the scrollbar to scrollacrossthe sample left or right if zoomed to a levelwhere the entire sample isnot viewable.

CHAPTER 14│Studio One Reference Manual Add and Play Samples To add a sample to a pad, drag anyaudio clip from the Browser, or anyAudio Event or selected range from the Arrange view, directlyonto the desired pad. If you drag in a selected range from the Arrange view, the range isbounced to a separate audio file and then added to Impact. Dragging a sample to a pad that alreadycontainsa sample replacesthe old sample with the new one, bydefault. To clear a pad of allsamples, [Right]/[Ctrl]-clickon the desired pad and select Clear Pad. Once a sample hasbeen added to a pad, you can trigger the sample byclicking on the pad with the mouse or byplaying that pad’sassigned note on your Keyboard. There are two note assignmentsper pad, displayed at the bottom left and right cornersof each pad. You can change the note assignment byclicking on a pad, then clicking in the Trigger 1st or 2nd fieldsin the lower left corner of Impact and either entering a value or playing a note on your Keyboard. Each pad hasa selectable playbackmode in the lower right corner of Impact. You can choose from the following: One Shot Poly Thismode meansthe pad trigger startsplaybackof the entire sample, which doesnot stop until the end of the sample isreached. If multiple triggersoccur before the end of the sample isreached, the sample is played multiple timesat once, with each new triggered sample overlapping the anyother playing voices. One Shot Mono Thismode meansthe pad trigger startsplaybackof the entire sample, which doesnot stop until either the end of the sample isreached, or another pad trigger occurs. Toggle Thismode meansthe pad trigger startsplaybackof the sample, and if another pad trigger occurswhile the sample isplaying, the sample stopsplayback. Note On/Off Thismode meansthat the note-on event for the trigger startssample playback, and the note-off event stopsit. Sync To the right of the Playmode selection boxisa Synccheckbox. Engage thisoption if you would like sample playbackto start on the nearest beat to the trigger time, asdetermined bythe Arrange quantize value. To solo a pad so that you hear onlyitssound when it istriggered, clickon the Solo button beneath the desired pad. To mute a pad, so that pad isnot be heard when triggered, clickon the Mute button beneath the desired pad. Note that each pad hasitsown Pitch, Filter, and Amplifier controls.

Multiple Velocity Layers It ispossible to add more than one sample to a pad, enabling you to trigger different samplesbased on velocity. For instance, you maywant to have three different samplesfor a single snare drum pad: one soft, one medium, and one loud. Thisway, when you playImpact, the snare drum soundsmuch more realisticthan if you use a single sample. To do this, hold [Shift] when dragging a sample or clip to a pad. Thisaddsa new layer to the pad, indicated bythe bar graph in the sample display. Click-and-drag the bar graph left or right to alter the velocitiesat which the samplestrigger. The velocityrange for the currentlyselected sample ishighlighted.

Pitch Control You can modifythe pitch for each pad’ssample using the Pitch controls. Pitch Envelope Attack Adjuststhe amount of time from when the pad istriggered to when the envelope value is reached. Variable from 0 sto ∞. Hold Adjuststhe amount of time the envelope value isheld after the attackperiod and before decay begins. Variable from 0 sto ∞. Decay Adjuststhe amount of time it takesafter the hold period to return to the envelope value. Variable from0.98msto∞. Pitch Envelope Adjuststhe detune range of the pitch envelope in cents. Variable from -1,200 to 1,200 cents. (The default value is0, meaning the pitch envelope hasno effect.)

270│Studio One Reference Manual Velocity Adjuststhe maximum detune value, in cents, that pitch isaffected byvelocity(the maximum detune value when triggered note velocityequals127). Variable from -1,200 to 1,200 cents. Transpose Adjuststhe transposition in semitonesfor the selected pad. Variable from -10 to 12.

Tune Adjuststhe tuning, in cents, for the selected pad. Variable from -100 to 100 cents.

Amplifier Control To adjust the amplitude for each pad, use the following parameters: Amp Env Attack Adjuststhe amount of time from when the pad istriggered to when maximum amplitude is reached. Variable from -∞ (no attack, sample startsat maximum amplitude) to 0 sto ∞. Hold Adjuststhe amount of time the maximum velocityisheld after the attackperiod, before decay begins. Variable from 0 sto ∞. Decay Adjuststhe amount of time it takesafter the hold period to reach an amplitude of -∞ from the maximum amplitude. Variable from 0.98 msto ∞. Amplifier Velocity Adjuststhe maximum amplitude value, in dB, affected byvelocity(the maximum amplitude value when triggered note velocityequals127). Variable from -∞ to 0 dB. Pan Adjuststhe sample’sstereo pan for the selected pad. Variable from -1 (L) to 1 (R).

Gain Attenuatesor booststhe amplitude, in dB, of the sample assigned to the selected pad. Variable from-∞ to6dB.

Filter Control Each pad featuresa variable filter to allow anything from subtle tonalshaping to heavilyprocessed filter sweeps. Filter Env Attack Adjuststhe amount of time it takesfor the filter cutoff frequencyto move from the frequencyvalue to the envelope value once a sample hasbeen triggered. Variable from 0 sto 10.1 s. Hold Adjuststhe amount of time the envelope value isheld after the attackperiod and before decay begins. Variable from 0 sto ∞. Decay Adjuststhe amount of time it takesto return to the cutoff levelafter reaching the envelope value. Variable from 0.98 msto ∞. Envelope Adjuststhe range of the filter envelope in octaves, relative to the cutoff value. Variable from -10 to 10. (The default value is0, meaning the filter envelope hasno effect.) Velocity Adjuststhe maximum value in octavesaffected byvelocity. Variable from -10 to 10 (the maximum value when triggered note velocityequals127). Cutoff Adjuststhe cutoff frequencyof the filter. Variable from 30 Hzto 16 kHz.

Reso Adjuststhe resonance of the filter. Variable from 0 to 100.

Filter Type Selectsthe filter type. Choose from LP (low-pass), BP (bandpass), and HP (high-pass) and between 12 and 24 dBslopes.

Grouping Pads Padscan be grouped so that when one pad in the group istriggered, the other padsin the group are choked, or silenced. You can add padsto one of four groupsbydoing the following:

CHAPTER 14│Studio One Reference Manual 1. Select a pad you wish to assign to a Group by clicking on it. 2. ClickontheChokeselectboxandchoosegroup1,2,3,or 4. 3. Repeattheprocessfor anypadyouwishtoassigntoagroup. Now, when a pad that isin Group 1 istriggered, allother padsin Group 1 are silenced. This, for instance, can be used to silence different hi-hat samples, so that when a closed hi-hat sample isplayed following an open hi-hat sample, the open hi-hat sample issilenced to prevent it from ringing through the closed hi-hat sound. Thiscan add realism to your drum sounds.

Using Multiple Outputs Impact provideseight stereo outputsand eight mono outputsfor each pad. To change the output routing, clickon the Output selection boxbelow the desired padsand choose the desired Output Channelfor each pad. If the Output Channel doesnot alreadyexist in the Console, it isadded automatically.

