IntroductionWelcome| 00:01 |
(MUSIC).
| | 00:04 |
Hi.
I'm Josh Harris, and welcome to Up and
| | 00:07 |
Running with Studio One.
In this course, I will show you how to
| | 00:11 |
set up and create a new song from an
empty session.
| | 00:14 |
Next, I will record live guitars and
create a composite take from multiple
| | 00:17 |
takes recorded to a single track.
(MUSIC) Then, I'll tune a lead vocal
| | 00:22 |
using Studio One's integrated version of
Melodyne.
| | 00:26 |
And then I'll export a final mix of a
song, and prepare it for mastering.
| | 00:30 |
I will take you through the mastering
process by creating a new project in the
| | 00:33 |
project page.
And finally, I will show you how to
| | 00:37 |
publish and upload your finished work to
Sound Cloud and Nimbit, directly from the
| | 00:41 |
song page and project page.
(MUSIC) So if you're ready, let's get up
| | 00:46 |
and running with Studio One.
| | 00:49 |
| | Collapse this transcript |
| What you should know before watching this course| 00:00 |
Studio One is available in four different
versions, Studio One free, Studio One
| | 00:05 |
Artist, Studio One Producer, and Studio
One Professional.
| | 00:10 |
In order to take advantage of all Studio
One has to offer I've built this course
| | 00:14 |
using Studio One Professional.
If you don't have Studio One Professional
| | 00:18 |
you can still follow along in your
version of Studio One.
| | 00:22 |
However, you may notice some differences
in functionality.
| | 00:25 |
For more information visit the PreSonus
website.
| | 00:30 |
| | Collapse this transcript |
| Using the exercise files| 00:00 |
If you are a premium member of the
lynda.com online training library, you
| | 00:04 |
have access to the exercise files used
throughout this title.
| | 00:09 |
With almost every chapter, I've included
either song files, project files or both
| | 00:14 |
sets of files.
These files are designed to help you
| | 00:17 |
follow along with me as we work through
this course.
| | 00:21 |
Normally, Studio One stores your songs,
projects and presets in a standard
| | 00:24 |
central location.
On both Windows and Mac, a Studio One
| | 00:28 |
folder is located in the Documents
folder.
| | 00:31 |
However, since we are including song
files and project files for this course,
| | 00:35 |
we have placed them in the Exercise Files
folder.
| | 00:39 |
You'll find songs in the Songs folder and
projects in the Projects folder labeled
| | 00:43 |
according to chapter and movie number.
If you are a monthly member, or annual
| | 00:48 |
member of lynda.com, you don't have
access to the exercise files, but you can
| | 00:52 |
follow along from scratch with your own
assets.
| | 00:56 |
Let's get started with Up and Running
with Studio One.
| | 01:01 |
| | Collapse this transcript |
|
|
1. Studio One TourNavigating the Start page| 00:00 |
When Studio One is launched, it goes
through a series of initializations and
| | 00:04 |
content checks and arrives at what is
called a Start Page.
| | 00:09 |
As you can see, the Start Page is an
information hub with the left hand column
| | 00:13 |
containing a list of recent files, songs,
and projects.
| | 00:17 |
The reason that this area is empty right
now is because this is the first time
| | 00:20 |
that I've launched Studio One and there
are no resent file songs or projects.
| | 00:25 |
But as you continue to work on your
projects, you'll see that list growing.
| | 00:29 |
The center column is where you will set
up your artist profile and configure your
| | 00:33 |
audio devices or audio interface, as well
as any external devices such as a MIDI
| | 00:36 |
controller or MIDI interface.
This area is also where you can check for
| | 00:42 |
any Studio One updates.
The right hand column provides a feed of
| | 00:47 |
current past and Studio One news, as well
as demos and tutorials created by other
| | 00:51 |
Studio One users.
In the upper right hand section, there
| | 00:55 |
are buttons to quickly create a new song
or project or return to the song or
| | 00:58 |
project that you are currently working
in.
| | 01:01 |
And you can also return to the Start Page
from your song or project at anytime
| | 01:05 |
without losing your work.
Another way to create a new song or
| | 01:10 |
project, as well as open an existing
document, are from the three buttons
| | 01:13 |
located right beneath the Studio One
logo.
| | 01:17 |
Create a New Song.
Create a New Project.
| | 01:21 |
Open an Existing Document.
Go ahead and spend a little time
| | 01:25 |
navigating through the Studio One Start
Page and become comfortable with its
| | 01:29 |
layout and functionality.
| | 01:32 |
| | Collapse this transcript |
| Setting up your artist profile| 00:00 |
The Artist's Profile section of StudioOne
will provide a portion of the Metadata
| | 00:04 |
that will be embedded in your tracks
after they are bounced down or exported.
| | 00:09 |
As you can see, you have an area for
Artist Name, Music Genre, which I will
| | 00:17 |
type in Electronic, and Artist or Band
website, and I'll enter my website.
| | 00:28 |
If you would like to include a picture,
simply click on the Select Image box here
| | 00:32 |
with the three little dots.
And I will pull up a cropped photo.
| | 00:38 |
The original photo size was quite large,
so I shrunk it down in Preview, and I'll
| | 00:42 |
select Open here.
Studio One will bring up a dialog box
| | 00:47 |
asking me if I'd like to scale the image
to 5 12 by 5 12.
| | 00:51 |
I will select Yes, and the picture
appears here in the box.
| | 00:55 |
As I roll the cursor over you can see a
magnifying glass appears.
| | 00:59 |
Because this picture looks a little
pixelated and low quality...
| | 01:02 |
If I click on the magnifying glass, you
can see that the picture is actually of
| | 01:06 |
good quality.
It's just that as it appears in the box
| | 01:09 |
here, because it's shrunk down to a
thumbnail size, it looks a little bit
| | 01:13 |
pixelated.
If I decide later on that I'd like to
| | 01:16 |
change my picture, or not include a
picture at all, all I need to do is click
| | 01:20 |
x here, and remove the image.
I can also change the artist or band's
| | 01:25 |
website name from song to song by double
clicking and just typing in a new website
| | 01:29 |
address.
One important note is that you can access
| | 01:33 |
the artist's profile meta data from
within a song you are working on,
| | 01:36 |
allowing you to change the meta data from
project to project.
| | 01:41 |
I'll show you how to do that a bit later
on in the course.
| | 01:44 |
I tend to change the artist's meta data
from song to song or project to project,
| | 01:48 |
because many times I am the re-mixer or
producer.
| | 01:52 |
Sometimes I am the artist, but if I'm the
producer or re-mixer or engineer, I don't
| | 01:56 |
want my name to appear as the artist.
This is a good housekeeping tip because
| | 02:02 |
as you send files around or publish
files, you want to make sure that the
| | 02:05 |
metadata contained within them is
correct, avoiding any confusion.
| | 02:11 |
| | Collapse this transcript |
| Configuring your audio devices| 00:00 |
As you can see underneath the Setup
section, there is a picture of an audio
| | 00:04 |
interface containing its information.
I can access an Options menu to change or
| | 00:09 |
edit this information by either clicking
on the Interface icon or by clicking on
| | 00:13 |
Configure Audio Device.
What we're looking at here is a list of
| | 00:18 |
settings and parameters for our audio
interface.
| | 00:23 |
If I click and hold this button here, I
have a list of available audio
| | 00:25 |
interfaces.
And ours is set to Built-in Line Output.
| | 00:30 |
If you're using PreSonus hardware or
another third-party audio interface, you
| | 00:35 |
should see that interface in this list
here.
| | 00:39 |
Next, we have Device Block Size or Audio
Buffer.
| | 00:42 |
And Studio One defaults to a setting of
512 samples.
| | 00:45 |
As we look at the list of available
Sample settings, you see that we can go
| | 00:50 |
down as low as 32 or as high as 4,096.
If you choose a lower Sample setting,
| | 00:56 |
like 128 samples, for example, you will
hear a very negligible delay when you
| | 01:00 |
record-enable a track.
However, you'll be asking more of the
| | 01:05 |
computer's CPU resources.
Generally, what I like to do is lower the
| | 01:10 |
Sample setting to maybe 256 or 128 when
I'm recording the track, like a vocal,
| | 01:15 |
per say.
And then, when I'm ready to mix, I raise
| | 01:19 |
the Sample Setting up to 2048, giving my
Audio Buffer, plenty of opportunity to
| | 01:23 |
handle all the information that I'm
asking Studio One to take on when it
| | 01:26 |
comes to mixing.
For now, we'll leave this at 512.
| | 01:33 |
Beneath the Audio Buffer Size or Device
Block Size, we have process precision.
| | 01:37 |
Process precision has to do with a
mathematical computation that occurs
| | 01:41 |
during effects processing.
Studio One users have the choice between
| | 01:46 |
Single, 32 bit or Double, 64 bit
precision process.
| | 01:50 |
Single is the standard method of
computation and Double allows for a more
| | 01:54 |
precise method of computation.
While Double precision might sound better
| | 01:59 |
at times, keep in mind that it does
require more processing power.
| | 02:03 |
The Enable Multi-Processing Box is a
default setting, so I leave it checked.
| | 02:07 |
What it's basically doing is allowing the
computer to take advantage of its
| | 02:10 |
multicore processing.
And as you can see, we're on a tower, and
| | 02:14 |
we have multiple cores here, and I have
the option of assigning how many cores I
| | 02:18 |
want Studio One to take advantage of
during the workflow process.
| | 02:24 |
Our input and output latency is
contingent upon what our Device Block
| | 02:28 |
Size setting is, and the Sample rate is
set to 48K.
| | 02:32 |
Bit depth is 32.
These settings are crucial to Studio
| | 02:36 |
One's performance.
So, please take a few minutes and spend
| | 02:39 |
some time with them.
However, you can always go back and make
| | 02:43 |
changes to them at anytime if you find
that the settings that you currently have
| | 02:47 |
are not giving you favorable results.
| | 02:51 |
| | Collapse this transcript |
| Working with external devices| 00:00 |
The Configure External Devices window is
where you set up any external MIDI
| | 00:04 |
controller, such as a keyboard or a
control surface, and any external MIDI
| | 00:07 |
interfaces, if you happen to use one,
which I do in my home studio.
| | 00:13 |
I will click on the hyperlink and up pops
a dialog box allowing me to add my MIDI
| | 00:17 |
controller.
Here is a list of popular gear
| | 00:21 |
manufactures, and I'm using an M-Audio
Axiom Pro keyboard.
| | 00:26 |
I will select Axiom Pro keyboard, and
you'll notice that above the Axiom Pro
| | 00:30 |
keyboard is Axiom Pro.
And Axiom Pro simply refers to the
| | 00:34 |
control surface part of the Axiom Pro
keyboard.
| | 00:37 |
My device model, M-Audio Axiom Pro
keyboard, gear manufacturer M-Audio and
| | 00:41 |
device name Axiom Pro keyboard all pop up
in the dialogue box in the right hand
| | 00:45 |
column.
I will leave all 16 midi channels active.
| | 00:51 |
This is Studio One's default setting, and
underneath Receive From, I will click
| | 00:56 |
down and choose Axiom Pro USB AN.
This is allowing me to input MIDI
| | 01:01 |
information from the keyboard to Studio
One.
| | 01:04 |
I will leave Send to set to none because
were not going to send MIDI information
| | 01:08 |
from Studio One back to the Axiom Pro
keyboard.
| | 01:12 |
I will click Okay, and now the Axiom Pro
keyboard has been added to my list of
| | 01:16 |
external devices.
If I don't have access to a keyboard or a
| | 01:21 |
MIDI control surface, let's say I'm
traveling on an airplane, I can simply
| | 01:26 |
add the qwerty keyboard.
And the qwerty keyboard will allow me to
| | 01:31 |
input MIDI data from the computer's
keyboard.
| | 01:34 |
And now both of these are configured as
external devices.
| | 01:38 |
I'll click Okay.
In the event that your external device is
| | 01:41 |
not found on the list of popular gear
manufacturers, all you have to do is
| | 01:45 |
click Add > New Keyboard, and input your
device model, manufacturer and device
| | 01:50 |
name and set your MIDI channels, Receive
From and Send To accordingly.
| | 01:59 |
So spend a few minutes configuring your
external MIDI device prior to setting up
| | 02:02 |
your new song.
Of course if you need to add a controller
| | 02:06 |
or control surface down the road, all you
have to do is come back to the start page
| | 02:09 |
and do what we just did, clicking on the
configure external devices hyperlink and
| | 02:13 |
adding your control surface.
| | 02:18 |
| | Collapse this transcript |
| Exploring other options| 00:00 |
As you probably notice in the last couple
of movies, the Options dialog box has
| | 00:04 |
some other tabs that allow you to set
some other important preferences.
| | 00:09 |
I'll access this box by choosing
Preferences in the Studio One column
| | 00:12 |
because I'm working on a Mac.
If you're working in Windows, choose
| | 00:17 |
Options from the Studio One column.
We're looking at the Options dialog box
| | 00:21 |
and we're looking at General Preference
Settings.
| | 00:24 |
What I have up here is the command
telling Studio One what to do when the
| | 00:28 |
program is launched.
It defaults to do nothing, which is where
| | 00:32 |
I actually leave it because sometimes I'm
working between projects and songs.
| | 00:37 |
But we do have a list of actions from the
pull down menu and they are Open Last
| | 00:41 |
Song or Project, Open Default Song or
Project, or Create a New Song.
| | 00:46 |
Again, this is a personal preference and
you'll decide, as you work in Studio One
| | 00:50 |
more and more, how you'd like it to
behave when a program is launched.
| | 00:55 |
I will leave the Language set to English.
Although, there are some other options
| | 00:59 |
available in the pull down menu.
The next tab we have are keyboard short
| | 01:03 |
cuts, otherwise known as key commands.
You'll notice that we have a drop down
| | 01:08 |
menu here under Keyboard Mapping Scheme
called Studio One, Studio One Alternate,
| | 01:13 |
Cubase, Logic, ProTools, and you can
certainly import a preexisting set of key
| | 01:18 |
commands that you exported from another
program.
| | 01:24 |
I leave my keyboard mapping scheme set to
Studio One, but if you have spend time
| | 01:27 |
working in Cubase, Logic, or ProTools,
you may want to spend a few minutes
| | 01:31 |
trying out these key commands.
I don't believe that every key command
| | 01:36 |
from Cubase, Logic or ProTools is
covered.
| | 01:39 |
But you should find when selecting
Cubase, Logic or ProTools, that most of
| | 01:43 |
the common commands will be the same.
Next, I'll move over to the Locations tab
| | 01:48 |
and underneath this tab we've got several
different submenus.
| | 01:53 |
First, is User Data.
User Data Location refers to the pathing
| | 01:57 |
for all of your user data, songs,
projects and presets.
| | 02:02 |
You can certainly change this and assign
a different path by clicking on this box
| | 02:07 |
right here and it will pull up your
browser.
| | 02:11 |
For now, I'll leave it in its default
setting inside the documents folder.
| | 02:15 |
Beneath the User Data Location window,
there's an Auto Save box.
| | 02:19 |
Now, I've unchecked this box because we
don't want Studio One to Auto Save in the
| | 02:23 |
middle of these movies.
But generally speaking, I would leave
| | 02:27 |
this on and I would leave it set to Auto
Save every five minutes.
| | 02:31 |
I typically leave the Ask to Copy
External Files When Saving Song box
| | 02:34 |
unchecked because I don't want Studio One
to continue to create duplicate copies of
| | 02:38 |
external files every time I save the
session.
| | 02:43 |
We move over to the next submenu tab, and
we have file types.
| | 02:46 |
These are all the different file types
that Studio One can read and recognize,
| | 02:50 |
and as you can see it is quite a long
list.
| | 02:56 |
Sound sets refers to Studio One's bundled
content.
| | 02:59 |
And as you can see, there's a pathing of
where the bundled content was installed.
| | 03:04 |
And much like User Data, you can click on
this box here, and change where you want
| | 03:08 |
Studio One to install the bundled
content.
| | 03:12 |
Instrument Library shows the pathing of
where Studio One installs its virtual
| | 03:16 |
sense.
And VST Plug-Ins will show the pathing of
| | 03:19 |
where any third party plug-ins that you
may use from other manufacturers.
| | 03:25 |
We covered Audio Setup in the previous
movie, as well as External Devices.
| | 03:31 |
Underneath the Advanced tab, we have
several submenus, Editing, Automation,
| | 03:37 |
Audio, MIDI, Devices and Services.
I like to leave these in their default
| | 03:43 |
setting because I feel that Studio One is
already optimized for a good workflow.
| | 03:49 |
Preferences are a key to streamlining
your workflow.
| | 03:52 |
Especially, when you're working in a
program for the first time or a program
| | 03:55 |
that you're not that familiar with.
So, make sure you don't skip this step of
| | 04:00 |
the process before you begin creating
your new song.
| | 04:04 |
| | Collapse this transcript |
|
|
2. Setting Up and Recording a New SongCreating a new song| 00:00 |
Now, its time to create a new song.
I will choose Create a New Song from the
| | 00:04 |
Start page and up pops a list of
pre-configured session templates.
| | 00:09 |
Although, I'm going to be using empty
song for this movie, I encourage you to
| | 00:12 |
take a few minutes to look at this list
of pre-configured section templates to
| | 00:15 |
see if anything on this list corresponds
to your recording scenario.
| | 00:21 |
Under the Interfaces tab, we have a list
of PreSonus’s audio interfaces.
| | 00:25 |
And if you are using PreSonus hardware,
please take a look at this list and see
| | 00:29 |
if your interface is on here.
Because Studio One can integrate your
| | 00:33 |
audio interface's settings into this
session.
| | 00:36 |
I’ll go back to Styles, and over here at
Song Title, I will name the song to
| | 00:40 |
correspond to our chapter’s title.
Underneath the song title box, I have the
| | 00:47 |
ability to change where Studio One is
recording my user data.
| | 00:51 |
We did configure this in the previous
movie, I will leave it as it is set.
| | 00:55 |
Sample Rate is set to 48K, Bit Depth
Resolution is 16 bit, our Time Base is
| | 00:59 |
going to be Bars, because we are
recording in a bar beat scenario.
| | 01:05 |
The Song Length, I'll leave at five.
And I will change the Tempo to 126 beats
| | 01:10 |
per minute.
The Time Signatures 4, 4.
| | 01:13 |
Studio One defaults to checking stretch
audio files to song tempo and what this
| | 01:18 |
means is that imported audio files that
have a BPM embedded in their metadata.
| | 01:24 |
In other words, if there's a WAv file
that I will bring into this song and
| | 01:28 |
inside the WAV files metadata is a BPM,
Studio One will stretch the audio file to
| | 01:32 |
the tempo of the song.
We are at 126, so if I brought in an
| | 01:38 |
audio file that was at 120, and that BPM
data was embedded in the audio files
| | 01:42 |
metadata, Studio One would stretch it to
126.
| | 01:47 |
This also applies to some of Studio One's
bundled content, which as we will see in
| | 01:52 |
later movies, has a .audio loop and
.music loop suffix.
| | 01:57 |
I hit the OK button.
And we are now looking at an empty song
| | 02:01 |
session.
I would like to point out that some of
| | 02:04 |
the song's properties that we've set can
be revisited and changed later on.
| | 02:10 |
Sample Rate, of course, cannot be
changed, and Bit Depth cannot be changed
| | 02:13 |
as well.
But BPM can be changed.
| | 02:17 |
The song's title can be changed.
Where some of the audio files are
| | 02:20 |
recorded to, that pathing can be changed
as well.
| | 02:24 |
So, we took a few minutes to look at some
of the ways to set up a new song in
| | 02:26 |
Studio One.
You can certainly use some of their
| | 02:29 |
pre-configured templates if you choose,
or you can start with an empty song like
| | 02:32 |
we did in this movie.
Whatever your decision ends up being,
| | 02:36 |
definitely spend a few minutes looking
through the new song dialog box as it
| | 02:40 |
will help you create a better workflow
when you start your new song.
| | 02:45 |
| | Collapse this transcript |
| Navigating the Browser| 00:00 |
What you're looking at is a empty Arrange
window and to the right-hand side is the
| | 00:04 |
Homepage for the browser.
You'll notice that we have a list of
| | 00:08 |
icons up here, corresponding to different
pages within the browser.
| | 00:13 |
These pages can also be accessed at the
bottom as well.
| | 00:17 |
But for now, let's go ahead and take a
tour of the browser using the icons up
| | 00:20 |
here.
First, we have the Instruments page.
| | 00:24 |
And the Instruments page is where you
will find any installed virtual
| | 00:27 |
instruments, including Studio Ones
bundled instruments.
| | 00:31 |
If you happen to have any third party VST
or AU instruments installed, they will
| | 00:36 |
show up in the Instruments List,
underneath the PreSonus Instruments List.
| | 00:42 |
Effects refers to audio effects, as well
as effects chains which are multiple
| | 00:46 |
effects on a Mixer channel saved as a
channel strip preset.
| | 00:51 |
For example, if I had an EQ, a compressor
and a reverb, all on one channel, and I
| | 00:56 |
Save that as a preset, when I go to load
that FX chain, those three plug-ins would
| | 01:00 |
show up within the preset.
Next, we have Sounds.
| | 01:06 |
The Sounds window contains a list, of
PreSonus bundled content, some of which
| | 01:10 |
has been created by third party users.
I'll give you an example, nine-volt
| | 01:16 |
guitars, you can see the icon down here,
is created by Nine Volt.
| | 01:21 |
And as you can see, a list pops down with
different folders, categorizing the
| | 01:27 |
guitars by genre.
The Files window allows you to browse
| | 01:32 |
different locations on your hard drive,
as well as servers, like PreSonus
| | 01:36 |
Exchange, and SoundCloud.
Finally, we have the Audio Pool.
| | 01:41 |
The Pool window is where all the recorded
audio files for the session will live.
| | 01:45 |
And as we begin to build our song, as the
course unfolds, you will see this window
| | 01:49 |
populate more and more.
I encourage you to spend a few minutes
| | 01:54 |
navigating in the browser as it is an
area in Studio One that you will
| | 01:57 |
undoubtedly spend a lot of time.
| | 02:01 |
| | Collapse this transcript |
| Navigating the Transport| 00:00 |
I'd like to spend a few minutes taking
you on a brief tour of Studio One's
| | 00:03 |
transport and highlighting some of its
features.
| | 00:07 |
I'll begin on the left side with the MIDI
Activity Monitor.
| | 00:10 |
As I play a key on my external MIDI
controller, you'll see the orange light
| | 00:13 |
light up on the MIDI Activity Monitor
window, letting me know that MIDI data is
| | 00:16 |
being transmitted from the keyboard to
Studio One.
| | 00:20 |
Next, we have the CPU performance meter,
as well as the cash activity monitor, and
| | 00:24 |
these perimeters will help you monitor
how much CPU activity is occurring.
| | 00:29 |
Next, we have sample rate and total
plug-in delay, which is at zero right
| | 00:32 |
now, because we haven't added any
plug-ins.
| | 00:36 |
Next, we have record time on the
available hard drive and we have seconds
| | 00:39 |
and bars beats over here.
And as I hit the Space bar, you can see
| | 00:44 |
the seconds are moving and the bars and
beats are moving.
| | 00:48 |
And in order to return the play head to
zero, I simply click over here, return to
| | 00:52 |
zero.