Mai Tai

MaiTaiisa polyphonicanalog modeling synthesizer with a simple and straightforward interface. It excelsat pad sounds, leads, rhythmicchords, and manyother synth duties. MaiTaiincludesthe following features: 32 synth voiceswith up to 8xoversampling

2 oscillators(sine, triangle, saw, square) with sub osc

Osc spread, sync, PWM & Random Phase

272│Studio One Reference Manual Noise generator

Character processor (for creative tonaleffects)

Multi-Mode Filter 24 dBLadder Filter

24 dB Zero DelayFeedbackFilter

12 dB Low-Pass, Band-Pass, and High-PassFilters

2 LFOs(with sync, free run, and sample &hold)

3 ADSR Envelopes(two with pre-attackdelay)

16-slot modulation matrix

Effects: Chorus, Flanger, Phaser, Delay, Reverb, Gater, EQ, Distortion, Pan

Interface The centralcontrolpanelcontainscontrolsfor the Oscillators(Osc1 and 2) and Noise generator, the Character processor and Filter, and the LFOsand Envelope Generators. These are the primarycontrolsyou'lluse to sculpt your sound. You can enable or disable each of these modulesbyclicking the module'sname. To the right of these controlsare the Global parameters, which let you tune the overallbehavior and capabilitiesof the synth to your needs. Along the bottom of the window, you'llsee the Mod/FX section (which givesyou accessto MaiTai'smodulation matrixand

effects) and the virtualkeyboard. You can hide or show each of these elementsbypressing the [MOD/FX] and buttons.

CHAPTER 14│Studio One Reference Manual Oscillators

Two oscillatorsare available, per voice, allowing for rich soundswith a wide tonalpalette. Each Oschasitsown set of parameters, which differ in smallbut significant ways. In both Osc1 and Osc2, you'llsee the following controls: Bypass Clickthe [Osc1] or [Osc2] button to disable or enable each oscillator. Thiscan be helpfulwhen you want to create a one-oscillator sound, or to temporarilydisable an oscillator, so that you can focuson shaping the sound of the other. Oscillator Waveform Choose between Sine, Triangle, Sawtooth, or Square.

PWM Onlyavailable when Square Wave isselected, thiscontrolletsyou varythe pulse width of the square wave, changing the distribution of harmonics, and thus, the tone of the oscillator. Octave Letsyou set the frequencyrange, in octaves, for the current oscillator. Range isset in number of feet (like a pipe in a pipe organ), so the lower the number, the higher the pitch. Random Phase (RP) Enable thisoption to set the oscillator to Random Phase mode, in which, when a note is played, the oscillator startsitswaveform at a random start point. Thisestablishesa varying phase relationship between both oscillatorswhenever a note isplayed (if both oscsare enabled), which createspleasing shiftsin tone over time. Disable thisoption to restart the waveform at the beginning when a note isplayed, which can be preferable when creating percussive sounds, because it allowsa uniformityof attack, from note to note. Semi and Fine These controlslet you set the center pitch of the oscillator, in semitones(Semi) and cents(Fine).

274│Studio One Reference Manual Spread (Osc 1 only) Thiscontrolletsyou layer in additionaloscillatorsthat follow Osc1 pitch, with increasing amountsof detuning asmore oscillatorsare blended in. Thiscreatesa richer, fuller sound. With Spread allthe wayto the left, you hear a single oscillator. Asyou turn Spread to the right, more oscillatorsare added, with greater detuning and stereo spread. Sync (Osc 2 only) Enable thisoption to restart Osc2'swaveform each time Osc1'swaveform repeats. Thisisa classicanalog synthesistechnique, creating rich harmonicsand a sharp and strident sound. Thisisfurther expanded when pitch modulation isapplied to one or both of the oscillatorswith an LFOor envelope. Sub Each of MaiTai'soscillatorshasan attached sine wave sub-oscillator, which playsthe same relative pitch as the main osc, but an octave down. Thiscontrolletsyou blend in the signalfrom the sub-oscillator, which isa nice wayto add additionalthicknessand fullnessto your sound, without having to dedicate the second main oscillator to the task. Level Thiscontrolletsyou set the volume of each oscillator, to blend their tonesto your liking.

Pan Thiscontrolletsyou position each oscillator separatelyin the stereo field, from left to right.

Noise Generator

The Noise section isa noise generator that can add texture and character to your sounds. The Noise module offersthe following controls: Bypass Clickthe [Noise] button to turn Noise on or off.

Level Letsyou set the volume levelfor the noise generator.

Pan Thiscontrolletsyou position each oscillator separatelyin the stereo field, from left to right.

Color Letsyou set the timbre of the noise from darkto bright.

Character

The Character processor isone of the unique featuresof MaiTai, offering a range of waveshaping effectsthat broaden its tonalrange. The Character module offersthe following controls:

CHAPTER 14│Studio One Reference Manual Bypass Clickthe [Character] button to turn the Character processor on or off.

Mode Menu Choose from a range of different spectraland formant processing modes. Analog Color These character modesemulate a varietyof characterfulanalog audio circuits. In the following modes, the Sound knob blendsbetween two different circuits, with distinct effectson sound. Ardency

Bassmoderator

GrandClass

Formant These character modeseffect the sound using formant-shifting techniques. In the following modes, the Sound knob sweepsthrough the range of formants. CharacterSaw

Subvox

Talky

Voxil

Harmonics These character modesgenerate harmonicsand spectraleffects. In the following modes, the Sound knob sweepsthrough the range of harmonics. Ampog

Fuzzarmonics

Harmonia

Harmson

Spherical

Subharmonium

Sound Letsyou varythe effect of the Character processor. Each Character mode respondsto thiscontrolin a unique way, so feelfree to experiment. Amount Letsyou blend between the drysignaland the signalfrom the Character processor.

276│Studio One Reference Manual Filter

MaiTaioffersa versatile Filter, which letsyou shape and enhance your sounds. The filter isoften one of the most important defining elementsto the sound of a subtractive synthesizer, and likewise, thisfilter'sunique characteristicshave much to do with the sound of MaiTai. The Filter offersthe following controls: Bypass Clickthe [Filter] button to turn the filter on or off.

Filter Mode Choose from the following filter modes, each with itsown sound-shaping characteristics. LP 24dB Ladder Thismode emulatesa classic24dB-per-octave low-passfilter based on a transistor- ladder configuration, asfound in manyclassicsynthesizers. Thistype of filter allowsfrequenciesbelow the chosen Cutoff frequencyto passthrough, which cutting frequenciesabove Cutoff at a rate of 24 decibels per octave—a fairly aggressive slope. LP 24dB Zero Thisisa 24dB-per-octave low-passfilter, based on a zero-delay-feedbackarchitecture that closelymodelsthe tone and modulation behavior of analog filters. LP 12dB Ladder Thisisa low-passfilter with a 12dB-per-octave curve, which cutsfrequenciesless aggressively than the 24dB filters. BP 12db Ladder Thisisa high-passand low-passfilter in series, known collectivelyasa band-passfilter. It allowsa selected band of frequenciesto passthrough, then cutsfrequenciesabove and below that band at a rate of 12 decibelsper octave. HP 12dB Ladder Thisisa high-passfilter with a 12db-per-octave slope. Thisletsfrequenciesabove the chosen Cutoff frequencypassthrough, while cutting frequenciesbelow Cutoff at a rate of 12 decibels per octave. Cutoff Thisletsyou set the corner frequencyof the filter—the point in the slope of the filter at which the filter cuts incoming audio by3dB. In the case of the Band-Passfilter, thissetsthe center frequencyof the passed frequency band. Soft Thiscontrolletsyou switch between two differing analog-modeled processing circuitswithin the filter. Engage Soft for a mellower, darker tone. Disengage it for a brighter, more aggressive sound. Drive Thisletsyou specifyan amount of filter overdrive, to add fullnessand saturation artifactsto your sound.

Punch Thiscontrolletsyou add a range of percussive attackto the start of each note. At the lowest setting, dynamicsare unchanged. At higher settings, the sound becomesmore aggressive and more readilypops through the mix.

CHAPTER 14│Studio One Reference Manual Resonance (Res) Thisletsyou set the amount of resonance in the filter, which isan emphasiscentered on the chosen cutoff frequency. At lower settings, the filter cutsfrequenciessmoothly. Asyou increase Res, the emphasisat the cutoff frequencybecomesmore pronounced, able to mimicresonancessuch asthose in voices or acousticinstruments, aswellasmanyclassicsynthesiseffects. At the highest settings, the filter can self-oscillate, emitting a pitched tone at the current cutoff frequency. Thisfilter oscillation can be treated somewhat like an extra oscillator, especiallyin conjunction with the Key parameter. Velocity (Vel) Thiscontrolsetsthe relationship between incoming Voice Velocityand filter Cutoff. When set at the center, velocitydoesnot effect cutoff. When moved to the right, cutoff risesasnote velocityincreases. When moved to the left, cutoff lowersasnote velocityincreases. Key Thiscontrolsetsthe relationship between incoming Voice Pitch and filter Cutoff. In physicalinstruments, higher notestend to produce higher harmonics, brightening slightlyasyou go up the scale. On a synthesized instrument, if the filter staysstatic, setting the proper tone in the lower note rangesmaycause inappropriate dull- nessin the higher notes. So, with the Keyparameter, we can compensate for this, and create a more natural- sounding range of timbresup and down the keyboard. When Keyisset allthe wayto the left, the filter isunaffected bynote pitch. In the middle, cutoff follows note pitch subtly, allowing high notesto shine. When set allthe wayright, filter cutoff followsnote pitch closelyin a relative fashion, moving upward and downward in semitone valuesasnotesare received. Thisletsyou use the filter asan additionalpitched oscillator or resonator when filter Resisset high.

LFO 1 and LFO 2

LFOstandsfor Low FrequencyOscillator, and theyworkverymuch like Osc1 and 2 in MaiTai, onlyslower. Standard oscillatorsare used mainlyto create audible pitched tones, LFOscreate slow-moving regular cyclesof controlsignalthat are usefulfor modulating other parametersover time. One common example isthe waymanysynth patchesrespond when you move the Mod Wheelup from zero; the pitch of the oscillatorswaversup and down in an expressive manner, much like the sound of vocalvibrato. Thisissimplyan LFOmodulating oscillator pitch to a degree set bythe position of the mod wheel. LFO1 and 2 have identicalcontrols, so the following explanationsapplyto both: Bypass Clickthe[LFO1]or [LFO2]buttontoturntheLFOonor off.

LFO Type Choose between Sine, Triangle, Sawtooth, Square, and Sample & Hold shapes, for the oscillation of the LFO.

278│Studio One Reference Manual Rate Thiscontrolletsyou set the rate at which the LFOoscillates, from inaudiblylow (0.01 hz) for long, sweeping changes, allthe wayto higher ranges(up to 8 kHz) usefulfor FM techniques. When the [Sync] button isengaged, Rate can be set in termsof rhythmicvaluesrelative to Song tempo, such 1/8th-note and 1/4-note. Sync Engage thisoption to enable setting LFORate to a rhythmicvalue (such as1/8th-note or 1/4-note) relative to Song tempo. Disengage to set Rate byHz. Key Engage thisoption to bind LFOspeed to incoming note pitch. Higher notesresult in higher LFOspeeds, while lower notesresult in lower LFO speeds. Free Engage thisoption to let the LFOrun continuously, resulting in a differing LFOstart point for each note played. Disengage to restart the LFOwaveform at the start of each note. Delay Thiscontrolletsyou specifyan amount of time (in milliseconds) for the LFOto wait before becoming active after a note isplayed. Thisletsyou do thingslike adding a bit of expression to held notes, or creating layersof modulation that start at different pointsin each note bysetting distinct Delayvaluesfor each LFO.

CHAPTER 14│Studio One Reference Manual Envelopes

Envelope generatorsare a vitalpart of sound synthesis, giving usthe abilityto shape the amplitude and timbre of our soundswithin the time-scale of each note. MaiTaihasthree envelope generators, labeled Amp Env(so named because it ishard-wired to amplitude), Env2 (which isoften routed to filter cutoff, for timbralshaping), and Env3. Allthree Envmodulesare triggered when a note isplayed. Each Envthen outputsa controlsignalthat followsthe shape set bythe following controls: Attack (A) Thiscontrolletsyou set the time required for the envelope to go from zero (silence) to fullamplitude, inarangefrom0msto20seconds. Decay (D) Thiscontrolletsyou set the time required to drop from fullamplitude to the sustain level, in a range from 0 msto 20 seconds.

280│Studio One Reference Manual Sustain (S) Thiscontrolletsyou set the signallevelthat ismaintained from the end of the decayperiod, untilthe keyisreleased, in a range from -∞ dB(silence) to 0.0 dB(fullamplitude). Release (R) Thiscontrolletsyou set the time required to fallbackto silence after the keyisreleased, in a range from 0 msto 30 seconds. Delay (△ - Env 2 and 3 only) Thiscontrolletsyou specifya length of time (in ms) for the Envto pause before starting itsattackphase after a note isplayed. Thiscan assist in creating evolving sounds, where cyclesof modulation occur at differing timesover the length of a note.

Envelope Graphical Display

Global Settings

The following Globalparameterslet you configure MaiTai'soverallbehavior and capabilities, to meet your needs:

CHAPTER 14│Studio One Reference Manual Volume Thiscontrolletsyou set the totaloutput volume, in a range from -∞ dB(silence) to +6.0 dB(sixdecibels above unitygain). Velocity Thiscontrolletsyou set the degree to which MaiTai'svolume isaffected bynote velocity, from zero (no velocity sensitivity) to 100% (full velocity sensitivity). Poly, Mono, and Glide Enable Polymode to allow polyphonicplaying (more than one note at a time). Enable Mono mode to playjust one note at a time. When in Mono mode, you can enable Glide to cause the pitch to sweep smoothlyfrom that of the currentlyheld note to that of the next note, when played legato (one note played while the previousnote isheld). The Glide knob letsyou set the rate of pitch change over time, from 1 msto 1 second. Voices Thisparameter letsyou set the levelof polyphony(number of available simultaneousvoices) for MaiTai, in a range from 1 to 32. Note that thiscontrolhasno effect when in Mono mode (in which there isonlyone voice available, by default). Quality Choose from a varietyof sound qualitymodesto suit the power of your CPU and your taste in synth timbres. The following modesare available: 80s The simplest and most CPU-efficient of the modes. High-frequencymodulation can create harsher, more typically"digital" artifactsin thismode, much like some earlydigitalsynthsof the 1980s. Normal The default mode, Normalmakesa good compromise between CPU load and soniccomplexity. Thismode isusefulin most standard synthesistasks. High Thismode budgetsadditionalCPU power to handle high-frequencymodulation (such asthat used in FM synthesis) smoothly. Supreme Thismode strivesfor the most realisticsimulation of analog synthesis; rich and complex. CPU usage ishigh, but the resultscan be worth it.