These arrows over here, relate to fast
| | 00:56 |
forwarding and rewinding, moving forward
and backwards from marker to marker,
| | 01:01 |
stopping, playing, recording and looping
functionality.
| | 01:07 |
Next, we have punch in and punch out
points for recording and loop playback.
| | 01:11 |
And then, we have Metronome Settings, as
well as Time Signature, BPM and Volume.
| | 01:17 |
As you'll see in upcoming movies, many of
the transport's features can be accessed
| | 01:21 |
by via keyboard shortcuts.
For example, playback and stopping occurs
| | 01:26 |
by using the Space bar.
Returning the play head to zero occurs by
| | 01:31 |
using the comma.
Whether you have worked in other DAWs or
| | 01:34 |
Studio One is your first experience with
a DAW, learning the layout of the
| | 01:37 |
transport is key to getting up and
running.
| | 01:41 |
Thereby, streamlining your workflow
process.
| | 01:44 |
| | Collapse this transcript |
| Dragging and dropping instruments, loops, and effects| 00:00 |
Studio One is designed on a drag and drop
approach with instruments, loops, and
| | 00:04 |
effects.
And I will show you just how easy it is
| | 00:07 |
to bring these elements into a session.
I'll begin by bringing an instance of
| | 00:11 |
impact on to the arrange window.
All I have to do is drag and drop it, and
| | 00:15 |
the impact drum machine pops up.
There's no preset loaded into it right
| | 00:20 |
now, so I will select one from the drop
down menu, and I'll choose club tools.
| | 00:24 |
(MUSIC)
| | 00:26 |
.
This is just a collection of drum sounds
| | 00:30 |
that are tailored towards club music.
If I'd like to add an effect to this, all
| | 00:37 |
I have to do, is go to my effects window
and drag a beat delay, and I'll drag it
| | 00:42 |
right onto the track.
And now we have a beat delay.
| | 00:48 |
(MUSIC) You can hear that snare drum
echoing.
| | 00:51 |
(MUSIC) You can hear that kick drum
echoing.
| | 00:54 |
So it's that simple, you drag out an
instance of a virtual instrument and you
| | 00:57 |
drag an effect onto the same track as
that virtual instrument, and your ready
| | 01:01 |
to go.
I'll close these, and now let's turn our
| | 01:06 |
attention towards auditioning audio
loops.
| | 01:09 |
I'll go into the Sounds window, and into
the Nine Volt Guitars folder, and spend a
| | 01:15 |
moment auditioning several different
guitars.
| | 01:20 |
When I select an audio loop, an
information window pops up allowing me to
| | 01:24 |
playback the loop that I'm interested in
dragging into this session, thereby
| | 01:28 |
auditioning it
| | 01:29 |
(SOUND).
| | 01:32 |
I'll arrow down
| | 01:38 |
(SOUND).
| | 01:43 |
(MUSIC) Those are just a few examples of
the guitar licks found in that folder.
| | 01:50 |
Now you'll notice here, there's a
metronome icon.
| | 01:52 |
I'll go ahead and play the first loop and
I'll turn the metronome off and on while
| | 01:57 |
the loop's playing and you'll hear that
it will toggle between playing at the
| | 02:01 |
session's bpm of 126.
And it's original BPM of 86 which you can
| | 02:11 |
see right here.
Take a listen (SOUND).
| | 02:18 |
(MUSIC) All I have to do to bring this
into the session is drag it onto the
| | 02:22 |
arrange window like this.
Now we have a 4 bar loop, called gimme
| | 02:29 |
that e, from the 9 volt guitar loops
folder.
| | 02:34 |
Let's play
| | 02:36 |
(MUSIC).
| | 02:39 |
Instruments, audio loops, and effects,
are the cornerstone of any project
| | 02:44 |
created in StudioOne.
And with PreSonus' drag and drop
| | 02:48 |
approach, bringing these elements into
your session couldn't be any easier.
| | 02:52 |
Keep in mind that we've done all of this
without having to open up the mixer
| | 02:57 |
window.
| | 02:59 |
| | Collapse this transcript |
| Configuring and recording an instrument track| 00:00 |
I typically begin my projects by
programming a reference drum beat first,
| | 00:04 |
so in order to do that, we're going to
need to create an instrument track.
| | 00:09 |
From the Instruments window I will select
Impact and drag it onto the Arrange
| | 00:12 |
window.
Next I will select a preset from Impact's
| | 00:16 |
list of presents, and I will choose
Balkin lines.
| | 00:19 |
(MUSIC).
Excellent.
| | 00:20 |
I'm seeing MIDI input from my keyboard.
(MUSIC).
| | 00:22 |
Before I record I'll briefly turn on
Input Quantize, I'll cover this more in
| | 00:28 |
an upcoming movie, but what it will do is
allow the MIDI that I'm inputting, to
| | 00:34 |
automatically sync to the grid.
And I'll choose 8th note.
| | 00:44 |
I'll double click and name the track,
Drums 1, my metronome is on.
| | 00:51 |
And I'll go ahead and record.
(SOUND) We'll take a listen back.
| | 01:07 |
(MUSIC) That drum beat's going to work
very well, as I begin to build out the
| | 01:15 |
rest of what will become the shell of my
song.
| | 01:23 |
| | Collapse this transcript |
| Configuring and recording an audio track| 00:00 |
Now, it's time to configure and record an
audio track.
| | 00:03 |
I hit T on the keyboard, and up pops the
Add Tracks window.
| | 00:07 |
I'll change Audio to Guitar, because
that's the instrument I'll be recording,
| | 00:10 |
and I'll change the track count to 4.
The type is Audio, as you can see from
| | 00:14 |
the pull-down menu, I have a choice of
Audio, Instrument, Automation, or Folder.
| | 00:20 |
I'll leave it set to Audio.
The format is Mono.
| | 00:23 |
You have a choice of Mono or Stereo.
I'm not going to choose a Preset at this
| | 00:27 |
time, but as you can see Studio One
provides me with a list of preset effects
| | 00:31 |
chains, which we will cover in a later
movie.
| | 00:36 |
I'll leave the Input path set to input L
and Output set to Main.
| | 00:41 |
I click OK, and up pops four new guitar
tracks.
| | 00:46 |
I'll select Guitar 1 and have Dave play a
little guitar.
| | 00:50 |
(MUSIC) Excellent.
That's just the dry signal.
| | 00:54 |
I'll move over to the Effects window and
choose the Empire plugin.
| | 00:59 |
Drag that over to the guitar track and
I'll choose a Preset.
| | 01:04 |
I'm familiar with this preset
called(UNKNOWN).
| | 01:07 |
Select that and close the Empire window.
Dave, if you'd play a little bit.
| | 01:12 |
(MUSIC).
| | 01:14 |
Great, thank you.
That adds just a little bit of grit to
| | 01:17 |
the part so that we're not tracking the
part overly dry and we want a little bit
| | 01:20 |
of context to the part as we record it.
I'll turn off my virtual instrument track
| | 01:25 |
here CP70, because that track is staying
record enabled, even though, I already
| | 01:29 |
record enabled the audio track.
So you have to take a moment to make sure
| | 01:33 |
that any MIDI tracks you may have laid
down, that the Record Enable button is
| | 01:36 |
turned off before you start recording
your audio.
| | 01:40 |
There's a four bar counting and I will go
ahead and put Studio One in record.
| | 01:44 |
And Dave will play through the chord
changes of the 16 bar passage(MUSIC).
| | 02:00 |
(MUSIC)
| | 02:05 |
Great thank you, sounds great, Dave.
So that's how you record external audio
| | 02:32 |
to Studio One, and then, the next movie
I'll show you, how to punch in in a
| | 02:35 |
specific location within your
arrangement.
| | 02:39 |
| | Collapse this transcript |
| Punching in| 00:00 |
Punching in refers to the act of
recording an over dub in a specific
| | 00:03 |
section of the track, as suppose to
recording an entire track from the
| | 00:06 |
beginning to the end of the song.
The punch in point is where the recording
| | 00:11 |
over dub begins and the punch out point
is where it ends.
| | 00:15 |
I'll go ahead and solo out a section of
the guitar track that needs to be
| | 00:18 |
punched, measures 13 to 17.
I'll place the play head at measure 13
| | 00:22 |
and take a listen.
(MUSIC) And right there around measure
| | 00:27 |
15, you can hear a low e that creeps into
the chord changes.
| | 00:35 |
One more time.
(MUSIC) So, I'll unsolo the guitar track
| | 00:40 |
and define, using my Range tool, measures
13 to 17.
| | 00:45 |
I'll hit the i key, which then, turns on
my Auto Punch tool, right here at the
| | 00:50 |
bottom of the transport.
And I'll place the play head a couple of
| | 00:56 |
bars before measure 13, so that Dave has
room to prepare for the punch in point.
| | 01:04 |
I hit Record, and you'll see that when we
get to measure 13, the recording will
| | 01:10 |
automatically take place and it will stop
at measure 17.
| | 01:17 |
(MUSIC)
| | 01:19 |
Let's take a listen back.
Starting at measure 11 again.
| | 01:37 |
(MUSIC)
| | 01:40 |
Excellent.
That cleaned up the mistake.
| | 01:47 |
Everyone makes mistakes during the
recording process.
| | 01:50 |
And Studio One makes it very easy to
punch in and correct your recording
| | 01:54 |
mistakes when necessary.
| | 01:56 |
| | Collapse this transcript |
| Recording to track layers| 00:00 |
We covered basic punching in and punching
out in the previous movie.
| | 00:04 |
And now, it's time to record using Studio
One's Track Layers feature.
| | 00:08 |
Track Layers allows us to record multiple
ideas to a single track.
| | 00:12 |
Underneath the Options menu, I'll select
Record Take to Layers.
| | 00:17 |
Next, I will turn down the volume of our
first guitar track, so that Dave isn't
| | 00:22 |
drowned out by the sound of the first
track as he lays down his second part.
| | 00:28 |
I'll record enable guitar two, and add an
instance of Ampire, selecting the same
| | 00:33 |
preset that we used for the last guitar
part.
| | 00:38 |
Except, I will go into the Stomps window
and add a delay.
| | 00:43 |
Go ahead and play, Dave.
(MUSIC) Excellent.
| | 00:51 |
Next, I'll put Studio One in Loop Record.
I'll use my Range tool, and turn looping
| | 00:57 |
on by pressing the Forward slash key.
Next, I will turn Pre-roll on, and that
| | 01:03 |
will give Dave a one bar pre-roll.
And now, we have a range of measures five
| | 01:09 |
to nine that will continuously loop, and
all of Dave's ideas will be archived onto
| | 01:13 |
one track.
| | 01:15 |
(MUSIC)
| | 01:18 |
As you can see, all three of Dave's takes
are now listed underneath guitar two.
| | 01:47 |
All I need to do to activate a take is to
simply click on the Activate Layer button
| | 01:51 |
and the take I'm interested in listening
to pops to the top of the list and I can
| | 01:55 |
listen to it.
Let's solo it out.
| | 01:59 |
(MUSIC) If I wanted to listen to take
two, I highlight take two, and click the
| | 02:07 |
Activate Layers arrow and take two is now
at top of the list for me to listen.
| | 02:19 |
(MUSIC) We now have a group of recorded
takes.
| | 02:26 |
And in an upcoming movie, I'll show you
how to take bits and pieces from each of
| | 02:30 |
these three layers resulting in what is
called a composite take.
| | 02:35 |
| | Collapse this transcript |
| Navigating the Inspector| 00:00 |
So far, we have been working within
Studio One's Arrange window, and Browser
| | 00:03 |
window.