Effects MaiTaioffersseven effectsprocessorsto add dimension to your sounds. Theyare arranged in two banks: FXA (Modulation, Delay, and Reverb) and FX B (Gater, EQ, Distortion, and Pan). You can enable or disable each effect by clicking itsname. You can show or hide the Mod/FX section of the plug-in window byclicking the [Mod/FX] button.

Modulation

282│Studio One Reference Manual Depth Thiscontrolletsyou blend between the drysignal(allthe wayleft) and the chorused signal(allthe way right). Flanger Thisprocessor createsresonant, hollow-sounding sweeping effects. The synth signalisfed through a short, modulated delay, which ismixed with the drysignal. While similar to the workingsof a Choruseffect, Flangersget their signature sound byemploying smaller delaytimesthan those used in chorusing, combined with a feedbacksystem that can add extra resonance to the sweep. Flanger offersthe following controls: Mono Engage thisoption to sum the wet (effected) signalto mono.

Delay

CHAPTER 14│Studio One Reference Manual Thisprocessor createsan echo effect, either asa single delayed repeat of the input signal, or a trailing seriesof echoes. The Delayeffect offersthe following controls: Low and High These controlslet you set the cutoff frequenciesof the provided high-passand low-passfilters, which effect onlythe delayed signal. Delay Time Thiscontrolletsyou specifythe length of the delayeffect, in rhythmicvalues(such as1/8th-note or 16th-note) relative to the tempo of the Song. Feedback (FB) Thiscontrolletsyou set the amount of effected signalthat isfed backinto the Delayeffect. At zero, there isjust one repeat. Asyou increase the value, the trailof repeatsgrows. Mix Thiscontrolletsyou blend between the drysignal(allthe wayleft) and the delayed signal(allthe wayright).

Ping-Pong Mode Thismenu letsyou enable and configure the stereo Ping-Pong delaymode. You can choose from the following modes: Off The delayworksasnormal, without ping-pong functions.

Reverb

Thiseffect placesthe synth signalwithin a synthesized reverberant physicalspace, ranging from short reverbsthat emulate smaller rooms, to long reverbsthat evoke the soundsof large spaces, such ashallsand cathedrals. Reverb offers the following controls: Pre-Delay (Pre) Thisparameter letsyou specifyan amount of delayapplied to the reverb-processed signal, in a range between zero and 500 ms. Thisemulatesthe delayinherent in large spacesbetween the impact of a sound and itsaudible reverberation. Lower settingsare best suited to shorter reverb times, and longer settingswith longer reverb times, but let your own taste be the judge. Damping Thiscontrolletsyou set an amount of high-frequencyattenuation to applyto the reverb signal. Spaces with soft surfacestend to lose treble quicklyasthe sound reverberates, resulting in a short bright reverb followed bya progressivelydarker tail. Spaceswith harder surfacesretain high-end more efficientlyover time. Set Damp- ing to itslower rage to emulate hard surfaces, and to the higher rangesto enable further damping, to emulate softer surfaces. Size Thiscontrolletsyou set the length of reverberation from the moment a sound starts, in a range between 100 msand 10 seconds. The larger the size, the longer the tailof the reverb, and the larger the emulated space sounds. Low and High These controlslet you set the cutoff frequenciesof the provided high-passand low-passfilters, which effect onlythe reverb signal. Mix Thiscontrolletsyou blend between the drysignal(allthe wayleft) and the reverb signal(allthe wayright).

284│Studio One Reference Manual Gater

Thisisa rhythmicgating effect, able to create a seriesof syncopated breaksin the synth signal. A varietyof presetsare provided, each with a different rhythmicgating pattern. However, the fun reallybeginswhen you create your own. Gater offers the following controls: Beats Thiscontrolletsyou set the length of the gating cycle, in rhythmicvalues(such as1 bar or 1/2-note) relative to Song tempo. For example, at a setting of 1 bar, the 16 stepsin the cycle repeat everybar, effectivelyrep- resenting 16th-notes. At a 1/2-note setting, the 16 stepsrepeat each half-bar, representing 32nd-note values. Beat Steps Thisgrid letsyou specifywhich stepsin the cycle letssignalpassthrough, and which gatesthe signal to silence. Clickon a step to enable or disable gating for that step. Stereo Engaging thisoption createsa separate beat grid for each side of the stereo field. When engaged, you'll see two rowsof beat steps, the top row specifying gate stepsfor the left channel, and the bottom row gating the right channel. Depth Thiscontrolletsyou blend between the gated and drysignals, allowing for rhythmicgating effectswhile retaining the continuityof the synth sound.

Distortion

CHAPTER 14│Studio One Reference Manual Pan

Thisisan auto-pan effect, which pansthe synth signalleft and right over time. Pan offersthe following controls: Speed Thiscontrolletsyou set the speed at which the signalispanned left and right.

Modulation Matrix

MaiTaiprovides16 configurable modulation routings, in two banksof eight (Mod A and Mod B). Modulation signalscan be routed from a selection of incoming MIDI controller signals(such asPitch Bend, Mod Wheel, and Aftertouch), modulation generators(such asthe LFOsand envelopes), or the pitch or velocityof played notes. These modulation signalscan be used to varymost of the parametersthroughout MaiTai, including modulation sources themselves(such asLFO2 modulating the rate of LFO1, or the Decayof Env2) Each modulation slot hasa bypassbutton at the top, which letsyou enable or disable the flow of modulation signal. Below that are the input selector and modifier selector. If you assign a modulation source to the input selector only, that signalis routed directlyto the chosen destination. In some cases, you’llwant to govern the flow of one mod source before it reaches itsdestination, using the signalfrom another mod source. For example, you maywant to controlthe output levelof LFO1 (routed to a parameter such asoscillator pitch) with the Mod Wheel. In thiscase, you'd choose Mod Wheelwith the input selector, and LFO1 with the modifier selector below. Below that isa slider that controlsthe amplitude and polarityof the modulation signal. Set at itscenter, no modulation occurs. Move the handle right of center to send an increasing amount of the modulation signal, at itsnormal(positive) polarity, to the chosen destination. Move it left of center to send the signalto itsdestination with a negative value. If the parameter you wish to modulate isset to a high value, you maywant to send a negative modulation signalto it, driving the setting downward and causing more audible effects. Positive-going modulation signalsare more efficient when modulating parametersset to low values. A selector at the bottom of each modulation slot letsyou choose the destination of the chosen modulation signals.

Virtual Keyboard

286│Studio One Reference Manual The virtualkeyboard letsyou easilyclickto playnotesor manipulate the Pitch and Mod wheels, while auditioning or editing patcheswhen you're awayfrom a MIDI keyboard. The keyboard displayalso showsyou which notesare currentlybeing played. Note that for a more playable keyboard experience when awayfrom your MIDI controller, you can also use Studio One's QWERTY Keyboard Device to playnotesusing your computer'skeyboard. Next to the virtualkeyboard isthe Bend parameter, which letsyou set the pitch bend range of the Pitch wheel, in semitones.

Mojito

Mojito isa simple, monophonic, subtractive synthesizer with effectsthat iscapable of generating a wide range of sounds. It modelsa classicanalog synthesizer and featuresa low-aliasing oscillator and a 24 dB filter emulation. Mojito can generate killer bass sounds, lead sounds, and special effects.

Interface Mojito isorganized into Oscillator (OSC), Amplifier (AMP), Filter (FLT), and FX sections, with easy-to-use, yet powerful controls.

Oscillator Mojito’sOscillator section ison the upper left of the plug-in window. Here you can set up the harmoniccontent of the sound source. The basiccontrolsare the three large knobson top: Pitch, Wave, and Width. Pitch Adjuststhe frequencyfrom one octave below to one octave above the played note. Note that thisaffects the cutoff frequencyonlyvia keytracking. Pitch ismodified bythe pitch-bend wheel(± 2 semitones). Wave Selectsbetween a sawtooth wave and a pulse wave. These two waveformshave a rich and regular harmoniccontent, making them classicsourcesfor subtractive synthesis. Sawtooth wavescontain the fundamental and allharmonicswhereaspulse waveshave onlythe fundamentaland odd harmonics. Mixed settingseffectively adjust the levelof the even harmonics. Width Adjuststhe pulse width of the pulse wave from almost zero to square. Thisadjuststhe balance between the fundamentaland the higher and lower harmonics. Below the three main OSC controlsisa smaller row of knobsthat adjust how much the oscillator settingsare modulated. The speed of the modulation isadjusted using the LFOSpeed controls, located to the right of these knobs. The LFOcan be synced to tempo or it can oscillate with a freelyadjustable period. Use the modulatorsto create chorus-like or string-like sounds, vibrato, and other familiar modulated sounds.

CHAPTER 14│Studio One Reference Manual There isalso a Sub Oscillator knob, which can be adjusted from 0 to 100%to add more low frequencycontent to the sound. The Portamento section letsyou controlpitch slewing between notes. Using the mode selector, you can choose between three modes: Off A note that isplayed while another note isplaying silencesthe previousnote and trigger the new one.

Legato An overlapped note doesnot trigger a new envelope but the pitch slowlychangesto the pitch of the new note. Retrigger An overlapped note retriggersthe current envelope, starting at itsvolume at the moment it isret- riggered. Thisalso slowlychangesthe note’spitch. Note velocityisnot applied or updated for overlapped notes. The Time knob adjuststhe glide speed (that is, the duration of the pitch change) when using portamento. The range is from5msto1s.

Amplifier Below the Oscillator section is the Amplifier section. This consists of a Gain control, which responds to MIDI Volume messages, and a Velocity-to-Volume control, which modulatesthe volume of a note in response to keyvelocity. The most important part of thissection isthe ADSR envelope. (“ADSR” standsfor “Attack, Decay, Sustain, Release.”) With these four sliders, you can adjust the amplitude characteristicsover time. These characteristicsplaya huge role in defining the overallsound. The ADSR envelope can controlthe volume of a played note and can also controlthe filter cutoff. A Adjust the attacktime, which isthe time required for the sound’samplitude to go from zero (silence) to fullamplitude.The rangeisfrom 2 to 500 ms. D Adjuststhe decaytime, which isthe time required to drop from fullamplitude to the sustain level. The range is from2msto1s. S Adjuststhe sustain level, which isthe levelthat isheld from the end of the decayuntilthe keyisreleased. The range isfrom -96 dB(silence) to 0 dB(fullamplitude). R Adjuststhe release time, which isthe time required to fallbackto silence after the keyisreleased. The range is from2msto2s.

Filter The section on top of the right side of Mojito onlyaffectsthe resonant 24 dB low-passfilter. Reso Controlsthe resonance of the filter, which isan amplification, or emphasis, of the signalat the cutoff frequency. Note: If the amount of resonance of a filter israised high enough, the filter beginsoscillating at the cutoff frequency, thusgenerating itsown waveform. Be careful: thiscan be loud! Drive Controlsthe amount of filter drive from 0 to 100%.

Cutoff Knob Controlsthe corner, or cutoff, frequency, which isthe point above which frequenciesare attenuated.Therangeisfrom20Hzto16kHz. The other controlsaffect the modulation of the cutoff frequency. Key Controlshow much the played note scalesthe cutoff frequency.

Velo Controlshow much the velocityof the played note shiftsthe cutoff frequencyup or down.

Envelope Controlshow much the ADSR envelope shiftsthe cutoff frequencyup or down.

LFO Controlsthe amount of shifting that the filter LFOappliesto the cutoff frequency. The LFOcan either be synced to tempo or it can oscillate with an adjustable period.

288│Studio One Reference Manual FX On the bottom right isa smalleffectssection where you can applya modulation effect to enliven or broaden the sound. Mod Depth controlsthe amount of thiseffect. Using Mod Color, you can adjust the timbre from a flanger-like to a chorus- like effect. The modulation utilizesan LFOthat hasthe same speed asthe filter LFO. Finally, there isan Overdrive, the amount of which iscontrolled bythe Drive control.

Multi Instruments Sometimes, just one instrument isn't enough to get the sound or functionalityyou're looking for. You might want each half of the keyboard to trigger a different instrument, or to create powerfullayered soundswith multiple instruments responding to your touch simultaneously. Creating flexible, playable instrument configurations with multiple plug-ins, keyboard splits, layers, and real-time Note FX processing iseasyusing the MultiInstrument function in Studio One. To simplifythe processof controlling multiple instrumentsand effectsat once, we've included a page of Macro Controls you can assign to parametersin anyplug-in hosted in the MultiInstrument, giving easyaccessto vitalparameterswithout the need to open multiple plug-in windows.

Creating a Multi Instrument To get started making your own MultiInstrument, open the Instrumentstab in the Browser, expand the MultiInstruments folder within, and create a MultiInstrument in one of the following ways: Drag the New MultiInstrument preset to an existing Instrument Track.

Drag the New MultiInstrument preset to the top or bottom of the tracklist or between two existing tracksto create an Instrument Trackcontaining a new MultiInstrument. Thisprocedure also applieswhen creating a new instance from a non-default MultiInstrument preset.

CHAPTER 14│Studio One Reference Manual Once the new MultiInstrument iscreated, itseditor window opens. Here, you'llfind a device routing matrix, instrument inspector, and keyboard range settings. You can click-and-drag the corner of the window to re-size it to your needs.

Adding Devices to the Routing Matrix

Each instance of MultiInstrument can host multiple plug-in instrumentsand Note FX processors. Before anydevicesare added, the routing matrixin the center of the main controlwindow isempty. To add an instrument, clickthe [Add Instrument] button and select the instrument of your choice from the menu. Once the instrument isloaded, itseditor window isdisplayed. You can also simplydrag instrumentsfrom the Instrumentstab of the Browser directlyinto the routing matrix. The chosen instrument appearsasa module in the routing matrix, with a line leading to it, signifying the flow of note and controldata to that instrument. If you add additionalinstruments, the line splits, to show the flow of data to each instrument. To bypassor enable an instrument or Note FX module, pressitsActivate button. To open the editing interface for an instrument, double-clickon itsname, or clickthe smalltriangle on the right of the module and choose Edit... from the pop-up menu. To rename an instrument or Note FXmodule, choose Rename... from itspop-up menu. To remove an module, choose Remove from itspop-up menu.