And now, I'd like to show you another
| | 00:06 |
window, that I like to work in, called
the Inspector window.
| | 00:09 |
I can access the Inspector window by
hitting F4 on the keyboard.
| | 00:13 |
And as you'll notice, I have a single
column view in the left hand side of the
| | 00:16 |
screen, that's divided into three
sections.
| | 00:20 |
Let's begin with the center section.
The center section offers me a more
| | 00:23 |
detailed view of what I'm looking at on
the Arrange window.
| | 00:27 |
You can see I have Mutes here, Solos,
Record Enable and Monitor buttons, just
| | 00:31 |
like I do on the Arrange window.
But I also have a Fader, as well as a Pan
| | 00:35 |
Position slider and I have an overview of
what plug-ins are being used on the
| | 00:39 |
selected track.
If I highlight the region, you'll notice
| | 00:43 |
that some information has popped up in
the bottom of the Inspector window.
| | 00:47 |
The bottom part of the Inspector window
offers me a detailed view of my region's
| | 00:51 |
parameters, such as start and end points.
The upper part of the Inspector window
| | 00:56 |
provides advanced track properties.
And you'll notice that as I change
| | 01:00 |
between audio to MIDI, that the
properties change as well.
| | 01:05 |
Over here in the center of the Inspector
window, I have my MIDI input and output
| | 01:09 |
information, as well as a Fader, Mute
Solo, Record Enable and Monitor On.
| | 01:14 |
It's important to take notice of where
you're highlighting.
| | 01:19 |
If I highlight Guitar 2, Guitar 2 is
highlighted, the track is highlighted,
| | 01:23 |
but the region CP70 is highlighted as
well.
| | 01:26 |
So, the highlighted region doesn't
necessarily follow the highlighted track.
| | 01:31 |
So, when you do work in the Inspector
window, make sure to take caution in
| | 01:35 |
terms of what you're highlighting versus
track or region.
| | 01:39 |
During the recording and arranging
process, we often need to spend time
| | 01:42 |
tweaking our track and regions
parameters.
| | 01:45 |
And the Inspector window is a great way
to go about doing that.
| | 01:50 |
| | Collapse this transcript |
|
|
3. Editing Audio and MIDIQuantizing MIDI| 00:00 |
Quantizing is an essential part of
recording MIDI tracks.
| | 00:03 |
And for those of you who may not have
heard of quantizing MIDI before, it's a
| | 00:07 |
feature that corrects the timing of the
MIDI notes played.
| | 00:11 |
I'll select one of Studio One's virtual
instruments.
| | 00:13 |
I'll choose Presence and I'm able to
select the preset from the drop down menu
| | 00:17 |
right here.
I'll grab UBV cord drag it onto the
| | 00:22 |
arrange window and there's our sound.
(SOUND) My play head is already at
| | 00:29 |
measure 1, I'll hit the c key to turn the
metronome on.
| | 00:36 |
And I'll record in some midi parts.
(SOUND)(MUSIC) I'll double click on the
| | 00:50 |
midi region, and as you can see, these
are the midi notes playing.
| | 00:59 |
The timing is obviously off.
These notes are arriving way before the
| | 01:04 |
down beat.
I'll highlight these notes.
| | 01:08 |
The part I played in, is a series of 8th
notes, so I'll quantize 2 eighth note.
| | 01:13 |
And there we go, it auto corrected my
timing.
| | 01:15 |
Let's take a listen.
(MUSIC) Excellent.
| | 01:19 |
Now in the event that you don't want to
wait until after your part is played and
| | 01:25 |
you'd like to have quantizing occur while
you're playing your part in (SOUND), all
| | 01:31 |
you have to do is turn on the input
quantize feature, which you can do from
| | 01:37 |
the record panel.
I can pull the record panel up by Option
| | 01:46 |
Shift R.
And a panel pops up at the bottom right
| | 01:49 |
between the transport and the bottom of
the arrange window.
| | 01:52 |
And I can select input quantize.
I'll play the same part in again, and
| | 01:57 |
you'll see that quantization will occur,
as I'm playing the part.
| | 02:02 |
(MUSIC) Double-click on the region and,
as you can see, the notes are already
| | 02:15 |
corrected.
So it's a personal preference as to
| | 02:22 |
whether or not you want to correct your
timing after you've played the part in or
| | 02:25 |
while the part's being played in.
It's not right or wrong, it's purely
| | 02:29 |
subjective.
Sometimes you may only want to quantize a
| | 02:32 |
portion of the notes that you've played
in, to keep the part feeling live.
| | 02:36 |
If you're going for more of a live feel,
I would suggest not turning input
| | 02:39 |
quantize on and simply double clicking on
the midi region, like we did here to
| | 02:43 |
bring up the notes and highlighting the
notes that you'd like corrected and
| | 02:46 |
quantize them and leave the other notes
untouched.
| | 02:51 |
In this movie I created a preset on the
arrange window by simply dragging a
| | 02:55 |
preset from the list within one of
PreSonus's virtual instruments presents.
| | 03:01 |
Next, I played in a keyboard part that
was a series of eighth notes.
| | 03:05 |
We were then able to take a look at the a
midi data by double clicking on the midi
| | 03:08 |
region and I demonstrated the difference
between quantizing after you played the
| | 03:12 |
part in.
First is setting input quantization,
| | 03:16 |
which will automatically correct your
timing while the part's being played in.
| | 03:21 |
| | Collapse this transcript |
| Editing MIDI| 00:00 |
In addition to quantizing MIDI notes,
there are some other editing tools, such
| | 00:03 |
as Velocity and Note Length that I'd like
to spend a few minutes showing you how to
| | 00:08 |
do in Studio One.
In the bottom of the Editor window, we
| | 00:12 |
have Velocity.
You can see over here, the blue light,
| | 00:15 |
showing us that we are looking at
Velocity information.
| | 00:19 |
Velocity refers to how hard the MIDI note
is being played and it operates on a
| | 00:23 |
scale of 0 to 127.
If I increase (SOUND) my velocity, you
| | 00:28 |
can hear how it effects the timbre of the
keyboard sound.
| | 00:35 |
And if I bring the velocity down, it will
also affect it.
| | 00:43 |
(SOUND) Generally speaking, I don't fool
with the velocity of the notes that I'm
| | 00:47 |
playing because I am a trained piano
player.
| | 00:50 |
But if you happen to feel a little uneasy
about the eveness in which you play MIDI
| | 00:54 |
notes in, certainly spend some time
playing with the velocity and listening
| | 00:58 |
to how it affects the timbre of your
synth sound.
| | 01:02 |
Note length is very easy to edit in
Studio One.
| | 01:06 |
I simply highlight the notes, and from
the Action List, click and choose Length.
| | 01:12 |
I will set all of these to 16th notes,
because this is an 8th note part, and I
| | 01:15 |
want the part to be short and staccato
and somewhat, punctuated.
| | 01:19 |
Click OK.
And as you can see, all the notes are now
| | 01:24 |
the same length.
Let's take a listen.
| | 01:29 |
(MUSIC) Editing the length of the MIDI
notes played is certainly optional.
| | 01:34 |
Generally speaking, I don't do it.
But sometimes if there's a part that is
| | 01:39 |
very rhythmic and you want it to be
exactly the same every time it occurs,
| | 01:43 |
it's a good idea to set the note length
to a set value and leave it for every
| | 01:47 |
time the part occurs.
In addition to MIDI velocity and note
| | 01:54 |
length, there are other editable
parameters for your MIDI data.
| | 01:59 |
Now, I didn't use Modulation, Pitch Bbend
or After Touch in this demonstration, but
| | 02:02 |
if you happen to playing a part that has
one of these three parameters, this is
| | 02:06 |
the area of the Editor window in which
you would edit those parts.
| | 02:11 |
I encourage you to spend a few minutes
navigating the MIDI editor, because this
| | 02:15 |
is the area in Studio One in which you
will most likely edit your MIDI parameter
| | 02:19 |
information.
| | 02:21 |
| | Collapse this transcript |
| Consolidating MIDI regions| 00:00 |
Most of my MIDI Recording is done in
sections.
| | 00:03 |
So, I will typically wind up with
multiple MIDI regions throughout an
| | 00:06 |
arrangement.
For example, I might play in a verse sent
| | 00:09 |
stop, and then record the chorus part.
We have the MIDI region from our previous
| | 00:14 |
movie and I'll demonstrate consolidating
MIDI regions by playing another MIDI part
| | 00:17 |
and consolidating both of these into one
continuous region.
| | 00:22 |
I'll place the play head right at measure
13.
| | 00:29 |
(MUSIC) Now, if I wanted to make these
one continuous region because it will
| | 00:34 |
help me with copy and pasting or just
because visually, I prefer to look at a
| | 00:40 |
part as one continuous region.
I simply highlight both regions and hit
| | 00:48 |
the g key.
And now, I have one continuous MIDI
| | 00:52 |
region.
The same applies to audio, when it comes
| | 00:55 |
to consolidating regions.
I will choose two different audio loops,
| | 00:58 |
in the Sounds window, and drag them onto
the Arrange window.
| | 01:03 |
(SOUND) I'll mute my synth part because
it's not in the same key as my audio.
| | 01:12 |
Return the play head to measure one.
(MUSIC) That's our first audio loop.
| | 01:19 |
Here's our second, (MUSIC).
And all I'll I have to do to create one
| | 01:26 |
continuous region is to highlight them
just like I did with the MIDI regions and
| | 01:31 |
hit the g key.
Keep in mind that consolidating regions
| | 01:37 |
is part of non-destructive editing.
So, if for some reason you want to undo
| | 01:41 |
the consolidation, all you have to do is
hit Cmd+Z, if you're working on a MAC, or
| | 01:45 |
Ctrl+Z on Windows.
And the consolidation will be undone and
| | 01:50 |
you will wind up back where you started
with multiple regions.
| | 01:55 |
Region consolidation is very much a
personal preference.
| | 01:58 |
You'll have to spend some time working in
Studio One to decide if consolidating
| | 02:02 |
regions does help you when it comes to
streamlining your workflow.
| | 02:07 |
| | Collapse this transcript |
| Converting MIDI to audio with Track Transform| 00:00 |
It's important to keep an eye on the CPU
performance meter as you begin to build
| | 00:04 |
up your song.
The more virtual sense that I add and
| | 00:08 |
record MIDI to, the more I am taxing my
computer's resources.
| | 00:12 |
At some point during the song making
process, I may want to convert the MIDI
| | 00:15 |
region to an audio file.
Studio One has a nice feature called
| | 00:19 |
Track Transform, which will allow you to
take a MIDI region and convert it to an
| | 00:23 |
audio file, and vise versa.
I'll use my EP Big Chord MIDI part as an
| | 00:28 |
example of how to use Track Transform.
I'll highlight the MIDI region, and
| | 00:33 |
underneath the Track column, choose
Transform, and then Transform to Audio
| | 00:38 |
Track.
The Transform Instrument Track pops up,
| | 00:42 |
giving me several options before I render
my MIDI file to an audio file.
| | 00:48 |
If I select Render Inserts, I am telling
Studio One to include whatever plug-ins I
| | 00:52 |
may have on the track in the conversion
process, such as an EQ or a compressor.
| | 00:58 |
Those settings will be rendered with the
audio file.
| | 01:01 |
Preserve instrument tracks state allows
me to go back to my virtual instrument
| | 01:05 |
track at any time.
In the event that I may want to change
| | 01:08 |
some of the MIDI, and then Redo the MIDI
to audio conversion.
| | 01:12 |
Remove instrument gives me the choice of
removing the instrument after the
| | 01:16 |
conversion process is finished.
But this option is only available if no
| | 01:21 |
other track is sharing this virtual
instrument.
| | 01:25 |
Auto-Tail allows me to switch between an
automatic tail detection of any reverb or
| | 01:29 |
delay trails.
If I select it, Studio One will
| | 01:32 |
automatically look for these trails.