Adding Note FX to the Routing Matrix

Using Note FXwithin a MultiInstrument can add dimension and animation to your sound. You can use them to affect note data feeding allinstrumentsat once, or use different Note FX on each instrument, or on pairsof instruments, using the Splitter function.

290│Studio One Reference Manual To add a Note FXprocessor to your MultiInstrument, clickthe Add Note FXbutton and choose a processor from the menu. You can also do thisbyclicking-and-dragging the processor of your choice from the Note FX folder in the Instrumentstab in the Browser onto the routing matrix. Once the Note FX module isloaded, itseditor window isdisplayed. Where you place a Note FXmodule in the routing matrixdetermineshow the module isrouted. If you want a Note FXto affect allinstrumentswithin the Multi, drag itsmodule to the top of the routing matrix. In thiscase, alldata flowsthrough the module before splitting off to feed the instruments. To affect just one instrument, drag the Note FX module just above the instrument module of your choice.

Note FX Splitters

To affect two instrumentsin tandem with one Note FXmodule, you'llwant to use a Splitter. To add a Splitter to the matrix, click-and-drag the Drag Splitter button, and place your Splitter between the two chosen instruments. AnyNote FX placed above the Splitter affectsallnote data running to the two instruments, for simultaneouschord generation, arpeggiation, and so on. Note that FX Splittersare onlyavailable (and needed) when three or more instrumentsare present in the current Multi Instrument. If just two instrumentsare present, you can affect both instrumentswith a single Note FX bydragging the Note FX module onto the top of the signalflow diagram. To remove an instance of Note FXor a Note FX Splitter, clickthe triangle on the right side of the module, and choose Remove from the pop-up menu.

Keyboard Splits and Layers

Bydefault, each instrument in a MultiInstrument receivesnote data from the fullrange of the keyboard. If you want to split the keyboard into distinct ranges(such assynth basson the left side, and piano for the right hand), or simplyspecifyan instrument'splayable range, you can use the range sliders, just above the virtualkeyboard display. Each instrument in a MultiInstrument hasa range slider that specifiesthe range of keysin which that instrument isallowed to play. Click-and-drag the endsof each range slider untilthe desired range of keysisselected for each instrument. If two or more instrumentsoverlap in their ranges, those soundsare layered when keysin overlapping rangesare played. Layering can be usefulfor building rich, complextonesfrom multiple sources.

Multi Instrument Inspector When you select an instrument module in the matrix, the MultiInstrument Inspector showsa mixof parametersyou would normallysee in the Trackand Instrument Inspectorselsewhere in Studio One. Here, you can set transposition and key range, aswellasget accessto audio settings, Inserts, and Sendsfor the selected instrument. You can color-code Instrument or Note FX modulesbyselecting them and clicking the color picker to the left of the name of the module in the inspector. Because Insertsand effectssettingsare saved aspart of MultiInstrument presets, you mayfind it helpfulto use Multi Instrumentsto save complexsingle-instrument configurationswith manyInsert effects, for later use. When you select a Note FX module in the matrix, itscontrolsare made available in the Inspector.

CHAPTER 14│Studio One Reference Manual Macro Controls

Given that a MultiInstrument maycontain severalinstrumentsand a selection of Note FX and audio effects, we've included a set of assignable Macro Controlsin each MultiInstrument (much like the Channel Macro controls you'll find in the Console). Thisletsyou assign often-used parametersthroughout alldevicesin your MultiInstrument to a single page of knobs, buttons, and X/Y pads. To show the Macro controls, clickthe Instrument Macro button in the MultiInstrument editor window. To assign an instrument or effect parameter in your MultiInstrument to an Instrument Macro control, [Right]/[Ctrl]-clickthe control element in the plug-in, and choose Connect [parameter name] to Instrument Macro Control[controlof choice]. Your choice of assignmentsisdisplayed next to each Macro control. [Right]/[Ctrl]-clicking a controlthat isalreadyassigned to a Macro givesyou the option to breakthat connection. For more on the use of Macro Controls, see Channel Macro Controls.

Audio Routing and Insert Effects Each instrument in a MultiInstrument routesitsaudio to a Channelin the Console asusual, allof which are encapsulated in a group Bus, titled "MultiInstrument" bydefault. To accessindividualmixing controlsfor instrumentswithin a Multi, click the folder icon at the bottom of the MultiInstrument channelstrip in the mixer. Allindividualrouting and processing flexibility remains, while the Buskeepsthe instrumentstogether and easier to manage asa group, especiallyin larger sessions. If you wish to send an instrument to the Main busor other bus(rather than run it through the MultiInstrument bus), you can make these changesin the Console or in the Inspector view in the Instrument Editor window.

292│Studio One Reference Manual Storing and Loading Multi Instrument Presets Once you've set up a satisfying MultiInstrument, you maywant to store it asa preset, so that you can callit up for use in other projects. You can also export your preset asa file, or import a preset from a previouslyexported file. Clickthe Preset Actionsbutton in the menu bar of a MultiInstrument window, and choose from the following preset management functions: Store Preset... Choose thisto save a preset to your libraryin the Browser. You can enter a title and description for the preset, aswellasspecifya subfolder within the preset list to store the preset. Replace Preset Choose thisoption to update the currentlyloaded preset with anynew settingsmade since loading the preset. Store as Default Preset Choose thisoption to make the current preset load whenever a new MultiInstrument is created. Load Preset File... Choose thisoption to load an exported MultiInstrument preset file from your file system into your current Song. Import Preset... Choose thisoption to load an exported MultiInstrument preset file from your file system into the current Song, and import the preset into your Studio One library, for later use. Export Preset... Export the current MultiInstrument configuration asa preset file, for use byothersor for storage. Thisdoesnot save audio effectsassignmentsor settingsused within the MultiInstrument. Export Instrument+FX Preset... Export the current MultiInstrument configuration asa preset file, including all audio effectsinserted for each instrument, and the corresponding effectssettings. Show in Browser Locatesthe currentlyloaded preset in the Browser.

Note FX Note FX are real-time effectsprocessorsthat change and reinterpret incoming note data before it reachesyour choice of plug-in instrument or externalMIDI device. Arpeggiator, Chorder, and Repeater are most usefulfor creative expansion and adaptation of note data. Input Filter isa utilityprocessor that limitsnote output to a selected range of note and velocity values. You assign Note FX to Instrument Tracksin the Note FX section of the TrackInspector. For more information, see Track Inspector. You can save and load Note FXsettingsaspresets, just asyou can with other instrumentsand effects. For more information on saving and loading presets, see the Signal Routing chapter.

Rendering Note FX If you wish to make the effectsof Note FXprocessing permanent (part of the note data, rather than a real-time process), select the Trackand navigate to Event/Render Instrument Tracks, or [Right]/[Ctrl]-clickthe desired Part in Arrange view and choose Instrument Parts/Render Instrument Tracks from the pop-up menu. Thisalso makespermanent anytransposition or velocitychangesyou've made within the Inspector view for the track.