And I have the option of assigning a
| | 01:36 |
maximum length of time for the tail
detection.
| | 01:40 |
If I leave this box unchecked, then it's
up to me to assign the length of time for
| | 01:44 |
the tails.
I will turn on Auto-Tail and begin the
| | 01:49 |
Track Transform process.
I am provided with a Progress Bar while
| | 01:53 |
the transform process occurs, so I can
see how much time it takes.
| | 01:58 |
If we take a look at the Arrange window,
an audio file has replaced our MIDI
| | 02:01 |
track.
But inside the Audio region, you can
| | 02:04 |
still see the MIDI data.
I will make this window a little bit
| | 02:08 |
bigger, so that you can see the MIDI data
right there underneath the Audio file.
| | 02:14 |
If I'd like to go from Audio to MIDI and
transform back to my MIDI region, I
| | 02:18 |
simply select Transform from the Track
column, and then choose Transform to
| | 02:23 |
Instrument Track.
And now, I'm back to a MIDI region.
| | 02:28 |
One of the my favorite features of Track
Transform is that the MIDI is saved in
| | 02:32 |
the event that I need to go back, even
reassign the sound or change the MIDI
| | 02:36 |
part.
Whatever your approach is with bouncing
| | 02:40 |
MIDI regions to audio tracks, I encourage
you to spend some time experimenting with
| | 02:44 |
Track Transform, as you begin to build
out your song and use more and more
| | 02:47 |
virtual synths.
| | 02:50 |
| | Collapse this transcript |
| Taking advantage of the Studio One editing tools| 00:00 |
Studio One has a wide range of editing
tools and I would like to spend a few
| | 00:03 |
minutes showing them to you and
demonstrating their functionality.
| | 00:08 |
Hold down Shift and use E and W to expand
and contract the vertical view.
| | 00:13 |
If I use the E and W keys without holding
down the Shift key, I can expand and
| | 00:16 |
contract my horizontal view.
At the top of the Arrange window, is a
| | 00:22 |
list of editing tools.
First, we have the Arrow tool.
| | 00:26 |
The Arrow tool is used to highlight, and
move regions, as well as move tracks.
| | 00:33 |
I simply click and hold, and I can move
my Drums1, where ever I'd like it to go.
| | 00:39 |
Return it to the top.
Now we'll Command Z, or Control Z on
| | 00:43 |
Windows, to undo my region move.
Next is the range tool.
| | 00:48 |
The range tool can be used to highlight
entire regions like this or a specific
| | 00:53 |
portion of a region, say two bars out of
a four bar phrase like this.
| | 00:59 |
I will hit d to duplicate, and I've
copied bars three and four of the four
| | 01:04 |
bar phrase to the next measure.
Cmd+z to undo, Ctrl+z on Windows.
| | 01:10 |
The third tool is the knife tool.
And the knife tool is used to create an
| | 01:13 |
edit point within a region.
I'll make an edit point here at the end
| | 01:17 |
of guitar 1's track where there's about
two, 2 and 1 half bars of silence.
| | 01:22 |
I click, and as you can see, the Knife
tool will splice an edit point, resulting
| | 01:26 |
in two regions.
And the right hand region is highlighted.
| | 01:31 |
So all I have to do is hit Delete, and
that region is gone.
| | 01:36 |
Next is the Eraser tool, and the Eraser
tool is used to erase regions.
| | 01:40 |
All I have to do is click the mouse and
highlight the region that I want erased.
| | 01:46 |
I'll undo with Cmd+Z, Ctrl+Z on Windows.
Next is the Paint tool.
| | 01:51 |
In order for me to demonstrate the Paint
tool, I'm going to select the Arrow tool.
| | 01:56 |
Double click on the Midi region, opening
up the Midi Editor.
| | 02:00 |
From within the Editor, I'll select the
Paint tool, and specifically I will
| | 02:06 |
select Line.
Now what the line is going to allow me to
| | 02:10 |
do is draw a line from lowest to highest
changing the keyboard's velocity, how
| | 02:14 |
hard the notes are hit.
I'll quickly select my arrow tool and
| | 02:20 |
I'll highlight the area.
As you can see, they turned orange.
| | 02:25 |
Go back to my paint tool and now I have
the ability to draw a line, and the
| | 02:30 |
velocity of the mini-notes played now
changes.
| | 02:35 |
Let's take a listen so that we can hear
how this affects the sound.
| | 02:40 |
(MUSIC) In effect I've created a volume
swell.
| | 02:46 |
Down here the velocity is extremely low,
and up here it's very high.
| | 02:50 |
I'll undo that edit though and I will
unsolo the bass track and close the
| | 02:55 |
editor.
Next is the mute tool, and the mute tool
| | 02:59 |
is used to mute regions.
I can click on a region like this and
| | 03:04 |
mute it, or I can highlight those regions
and unmute them, or I can highlight the
| | 03:08 |
whole group and the whole group will
mute.
| | 03:13 |
I'll undo that.
Next is the bend tool, and the bend tool
| | 03:17 |
is used to handle advanced audio
manipulation tasks, such as time
| | 03:21 |
correction.
And finally, we have the listen tool.
| | 03:26 |
And the Listen tool allows me to place my
cursor, anywhere on the region, the play
| | 03:31 |
head will follow, and my track will be
soloed out.
| | 03:37 |
(MUSIC) The track will play as long as
I'm holding down the button on my mouse,
| | 03:41 |
as soon as I release it (MUSIC) the
playback stops.
| | 03:46 |
You should definitely spend a few minutes
getting acquainted with Studio One's
| | 03:50 |
editing tools, as they will play a
critical role in getting your song up and
| | 03:53 |
running.
| | 03:55 |
| | Collapse this transcript |
| Arranging bundled content| 00:00 |
Now that we've covered some of Studio
One's basic features, it's time to dive a
| | 00:04 |
little bit deeper into the bundled
content to begin building out our track.
| | 00:09 |
I'll begin by looking at the big bad bass
guitar folder.
| | 00:12 |
And as you notice, there's a folder
called Toolbox 110 base, what this
| | 00:16 |
collection is is a series of eighth note
patterns played on the bass in every key.
| | 00:23 |
I can audition these by highlighting the
track, and clicking play down here at the
| | 00:26 |
bottom of the browser.
(MUSIC) .
| | 00:28 |
And that's my 8th note bass pattern in
the key of C.
| | 00:34 |
If I click on F, the same patter in the
key of F.
| | 00:40 |
(MUSIC) Now, before I drag these onto the
Arrange window, I'm going to mute out
| | 00:45 |
some of the guitar parts, and just take a
listen to my keyboard part, with the
| | 00:50 |
drums.
(MUSIC) I'm dealing with a four-bar
| | 01:00 |
pattern.
So, the present's base sounds that I
| | 01:05 |
used, so that the guitars were able to be
tracked, I'm actually going to replace
| | 01:08 |
that with the base loops out of the
toolbox folder.
| | 01:12 |
So, I will mute base one.
I will begin by dragging in the first
| | 01:17 |
loop, which is A, and A corresponds to
the first chord change in the four-bar
| | 01:21 |
phrase.
(SOUND) All I have to do is drag it down
| | 01:25 |
here, and I will move this track up
underneath bass one.
| | 01:29 |
I will also expand its view a little bit.
(SOUND) The MIDI notes are changing in
| | 01:35 |
the synth base every measure.
So I'll need to make an edit on thos bass
| | 01:39 |
loop because it's two measures long and I
only need one measure.
| | 01:44 |
Use my Knife tool, make my edit point,
and delete measure two.
| | 01:50 |
I'll go back over to the browser, and I
will grab the next chord, which is G.
| | 01:55 |
Now all of these bass loops are two
measures long, so I'm going to simply
| | 01:59 |
edit out measure two of each one.
The chord progression is A, G, F, D.
| | 02:06 |
Drag over F, spin that a little bit.
And as you can see right here at the end
| | 02:14 |
of measure 7, the D chord comes before
the bar.
| | 02:18 |
So, what I have to do here is change my
grid from eighth notes to sixteenth
| | 02:22 |
notes.
Now I have a finer editing grid.
| | 02:25 |
As you can see like I expand a little
further I am able to get in right on the
| | 02:30 |
node, so I am making the edit point right
here at measure eight and I will delete
| | 02:34 |
that.
Now, I know that I am actually going to
| | 02:40 |
need to make the edit point here, but for
the sake of dragging in the fourth chord,
| | 02:44 |
which is D, I want to place it right on
the bar line.
| | 02:50 |
And then I'll zoom in even further, and
I'll make another edit point right here,
| | 02:55 |
deleting that F and moving the D base
loop over one eighth note to start just
| | 03:00 |
before measure eight.
Now I'll make an edit point at measure
| | 03:09 |
nine, and delete the extra audio I don't
need.
| | 03:13 |
I'll shrink my view, and lets take a
listen to the bass line now.
| | 03:17 |
(MUSIC) I'll mute the CP70 so we can just
listen to bass and drums.
| | 03:28 |
(MUSIC) This is exactly the pattern that
I was looking for.
| | 03:40 |
And it saved me from having to bring in a
bass player to play it.
| | 03:44 |
Bundled content can serve as a great way
to quickly get a track up and running,
| | 03:48 |
and you may even find that these parts
wind up in your final mix.
| | 03:53 |
| | Collapse this transcript |
| Comping your takes| 00:00 |
For those of you who might not be
familiar with the term comping, comping
| | 00:04 |
refers to taking bits and pieces of
multiple takes and creating what is
| | 00:07 |
called a composite take.
What we're looking here are the three
| | 00:13 |
guitar takes underneath Guitar 2.
All I need to do to activate the
| | 00:18 |
different takes to audition them is
select my Range tool, which I've done,
| | 00:22 |
and use it to double-click on each take.
And you'll notice, as I do that, up here
| | 00:28 |
in Guitar 2, I can see which take is
available for me to listen to.
| | 00:32 |
And down here in the take list, that
corresponding take is highlighted.
| | 00:37 |
Let's solo out Guitar 2 and take a listen
to all three takes.
| | 00:41 |
I'll start with Take 1.
(MUSIC) We'll listen to Take 2.
| | 00:52 |
(MUSIC) And then, we'll listen to what's
called Layer 1.
| | 01:05 |
(MUSIC) Now, if I want to create a
composite take using bits and pieces from
| | 01:10 |
each one of these, I'll expand my Screen
View, and I will take Studio One out of
| | 01:16 |
Snap mode, up here at the top.
Studio One has been in Snap mode, which
| | 01:25 |
snaps to the grid.
I'll unclick it.
| | 01:28 |
And now, you'll notice as I move my Range
tool, it moves with more of a free form.
| | 01:33 |
It's not snapping to the grid anymore.
I'll Zoom In even further.
| | 01:37 |
And all I need to do is use my Range tool
to select the different areas within each
| | 01:41 |
take.
And then, Studio One will create a
| | 01:44 |
composite take for me.
So, for example, if I wanted to use the
| | 01:48 |
first part of take one, I simply
highlight.
| | 01:52 |
As you can see, the area that I
highlighted in take one is now part of
| | 01:56 |
the region in the Guitar 2 track.
Let's say that I want to take the next
| | 02:01 |
section from Take 2.
I can simply take the Range tool here,
| | 02:06 |
and highlight this area, and I'm building
my composite take.
| | 02:10 |
And come back over here and select this
range.
| | 02:13 |
And select this range over here.
And as you can see, you can work your way
| | 02:18 |
through your multiple takes to create
your composite take.
| | 02:21 |
Now, I'm not sure what this is going to
sound like, I'm just showing you the
| | 02:24 |
process.
Let's take a listen.
| | 02:28 |
(MUSIC) So, if I was done at this point
and I was happy with the composite take,
| | 02:34 |
all I have to do is right-click over
here, Expand Layers is checked, highlight
| | 02:40 |
it, and it closes the takes.
I can come back at any time and redo my
| | 02:47 |
comp.
Simply right-click, and then choose
| | 02:50 |
Expand Layers and my takes are available
to me.
| | 02:53 |
If I want to name my takes, I can either
double-click, and name them something
| | 02:57 |
different than Studio Ones default
naming.
| | 03:01 |
Or I can also right-click, and click
Rename Layer.
| | 03:07 |
But for now, I'll close Expand Layers,
and leave this composite take alone.
| | 03:11 |
Most likely, for my final mix, I will go
through and choose some different takes.
| | 03:15 |
One of the keys to creating a good
composite take is to pick and choose your
| | 03:19 |
bits and pieces from your takes in a
manner that creates one seamless
| | 03:23 |
performance.
| | 03:25 |
| | Collapse this transcript |
| Trimming audio, creating fades, and changing region gain| 00:00 |
At some point during the recording
process, you will need to trim your audio
| | 00:04 |
tracks, as well as create fades and maybe
even do region gain changing.
| | 00:10 |
I'll use the guitar one track, as an
example, for all three of these
| | 00:13 |
functions.
If I'd like to make the individual track
| | 00:16 |
larger, I simply move my cursor over here
to the bottom of the track, click and
| | 00:20 |
hold, and I can expand its size.
Right now, my tool is the Range tool.
| | 00:27 |
I need to select the Arrow tool to
highlight my region, and as you can see,
| | 00:31 |
a blue border pops up.
On the left side, in the upper left hand
| | 00:36 |
corner, you'll notice that my cursor
turns into a little index finger,
| | 00:40 |
allowing me to click and hold and create
a fade.
| | 00:44 |
I'll undo that.
The same thing if applicable on the right
| | 00:48 |
side of the region, where I'm also able
to create a fade.
| | 00:52 |
And because there's an adjacent region
across fade is automatically created.
| | 00:57 |
I'll undo that.
In the middle, if I click and hold this
| | 01:00 |
little box in the center, I'm able to
pull the gain of my region down and as
| | 01:04 |
you can see the size of my audio file is
shrinking.
| | 01:09 |
I'll undo that.
So, let's take a listen to this guitar
| | 01:12 |
track because I'm going to create a fade
in between the punch in and the punch out
| | 01:16 |
point to make sure that it's seamless
when we listen back to it.
| | 01:21 |
(MUSIC).
A little bit of an abrupt stop there.
| | 01:30 |
So, I will create a slight fade, and
let's listen back.
| | 01:36 |
(MUSIC).
That's a little smoother to me.
| | 01:45 |
And I'll do the same edit on the punch
out point, so that the punch out point
| | 01:47 |
doesn't sound abrupt.
Click and hold, and a little cross-fade
| | 01:51 |
is created.
Now, you'll see a little window as I
| | 01:55 |
click and hold, letting me know how long
my fade is, on one side and how long it
| | 02:00 |
is on the other.
(MUSIC).
| | 02:05 |
Excellent.
That sounds good.
| | 02:10 |
I'll go to the end of the guitar track
now, move the play head and expand my
| | 02:14 |
view, and let's say I wanted to extend
this a little bit.
| | 02:18 |
I simply move my cursor to the lower
right hand corner of the region, and I'm
| | 02:22 |
able to click and hold and drag.
And I'll move it right there.
| | 02:26 |
Take a listen.
(MUSIC).
| | 02:29 |
And I'll most likely do a little fade
there just for good housekeeping.
| | 02:35 |
Listening back.
(MUSIC).
| | 02:38 |
Excellent.
You'll notice there's a lot of silence at
| | 02:42 |
the beginning of guitar one.
There's actually four bars of silence
| | 02:44 |
before the part came in.
I'll put Studio One in snap mode by
| | 02:48 |
hitting the N key.
And I'll trim the audio to the grid.
| | 02:53 |
I'll undo snap and zoom in because it's
possible oh, the part starts after the
| | 02:57 |
downbeat of the phrase, so I'm okay
actually leaving it in snap mode.
| | 03:02 |
So, as you notice, I was moving my cursor
to trim and it's following the grid in
| | 03:07 |
16th note denominations, because that's
how my grid is set.
| | 03:12 |
So, I like things to start on the down
beat of the bar.
| | 03:16 |
So I'll leave the left side of the audio
region right at the downbeat of measure
| | 03:19 |
five, as opposed to moving it over here,
closer to where the actual performance
| | 03:23 |
begins.
This makes it easier if I want to copy
| | 03:27 |
and paste from section to section to have
things starting at the downbeat of a
| | 03:30 |
measure.
The best part about all the functions
| | 03:34 |
that I just completed, is that they were
all done within the audio region itself,
| | 03:38 |
which really helps create a good work
flow process.
| | 03:42 |
| | Collapse this transcript |
| Tuning audio with Melodyne| 00:00 |
Pitch correction has become a part of
daily recording, and with Studio One's
| | 00:04 |
Integration of Melodyne, this task is
extremely easy.
| | 00:08 |
But before I initiate an instance of
Melodyne, let's listen to the lead vocal,
| | 00:12 |
unaffected and dry, sitting in the
arrangement so far.
| | 00:16 |
I will Copy and Paste the bass over, so
that bass is present in all 16 bars of
| | 00:20 |
the phrase.
I'll set my loop markers.
| | 00:24 |
I'll start at measure 4, because there's
a pickup on the vocal.
| | 00:28 |
Now, I don't know how the blend is
going to sound, because I'm just going to
| | 00:31 |
drop this dry vocal on top of what I have
going on so far in this track.
| | 00:35 |
And I will unmute the CP70, so that I
have some sort of keyboard sound, giving
| | 00:40 |
me my chord changes, so that I have the
ability to hear how off and how on the
| | 00:44 |
vocal is.
(MUSIC) Now, we'll move the play head up
| | 00:49 |
a little bit closer.
| | 00:51 |
(MUSIC)
| | 00:54 |
So, there's some spots where the vocal
goes a little bit flat.
| | 01:26 |
All I have to do to initiate an instance
of Melodyne, is highlight the region and
| | 01:30 |
hit Cmd+M.
If you're working on Windows, use the key
| | 01:34 |
command Ctrl+M, and an instance of
Melodyne opens up.
| | 01:38 |
I will hit Cmd+A, which will highlight
all of the Melodyne data.
| | 01:44 |
I'll choose Correct Pitch.
And I will not snap to D minor, because
| | 01:47 |
our song is actually in A minor.
I'll leave that box unchecked.
| | 01:52 |
Move Correct Pitch Center over to about
90.
| | 01:55 |
These are my own personal preferences
when setting Melodyne.
| | 01:59 |
And I'll move Correct Pitch Drift over to
about 80.
| | 02:01 |
Click OK.
And now, let's take a listen and hear
| | 02:05 |
what Melodyne has done to the lead vocal.
We're going to play head up to measure 4.
| | 02:12 |
(MUSIC)
| | 02:15 |
I heard two instances where Melodyne
actually pulled the note sharp.
| | 02:44 |
So, let's Zoom In a little bit, so that
we have a better waveform display of our
| | 02:49 |
notes.
Right over here, and I'll solo this out,
| | 02:54 |
so that we're able to hear this a little
bit better.
| | 02:59 |
(MUSIC) Now, the note (NOISE) D flat is
not in the key of A minor, so I will pull
| | 03:06 |
this down (NOISE) and move it back
| | 03:09 |
(MUSIC).
| | 03:12 |
And over here at the end, (MUSIC) that
note (NOISE) E flat is out of our scale
| | 03:20 |
(NOISE) pull it down to D.
(MUSIC) Let's go back and listen to the
| | 03:30 |
vocal in context.
| | 03:34 |
(MUSIC)
| | 03:36 |
That definitely makes a difference, and
the two notes that were sharp are now
| | 03:56 |
sitting where they need to sit.
The key of A minor.
| | 04:13 |
For a more in depth look at Melodyne,
please reference Skye Lewin's Melodyne
| | 04:16 |
Essential Training and Melodyne Advanced
Techniques Courses from the lynda.com
| | 04:21 |
online training library.
You can see how seamless the integration
| | 04:26 |
of Melodyne is into the Studio One
environment, allowing me to take full
| | 04:30 |
advantage of Melodyne's powerful pitch
correction algorithms.
| | 04:34 |
| | Collapse this transcript |
| Creating Folder Tracks| 00:00 |
Folder tracks can be an extremely useful
tool in track organization, as well as
| | 00:04 |
streamlining the editing and arranging
process.
| | 00:08 |
I'll use my two Drum tracks as an example
of packing tracks into a folder.
| | 00:13 |
I will highlight both drums 1 and 2.
And I'll right-click, and choose Pack
| | 00:18 |
Folder.
As you can see, both tracks are now
| | 00:20 |
packed into this folder, called track 11.
I can double-click on this and call this
| | 00:25 |
Drums.
And I'll resize it.
| | 00:28 |
And as you can see, the folder is showing
me each of the track's region information
| | 00:33 |
contained within it.
The editing that I'm going to do to the
| | 00:37 |
folder itself will affect the track
regions that are inside the folder.
| | 00:42 |
If I'm interested in consolidating these,
I hit g.
| | 00:45 |
And now, I have two, 16 bar regions for
each of my Drum tracks.
| | 00:50 |
This is nice, because I can hit the d key
and duplicate them, and begin to fill out
| | 00:54 |
my arrangement.
I'll Undo that.
| | 00:58 |
Or, if I'd like to make an edit, I simply
edit on the folder and the regions are
| | 01:03 |
affected accordingly.
Undo those.
| | 01:07 |
If I'm interested in looking at the
contents of my folder, all I have to do
| | 01:11 |
is click on the Folder icon, here.
And both my tracks that are packed in the
| | 01:17 |
folder appear below the folder.
I have found that using Folder tracks, as
| | 01:21 |
a means of arranging, is truly a personal
preference.
| | 01:25 |
So, it's up to you as to whether or not
you'd like to take advantage of this
| | 01:29 |
editing feature within Studio One.
| | 01:32 |
| | Collapse this transcript |
|
|
4. Mixing in Studio OneNavigating the Mixer| 00:00 |
Up until now, we'd been working primarily
on the Arrange window, as well as the
| | 00:04 |
Navigation and Browser windows.
Now it's time to open up the Mixer
| | 00:08 |
window, and become familiar with its
layout.
| | 00:12 |
To open up the Mixer window I hit F3, and
what I'm looking at is a small view of
| | 00:15 |
the Mixer.
This icon right here is highlighted.
| | 00:21 |
If I click this icon over here, the large
icon, my mixer view increases.
| | 00:25 |
I also have the ability to choose between
a narrow, and normal mixer view.
| | 00:30 |
What we have over here, are the lists of
tracks that are available for viewing on
| | 00:33 |
the mixer.
For example, if I click on lead vocal,
| | 00:37 |
you'll notice that the lead vocal
disappears from the mixer view.
| | 00:42 |
One of the reasons that there are so many
impact tracks on the mixer is that impact
| | 00:46 |
can be set up to be a multi-output
interface and so the presets that I had
| | 00:49 |
chose to program my drum pattern are all
multi-output presents, and that's why
| | 00:53 |
were looking at so many presets on the
mixer window.
| | 00:59 |
You can certainly go through the list and
hide them from the mix review, by
| | 01:02 |
highlighting them in this column.
Next we have the list of available
| | 01:06 |
instruments, showing us what we have
brought into the session.
| | 01:09 |
Impact, Impact Two, Impact Three,
Presents and Presents Two.
| | 01:14 |
Here we have the fader, and this shows
our faders volume, +6.2db.
| | 01:20 |
A nice key command to return the fader to
0.db, it's holding down command on the
| | 01:24 |
mac or control on pc and clicking on the
fader and it returns it to zero db.
| | 01:30 |
Here's where we have our pan left and
right, and the same keyboard shortcut
| | 01:34 |
applies with the panning.