CHAPTER 14│Studio One Reference Manual Arpeggiator

Arpeggiator turnschords(aswellassingle notes) into arpeggios—rhythmiccyclesof single notes, derived from the notes currentlyheld. Like the arpeggiator functionsfound in manysynthesizers, Arpeggiator createsrepeating patternsof notes that can travelupwardsin pitch, downwards, up-and-down, down-and-up, or in a randomized pattern. You can also use Arpeggiator to playrepeated patternsof whole chords, or note patternsthat follow the order in which notesare played. Going beyond the basics, you can use the Pattern function to create rhythmicpatternsof velocityand note length that the arpeggio followsasit plays, opening manycreative optionsfor repeating musicalarticulations. The following parametersand functionsare available in Arpeggiator: Arpeggio Direction Choose the note direction that createsthe pattern you want, from the following options: Up The arpeggio startsat the lowest held note and travelsupward through the held notes, then returns to the lowest note asthe arpeggio beginsagain. Down The arpeggio startsat the highest held note and travelsdownward through the held notes, then returnsto the highest note asthe arpeggio beginsagain. Up/Down The arpeggio startsat the lowest held note, travelsupward to the highest, then travelsback down to the lowest note, and the arpeggio beginsagain. Down/Up The arpeggio startsat the highest held note, travelsdownward to the lowest, then travels backup to the highest note, and the arpeggio beginsagain. Random The arpeggio playsthe currentlyheld notesin a random pattern.

Chord Mode The currentlyheld chord (or single note) isrepeated aslong asit isheld.

From Input The arpeggio pattern isderived from the order in which notesare played and held.

Octave Range Letsyou extend the range of the arpeggio bymirroring the currentlyheld notesan octave above (at a setting of 2), the two octavesabove (at 3), or the three octavesabove (at 4). At 1, no mirroring occursand the arpeggio playsaccording to the held notes. Setting Octave Range above 1 when in Chord Mode causesan upward-rising cycle of repeated chords, an octave apart, itslength determined bythe Octave Range setting. Rate Letsyou select a rhythmicvalue, determining the length of each arpeggio step. Range isfrom a bar to a 64th-note, in alltriplet and dotted varieties. Swing Letsyou add swing to the timing of the arpeggio, creating a range of rhythmicfeels. For more information on swing timing, see Swing. Gate Actsasan overallnote-length control. Lower settingscreate shorter notes, and higher settingscreate longer notes. When a Pattern isactive, Gate worksrelative to the gate settingsin the Pattern. Hold Enable thisto hold allcurrentlyplayed notes. Each new chord or single note that you playreplacesthe pre- viousmemoryand holdsuntilthe next note input isreceived. Velocity Actsasan overallnote-velocitycontrol. When a Pattern isactive, Velocityworksrelative to the velocity settingsin the Pattern.

294│Studio One Reference Manual Pattern/Fix Switches Choose Pattern to allow Velocitydata from the Pattern to controlnote velocity(in tandem with the Velocitycontrol). Choose Fixto set a fixed velocityfor allnotes, with the Velocitycontrol. Pattern Thisisa 32-step pattern sequencer you can use to create repeating patternsof note velocityand gate (length) that are applied to the controloutput of the Arpeggiator. The Pattern area containsthe following controls: Activate Pattern Toggle thison or off to enable or disable the Pattern sequencer.

Pattern Sequencer Thisseriesof slidersiswhere you'llcreate your velocity/gate pattern. You can click and drag each step in the sequence vertically (to set velocity) and horizontally(to set gate length). 16 stepsare shown at anyone time. To reach the second set of 16 steps, clickthe right-arrow to the right of the pattern. To return to steps1-16, clickthe left-arrow to the right of the pattern. Pattern Length Letsyou choose the length of the pattern.

Chorder

Chorder isan intelligent chord generator that letsyou trigger chordsbyplaying single notes. You can specifyintervalsin the chord manually, or capture chord shapesplayed on the keyboard. Each keycan trigger a different chord of your choice, or you can choose a single chord shape, to playacrossmultiple keys. You also have controlover the area of the keyboard that triggersthese chords, letting you, for example, trigger chordsin the upper part of the keyboard, while playing single-note basspartsin the lower half. The centralinterface showstwo rowsof piano-style keys. The lower row isused to audition chord shapes; clickand hold a keyto play. In Learn Mode, the lower row letsyou select a keyboard keyfor chord assignment (selected keyturnsorange). The upper row displaysthe notesbeing played (both byMIDI input and the chord generator), and which keyboard keys have been assigned chord shapes(smallsquare at the bottom of each keyturnsorange). In Learn Mode, the upper row displaysthe currentlyassigned chord shape for the selected key(chosen notesturn orange).

Assigning Chord Shapes

Chorder defaultsto an example chord setting that you can playwith. The next thing you'llwant to do isassign your own chord shape to one or more keyboard keys. You can do so byfollowing thisprocedure: 1. Pressthe[LearnMode]buttontoputChorder intoLearnMode. 2. Select a keyboard keyfor chord assignment byclicking it in the lower row of keys. The selected keyturnsorange. C3 isselected bydefault. 3. Build the chord shape of your choice byselecting notesin the upper row of keyswith the mouse, or byplaying noteson a connected MIDI controller. Selected notesturn orange. Clickor playa note a second time to deselect it.

CHAPTER 14│Studio One Reference Manual 4. If you want to assign custom chord shapesto other keyboard keys, select each chosen keyin the lower keyboard, and assign chord shapesto each, asdescribed in step 3. 5. Press[Learn Mode] again to disengage, and begin playing. The following parametersand functionsare available in Chorder: Learn Mode EnablesLearn Mode. When Learn Mode isactive, the following controlsappear: Clear All Clearsallchord assignmentsfor allkeyboard keys.

Clear Clearschord assignmentsfor the currentlyselected keyboard key.

Copy Copiesthe currentlyshown note pattern, for pasting into other keys.

Paste Appliescopied note pattern data to the currentlyselected key.

Selected Keyboard Key Showsthe pitch of the currentlyselected keyboard key. To specifya particular note value, clickthisfield to select it and type in the note name and octave number (such as C3). You can also click-and-drag in the note field, or clickon the note field and select with your mouse's scroll wheel. Chord Range Drag the endsof thisslider to select the portion of the MIDI keyboard that triggerschords.

Transpose Letsyou transpose the chord output, in a range of -12 to +12 semitones. Notesoutside the Chord Range are unaffected. Auto Fill Enable thisto automaticallyassign anyunassigned keyboard keysin the Chord Range to the chord shape mapped to the lowest keyboard key. Disable to ensure that onlyassigned keyboard keystrigger chords. Filter Outside Enable thisto stop allnotesthat falloutside of the Chord Range. Disable to allow playing notes outside the range.

Repeater

Repeater worksjust like it sounds—it createsrhythmicrepetitionsof the notesyou play. These repetitionscan be simple copiesof incoming notes, or can change in velocity, gate length, and pitch asthe pattern plays. The following parametersand featuresare available in Repeater: Individual Velocity & Gate Engage to enable individualsetting of note velocityand gate length for each step.

Individual Pitch Engage to enable individualsetting of note pitch for each step.