I'll hold down command and click on it
| | 01:38 |
and it returns it to the center.
Up here in the inserts area is where I
| | 01:42 |
would click on the plus sign to add any
one of Studio One's plug-ins as an
| | 01:46 |
insert.
Down here in the sends area of the mixer
| | 01:50 |
is where I would set up my send and
return to set up a reverb or delay chain.
| | 01:55 |
Moving across the mixer, we have all of
our other tracks over here.
| | 02:02 |
Presents and guitars 1, 2, 3 and 4 are
empty tracks at this point.
| | 02:06 |
And over on the far right side of the
mixer window, is the master fader.
| | 02:11 |
You'll notice that I have the ability to
insert a plug-in before the master fader,
| | 02:15 |
as well as after the master fader.
In other words, when applying inserts on
| | 02:20 |
the master fader, such as a compressor,
the volume of the master fader, does not
| | 02:25 |
effect the compressor.
If I'm applying a compressor post master
| | 02:30 |
fader, that simply means, that the master
fader level will effect my compressor
| | 02:35 |
plugin.
Whether Studio One's mixer is your first
| | 02:40 |
experience working in a digital audio
work station mixer or you have spent some
| | 02:44 |
time using mixers in other DAWs, make
sure to spend some time getting
| | 02:47 |
comfortable with the mixer's layout.
| | 02:52 |
| | Collapse this transcript |
| Setting up and routing FX and buses| 00:00 |
Now that we've spend some time getting
familiar with the mixer layout, I'm going
| | 00:03 |
to show you how to set up and route
effects and buses.
| | 00:07 |
I'll begin by adding a reverb to the lead
vocal track.
| | 00:11 |
Lead vocal track is highlighted.
I will right-click and add Effects
| | 00:14 |
Channel.
And as you can see an effects channel was
| | 00:17 |
created to the right of the lead vocal
track.
| | 00:20 |
I will double-click and call this Reverb
1.
| | 00:22 |
Next, I will choose an insert from the
list of available plugins, and choose
| | 00:28 |
Mixverb.
And, I'll choose an Ambience Bright, just
| | 00:33 |
so that we have a reverb that is very
noticeable.
| | 00:37 |
Close that window and underneath Sends,
my reverb is available as a Send Option.
| | 00:44 |
I'll choose it.
I prefer to route my effects this way
| | 00:47 |
because it allows me to send multiple
tracks to the same plugin, as opposed to
| | 00:51 |
applying on instance of a reverb on every
single track that I'd like to have a
| | 00:54 |
reverb on.
Studio One defaults to a minus six dB
| | 01:00 |
send level.
Let's solo out the lead vocal and take a
| | 01:04 |
listen.
(MUSIC).
| | 01:06 |
Excellent.
The reverb is working.
| | 01:15 |
Let's say that I want to add a delay as
well.
| | 01:18 |
I can right-click on the reverb channel
and I'll and an effects channel right to
| | 01:24 |
the right and call this Delays 1.
From the list of plugins, I will add a
| | 01:31 |
beat delay.
We'll leave it as a default setting.
| | 01:36 |
I'll add Delays 1 underneath my Sends and
you can see I have a little list now,
| | 01:41 |
right here, above the Fader.
Let's solo this out and take a listen.
| | 01:46 |
(MUSIC).
| | 01:55 |
And this effects channel behaves just
like any other fader.
| | 01:57 |
If that's too much delay, I can simply
lower the volume.
| | 02:01 |
(MUSIC).
I'll close the delay window.
| | 02:11 |
And next, let me show you how to set up a
bus.
| | 02:15 |
Buses come into play when grouping
instruments to a single fader.
| | 02:20 |
I'll use Guitars 1 and 2 as an example.
I'll right-click on Guitar 2, and add a
| | 02:24 |
bus channel.
And I'll call this Guitars.
| | 02:30 |
I'll highlight both Guitar 1 and 2 and
from the available outputs I have
| | 02:33 |
guitars.
Now, both Guitars 1 and 2 are routed to
| | 02:38 |
this guitars bus fader.
I like to set up instrument buses because
| | 02:43 |
it allows me to control an instrument
group section with a single fader.
| | 02:48 |
For example, if I wanted to move the
overall volume of the guitars up or down,
| | 02:52 |
instead of having to move each fader for
each guitar track up and down, I can
| | 02:56 |
simply do it from the bus fader.
And the same logic applies when applying
| | 03:02 |
a plugin.
If I want to add a compressor to the
| | 03:04 |
group, all I do is choose compressor on
guitars bus.
| | 03:09 |
And then, we can solo out the guitars
(SOUND) and listen to them through the
| | 03:15 |
bus.
(MUSIC).
| | 03:18 |
I'll take the recording able off so we
can see the metering.
| | 03:24 |
(MUSIC).
And to further explain my example, let's
| | 03:29 |
pan these left and right, just for now.
I'll setup a four bar loop.
| | 03:36 |
We'll start right at measure five and go
to measure nine, turn loop play on.
| | 03:43 |
(SOUND).
So, (MUSIC).
| | 03:45 |
As you can hear my bus fader is allowing
me to control volume of both guitars.
| | 03:53 |
(MUSIC).
And the plug in is doing the same thing.
| | 03:58 |
We're effecting the group of guitars, not
just the single guitar track.
| | 04:04 |
Setting up buses and routing effects is
an extremely subjective part of the
| | 04:08 |
mixing process.
And ultimately you may choose to handle
| | 04:13 |
your busing and effects routing in a
different manner.
| | 04:17 |
But this gives you a jumping off point in
terms of implementing these treatments
| | 04:21 |
into your mix.
| | 04:23 |
| | Collapse this transcript |
| Working with FX chains and presets| 00:00 |
Effects chains and effects chain presets
are a great place to start when it comes
| | 00:04 |
to setting up a mix.
An effects chain consists of several
| | 00:08 |
different effects chained together.
Before I add an effects chain, I will
| | 00:12 |
turn off my Reverb and Delay sense, and
all I do is simply click the Activate
| | 00:16 |
button that's highlighted blue, and turn
it off.
| | 00:21 |
Now my sends are inactive.
From the Inserts area, I'll click on the
| | 00:25 |
down arrow, and you can see that there
are several different folders containing
| | 00:30 |
Effects Chains, Drums, Guitars,
Instruments, Mastering, Send, Vocals, and
| | 00:34 |
Default.
I'll choose Vocals, and I will choose
| | 00:39 |
Male Rock, and up pops an effects chain
that has a compressor an EQ, and a
| | 00:44 |
reverb.
Let's take a listen.
| | 00:49 |
>> (MUSIC) I'm looking for a place,(MUSIC) A
| | 00:55 |
place that's on a different road.
Can we get away.
| | 01:04 |
>> So, let's take a look at what's going on
| | 01:06 |
here.
We have a compressor.
| | 01:08 |
>> (MUSIC) I'm looking for a place.
| | 01:11 |
>> And as you can see, it's working.
| | 01:14 |
And an EQ, double click on it.
| | 01:16 |
>> A place that's on a different road.
| | 01:21 |
>> And there's a reverb.
| | 01:24 |
>> Can we get away?
| | 01:25 |
>> I'll remove these by clicking Remove All,
and audition another effects chain.
| | 01:27 |
Let's choose Male Pop.
That has a different combination.
| | 01:40 |
Notice its EQ compressor and delay as
opposed to compressor EQ and reverb from
| | 01:44 |
the last effects chain.
Lets take a listen.
| | 01:50 |
>> I'm looking for a place.
| | 01:54 |
A place that's on a different road.
| | 01:59 |
>> Sometimes, it's advantageous to use EQ
before compression, and sometimes it's
| | 02:03 |
advantageous to use EQ after compression.
It really depends on the mixing
| | 02:07 |
situation.
I'll remove these by clicking Remove All.
| | 02:14 |
And let's go down to Sends.
The Send folder contains alternate
| | 02:18 |
effects chains that center around reverbs
and delays, as opposed to EQs and
| | 02:22 |
compressors.
I'll choose Vintage Delay.
| | 02:25 |
(MUSIC).
And as you can hear, that's pretty
| | 02:33 |
drastic.
(SOUND) For now, I'll Remove All, and
| | 02:39 |
when it comes time to mixing, I'll choose
my own EQ and compressor, because I'm
| | 02:43 |
comfortable with choosing the plugins one
by one.
| | 02:49 |
Effects Chains are a great way to
audition multiple effects at the same
| | 02:52 |
time to get a feel for what works and
what doesn't work.
| | 02:57 |
I encourage you to spend a few minutes
experimenting with effects chains and
| | 03:00 |
their presets.
While I very rarely use a preset in an
| | 03:04 |
as-is state, I do think that they're a
great starting point.
| | 03:08 |
| | Collapse this transcript |
| Recording and writing automation| 00:00 |
Automation plays a major role in the
mixing process.
| | 00:03 |
And one of the most common parameters
automated within a mix, is the volume on
| | 00:07 |
a lead vocal track.
To put Studio One into Automation view I
| | 00:11 |
hit the A key.
And as you can see, the display in my
| | 00:14 |
track column changes.
I will increase the size of the lead
| | 00:18 |
vocals waveform view.
And when I click and hold on my list of
| | 00:22 |
available parameters to automate, I have
Volume and Pan.
| | 00:26 |
I'll choose Volume.
And the blue line lets me know that I'm
| | 00:30 |
able to now enter automation data.
You'll notice that as I enter automation
| | 00:34 |
data, I'll click right here on Measure
five.
| | 00:38 |
The automation state changes from Off to
Read.
| | 00:41 |
That means that Studio One will read the
automation data that I'm inputting with
| | 00:45 |
the mouse on playback.
Let's zoom in, and I'll give you an
| | 00:49 |
example.
I'll take Studio One out of Snap mode,
| | 00:53 |
because my automation points are not
necessarily going to fall on the grid.
| | 00:57 |
(MUSIC) I can enter in some automation
data here, in my first phrase.
| | 01:05 |
(MUSIC)
| | 01:06 |
>> I'll hone in on this word a, and as I
click and hold the Break Point, you'll
| | 01:12 |
notice that I have a little window that's
showing me where my cursor is, as in
| | 01:17 |
terms of bars beats, and the amount of Db
that I'm increasing the volume, plus 4.8.
| | 01:28 |
(MUSIC) And even the word that's is a
little quiet.
| | 01:33 |
I should zoom in a little bit, so I can
be accurate.
| | 01:36 |
And you simply can click and hold and
drag these Break Points wherever you want
| | 01:42 |
them.
(MUSIC) This is a microcosm of the
| | 01:46 |
automation process when it comes to a
lead vocal.
| | 01:51 |
I would spend the time to go through
every phrase and make sure that every
| | 01:54 |
word is audible, and that the performance
felt very even from start to finish in
| | 01:57 |
terms of volume.
When it comes to copying and pasting
| | 02:01 |
automation, I can use the Range tool.
And for this I will put Studio One back
| | 02:06 |
in Snap mode.
I'll highlight the range Measure 5 to
| | 02:10 |
Measure 9, and click D.
And as you can see, my automation data
| | 02:14 |
copied to the next 4 bar area.
Another way to copy automation data is to
| | 02:20 |
take Studio One out of Automation view.
And let's say that I wanted to cut this
| | 02:27 |
phrase, and copy and paste it.
I can option drag for copying, to Measure
| | 02:33 |
25.