Sequencer Thisletsyou specifyvelocity, gate, and pitch valuesfor each step in the sequence of repetitions. The following controlsare available for each step: Level/Gate Slider With IndividualVelocityand Gate enabled, you can clickand drag the upper edge of thisslider up or down to set note velocityfor the current step. You can also clickand drag the right edge of the slider left or right to set note gate length for the current step. With IndividualVelocityand Gate

296│Studio One Reference Manual disabled, moving velocityor gate slidersmanipulatesthat setting for allsteps(equivalent to turning the VelocityLeveland Gate knobs). Pitch With IndividualPitch enabled, you can clickand drag thisslider up or down to applya positive or negative pitch transposition to the current step. With IndividualPitch disabled, moving a pitch slider changespitch transposition for allsteps simultaneously. At 0, no transposition occurs. Rate Letsyou set the rate of repetition. When Syncisenabled, you can choose a tempo-synced rhythmicvalue between one bar and one 64th-note, in alltriplet and dotted varieties. When Syncisdisabled, you can choose a repetition frequencybetween 2 and 25 Hz(repetitionsper second). Sync Enable Syncto snap the Rate controlto rhythmicvalues, in syncwith Song tempo. Disable to set repetition speed in Hz. Steps Select your desired number of repetitions(and sequencer steps), from just two steps, to 32.

Velocity Level Acts as an overall velocity level control, scaling every step's velocity, relative to its custom setting.

(Velocity Relative to) Input Enable thisto derive overallrepetition velocityfrom note input, attenuated or boos- ted bythe setting of the VelocityLevelcontrol. Velocity Scale Turn thisto introduce a sloping change in velocityin the sequence over time, relative to each step'ssetting. At center, no slope isadded. Turned left of center, a downward slope isintroduced. Turn to the right for an upward slope. Gate Actsasan overallgate length control, scaling everystep'sgate length, relative to itscustom setting.

Gate Scale Turn thisto introduce a sloping change in gate length in the sequence over time, relative to each step'ssetting. At center, no slope isadded. Turned left of center, each step in the sequence isshortened more than the last. Turn to the right, and each step islengthened more than the last. Pitch Scale Turn thisto introduce a sloping change in pitch in the sequence over time, relative to each step'ssetting. At center, no slope isadded. Turned left of center, you get a range of downward pitch shift slopes. Turn to the right for upward slopes.

Input Filter

Input Filter letsyou filter out unwanted notesbefore theyreach your instrument or MIDI device. You can specifya range of note pitchesto allow, and a range of note velocitiesto allow, and allnotesthat falloutside of either of those rangesare stopped. The following parametersare available in Input Filter:

CHAPTER 14│Studio One Reference Manual Key Range (Low and High) Set the low and high limitsfor note pitches. Thiscan be done bymoving the ends of the slider above the keyboard graphic, or bymanipulating the KeyRange displaysbytyping in valuesor scrolling through valueswith your pointing device'sscrollfunction. Anyincoming notesthat falloutside of the chosen KeyRange are stopped. Minimum and Maximum Velocity Set the low and high limitsfor note velocity. Thiscan be done bymoving the slidersto the left and right of the keyboard graphic, or bymanipulating the Min Velocityand MaxVelocitydisplays bytyping in valuesor scrolling through valueswith your pointing device'sscrollfunction. Anyincoming notesthat fallbelow the Min Velocitypercentage or above the MaxVelocitypercentage are stopped.

298│Studio One Reference Manual Video Playback and Sync

Studio One Professionalhasa built-in video player that enablesyou to score to picture bysyncing Song and video playback. The following chapter describeshow to use thisvideo player in detail.

Video Player Interface Open the Video Player byclicking on the Video Player icon in the toolbar or byselecting it from the View menu. When first opened, you see a blackscreen with the text “Movie Not Loaded” displayed. The bottom toolbar containscontrolsfor the video player as follows:

Remove Video Clickto remove the currentlyloaded video.

Extract Audio Clickto extract the audio from the video and place it on an audio Trackin the arrangement.

Video Offset Set a value.

Video Options Choose to displaythe video asHalf Size, Default (original) Size, or Double Size.

Stop/Play Clickto stop or start video playbackindependent of the Song.

Online Thisisengaged bydefault and enforcessyncbetween the Song timeline and the video playback. Clickto disengage if you prefer that the Song and video playbackpositionsnot be synced. Mute Thisisengaged bydefault and mutesthe audio output from the video. Clickto disengage if you want to hear the audio output from the video. Size Click-and-drag the lower right corner of the video player to freelysize the window.

In the upper right corner of the video player, there are buttonsto maximize the video player window and to close the video player.

CHAPTER 15│Studio One Reference Manual Supported Video Formats QuickTime isthe onlysupported video technologyfor the Studio One video player. QuickTime playsanyvideo format for which a codecisinstalled in the system. If the video player displaysNo Codecafter importing a video, then the codeccould not be found. If you are a MacOS X user, we highlyrecommend downloading Perian, which isan open source QuickTime component that addsnative support for manypopular video formats, such asDivX and XVid. If you are a Windowsuser, Studio One attemptsto use whatever video codecsyou have installed in the system. If you encounter issueswith a certain codec, it maybe helpfulto search out an alternate codecfor that video format.

Import Video The simplest wayto import a video file isto drag-and-drop it from the File Browser into the arrangement. Supported video filesappear in the browser with a Film Strip icon. You can also use the Import Video menu in the Video Player to import any supported video file. Drag a video file from the File Browser to the arrangement to import the video file to the Video Player. When doing this, note that the position to which you drag the video isused to set the offset for video playback. For instance, if you drag-and- drop a video to 10 secondsin on the timeline, the offset isset at 10 seconds, and video playbackdoesnot begin untilthat position is reached. Hold [Ctrl]/[Cmd] while dragging to onlyextract the audio from the video and place it in the position to which you drag. Hold [Alt] while dragging to simultaneouslyimport the video file to the Video Player and extract the audio from the video and place it on an audio Track. Please note that these audio extraction featuresdo not function when using Studio One in 64- bitmodeonOSX.

Sync to Video Once the video hasbeen imported, aslong asthe Online button in the Video Player isengaged, Song and video playback willbe in sync. When you locate the timeline cursor while stopped or during playback, the video adjuststo the correct frame. When video playbackstarts, a smallamount of data needsto be pre-loaded. Should there be a resulting timing offset between the video and Song playback, Studio One syncsthe video during playback. Thismaycause the picture to jump a little after start, which isnormal. For a smooth start of video playbackwe recommend that you stop, locate, and then start. In common practice, it isgood for you to know the frame rate of the video you are working with, and to set that frame rate in the Song/Song Setup/General menu. You maychoose from 24 fps, 25 fps, 29.97 fps, 29.97 dfps, 30 fps, and 30 dfps. Ideally, you should have a reference timecode burned into the video itself so that you can compare the Song frame position with the video timecode position and ensure accurate frame sync.

Using Follow Edit Position with Video It iscommon to use markersto denote hitpointsin the video; that is, time positionswhere the sound should syncclosely with the video. Refer to Using the Marker Track for information on how to use markers. When adjusting the position of a marker, it ispossible to have the playbackposition, and thusthe current video frame, follow the marker position. To do this, enable Follow Edit Position in the toolbar, next to Follow Song. Thishelpsyou accuratelyplace markersto use ashitpoints while viewing the exact frame to which the marker corresponds. Similarly, Follow Edit Position helpswhen trying to sync Event or Note position with video.

300│Studio One Reference Manual