I'll go back to Automation view by
| | 02:36 |
hitting a, and the automation data
followed the region.
| | 02:39 |
We've just been dealing with automating
an audio track.
| | 02:43 |
But if I click and hold on my Drums
track, which is an instance of impact, I
| | 02:47 |
have the ability to add or remove
automation parameters.
| | 02:53 |
And because impact is a 16 pad drum
machine, I'm able to include different
| | 02:57 |
parameters to automate from each pad if I
choose to do so.
| | 03:03 |
All I would need to do to add a parameter
is click on it and click Add.
| | 03:07 |
And now it's available to me as an
automatible parameter.
| | 03:11 |
If I want to remove it, I simply
highlight it and click Remove, and close
| | 03:14 |
the window.
It can certainly shave time off the
| | 03:16 |
mixing process if you spend a few minutes
thinking about your approach to
| | 03:20 |
automation.
Copying and pasting data from section to
| | 03:23 |
section can be a real time saver.
I find that when it comes to working with
| | 03:27 |
vocals, especially lead vocals, it's best
to work your way through the entire song
| | 03:31 |
in a linear fashion.
| | 03:34 |
| | Collapse this transcript |
| Exporting your mix| 00:00 |
I've gone ahead and built out the mix and
the arrangement a bit further.
| | 00:04 |
And I'd like to take you on a brief tour
of what I've done before we bounce down
| | 00:07 |
the final mix.
I went ahead and did some further
| | 00:11 |
automation on the lead vocal.
Click a and you can see that automation
| | 00:15 |
data there.
Click a to turn it off.
| | 00:18 |
And I went ahead and organized the track
order a little bit differently.
| | 00:22 |
I added a crash symbol here at the top.
I named these tracks.
| | 00:27 |
Since this is an impact track, the kick
and the snare are on the same track, so I
| | 00:30 |
called it the kick snare and I named the
second drum track hats.
| | 00:35 |
You'll notice that there is a rhythm
guitar left and a rhythm guitar right.
| | 00:38 |
What I did was I took the back 8 bars of
the 16 bar guitar phrase.
| | 00:43 |
And I pasted it down onto another track.
In other words, we had a guitar part
| | 00:48 |
going from measure 5 all the way to
measure 21.
| | 00:52 |
I took measures 13 to 21, dragged them
down to a separate track, called rhythm
| | 00:57 |
guitar right, slid them all the way over
and created a stereo track.
| | 01:02 |
So, in essence, we have 8 bars of guitars
that are Copied and Pasted.
| | 01:06 |
Giving us two rhythm guitar parts instead
of one.
| | 01:09 |
I also fully comped the lead guitar part
which I will actually call lead guitar.
| | 01:17 |
And it leads off the song and takes us
into the first verse.
| | 01:22 |
Now, keep in mind, this is kind of an
abbreviated arrangement.
| | 01:25 |
This is 25 bars.
And I'm using this as a shell to explain
| | 01:28 |
mixing and automation and just to get you
up and running in Studio One.
| | 01:34 |
So, most likely, when you're at this
point, working on your song, you'll
| | 01:36 |
probably be at three to four minutes in
length.
| | 01:39 |
As we take a look at the Mixer, you'll
notice that I hid all these extra impact
| | 01:43 |
tracks that really were serving no
purpose on the Mixer because impact is
| | 01:47 |
multi-output instrument.
I had the option of having all these
| | 01:52 |
different outputs on the Mixer, so that I
have control over them.
| | 01:55 |
For example, the impact kick is on its
own channel, the impact snare is on its
| | 01:59 |
own channel and these are both coming
from our second instance of impact called
| | 02:03 |
impact two.
So, the Mixer looks a lot cleaner now.
| | 02:08 |
I've organized it from lead vocal, kick
drum, snare drum, hats, crash, bass, all
| | 02:13 |
the way over to guitars at the end.
And the Master Fader has been pulled
| | 02:18 |
down, so that I'm not clipping when I
play back, and eventually bounce the mix
| | 02:22 |
down.
I've also added EQ compression and
| | 02:25 |
limiting to the lead vocal, so that it
sits in the mix a little bit better.
| | 02:30 |
I'd like to take a moment and let you all
know that I am mixing this in headphones.
| | 02:34 |
So, if you're on speakers and not in
headphones, it's very possible that this
| | 02:37 |
mix might sound a little bit off, but for
the purposes of this movie, I wanted to
| | 02:41 |
mix the song in headphones.
I'll go ahead and close the Mixer window
| | 02:46 |
now.
And I'll hit Cmd+E, which will bring up a
| | 02:49 |
window with bouncing options.
My file is pathed.
| | 02:54 |
Studio One defaults to calling the bounce
mix down, and I will call this Song in A
| | 02:59 |
Minor.
You'll notice that I have Audio Format
| | 03:03 |
options, WAV file, AIFF, FLLC, OGG, or
MP3, I'll leave it on WAV, leave my
| | 03:08 |
resolution at 16 bit, 48k sample rate.
And I'm choosing in my Export Range to
| | 03:15 |
stay between the loop markers.
Instead of between the song start and end
| | 03:19 |
marker or between any markers that might
be in the songs.
| | 03:22 |
In other words, let me close this window
for a moment.
| | 03:25 |
This is my bounce range, left to right
locators.
| | 03:30 |
And in fact, I'll pull this over a couple
of bars because there's some effects on
| | 03:34 |
the keyboards and maybe even some guitars
that I don't want to get cut off right at
| | 03:38 |
measure 25.
So, let's pull up the window again,
| | 03:43 |
Cmd+E.
And again, I need to enter the song name
| | 03:46 |
because I closed the window prior to
bouncing.
| | 03:51 |
So, I'm bouncing between the loop and I'm
choosing Main as my output.
| | 03:55 |
I will leave the Close After Export box
checked and I will leave the Real-Time
| | 03:59 |
Processing box unchecked because I'd like
to do an offline bounce.
| | 04:03 |
Everything looks good in this window.
I'll click OK and you'll watch Studio One
| | 04:09 |
give me a progress bar as it completes an
off-line bounce.
| | 04:16 |
And there's our song.
We'll now take a listen to the finished
| | 04:19 |
bounce in Quick Look by pressing the
Space bar.
| | 04:21 |
(MUSIC)
| | 04:28 |
I'll hit the space bar to close the
window.
| | 05:12 |
I hope this movie gives you insight into
how to setup your final mix and prepare
| | 05:17 |
Studio One for exporting it.
| | 05:21 |
| | Collapse this transcript |
|
|
5. Mastering in Studio OnePreparing songs for mastering and navigating the Project page| 00:00 |
Now it's time to prepare our song for
mastering.
| | 00:03 |
Generally speaking, mastering involves
treating a stereo mix, or what we like to
| | 00:07 |
call a final mix.
Sometimes, mastering involves treating
| | 00:11 |
just a single song or several songs in
the case of an EP, which can be three, to
| | 00:14 |
four, to five songs.
And then, a full length album which can
| | 00:19 |
be anywhere from 10, to 12, to 14 songs.
What we're looking at is our song
| | 00:24 |
session.
And before I export this mix for
| | 00:27 |
mastering, underneath the Song tab I'm
going to change the Song Setup.
| | 00:32 |
I need to change the song end for measure
158 to measure 27, otherwise, we will be
| | 00:37 |
exporting silence.
Next, underneath the Song menu, I will
| | 00:44 |
choose Update Mastering File.
And Studio One will default to naming the
| | 00:50 |
exported file 0501, which is the same
name as our session.
| | 00:56 |
It actually adds a -master.wav as a
suffix.
| | 00:59 |
I will click yes and an offline export
occurs.
| | 01:05 |
Next, I will select the Project button,
and a new project window pops up, asking
| | 01:10 |
me to name my new project.
I will click on this box here and Studio
| | 01:15 |
One defaults to its own file hierarchy.
In other words, Studio One like to place
| | 01:21 |
project and song information in the
documents folder on your hard drive.
| | 01:26 |
But since we're using exercise files, I'm
going to change the pathing and choose
| | 01:30 |
the Exercise Files folder on my desktop
as my destination folder.
| | 01:35 |
And within that, I will select Projects,
click Open, and now, my resulting project
| | 01:39 |
will be placed in the Exercise File
folder.
| | 01:43 |
I will change the sample rate to 48,
because that's the sample rate of the
| | 01:46 |
song.
And I will now name this project 0501 to
| | 01:50 |
correspond to our chapter.
Click OK.
| | 01:55 |
And what you're looking at is a blank
project page.
| | 01:58 |
Now, the nice thing about Studio One and
the way that it's set up, is that you can
| | 02:02 |
seamlessly float between the song that
you have open, the start page, and the
| | 02:06 |
project page.
Now it's time to import my song for
| | 02:12 |
Mastering.
I hit F5.
| | 02:15 |
Opens up my browser and I have my
exported mix O5O1 master.
| | 02:21 |
I drag it on to the timeline.
And I also included an extra song called
| | 02:24 |
Urban 1 so that we have more than one
song to work with when it comes to
| | 02:27 |
demonstrating mastering.
I'll drag that on to the timeline, hit
| | 02:32 |
F5, and I'll expand my view by hitting
the E key on the keyboard.
| | 02:37 |
As you can see, I have two songs now on
the timeline and I can also see their
| | 02:41 |
names up here in the Track Column.
If I click on urban one, urban one is
| | 02:47 |
highlighted, and the urban one name is up
in this upper box above the inserts.
| | 02:54 |
If I click on 0501 master, the song name
changes, and 0501 master is highlighted.
| | 03:00 |
Moving from left to right, we have our
inserts column here.
| | 03:04 |
If I'd like to add a plug-in to an
individual track, I click on the plus
| | 03:08 |
sign and I can choose chorus and then on
my second track I have the ability to add
| | 03:12 |
a plugin as well that is track specific.
So as I toggle between my first track and
| | 03:20 |
my second track you can see that the
plugins I chose are there.
| | 03:25 |
I'll remove them.
Next, we have the insert column for the
| | 03:33 |
master fader.
Sometimes during Mastering, you may want
| | 03:36 |
to apply EQ or compression to the overall
collection of songs as opposed to the
| | 03:40 |
individual tracks themselves.
And there is also an area to apply
| | 03:44 |
plug-ins post fader.
We have the audio spectrum meter and peak
| | 03:49 |
meter in here, and I'll play a little bit
of the first song, so that you can see
| | 03:53 |
the metering in action.
(MUSIC).
| | 03:57 |
To the far right, we also have a phase
meter, and when I play that, you can see
| | 04:03 |
there will be a little bit of graphic
activity going on letting us know if the
| | 04:08 |
mix is in phase.
| | 04:13 |
(MUSIC).
| | 04:16 |
(MUSIC).
As I look at my track column, I'm not
| | 04:20 |
crazy about Studio One's default name of
my track 0501 master, so I'll
| | 04:25 |
double-click, and name it Song In a
Minor.
| | 04:32 |
There, that's much better, and you'll
notice that the name changed in the audio
| | 04:38 |
regions window as well.
I also have the same functionality within
| | 04:44 |
this audio region as I did in the audio
regions when working in songs.
| | 04:49 |
I can change the gain of my region by
simply pulling that button down.
| | 04:53 |
Or I can create fades, just like we did
in song sessions by clicking and
| | 04:58 |
dragging.
It's important to spend a few minutes
| | 05:02 |
getting comfortable preparing your songs
for mastering from the song page.
| | 05:06 |
And it's equally as important to spend a
few minutes navigating the project page,
| | 05:10 |
so that you become very comfortable with
its layout.
| | 05:14 |
| | Collapse this transcript |
| Utilizing EQ, compression, and limiting| 00:00 |
Now that we have a couple of files
imported into the project page, it's time
| | 00:04 |
to spend a few minutes actually going
through the mastering process and
| | 00:08 |
sonically treating these mixes.
I will began with the first song, Song In
| | 00:14 |
A Minor, by bringing up an EQ.
And I'll choose Pro EQ from my list of
| | 00:18 |
plugins and now take a listen.
(MUSIC).
| | 00:21 |
Keep in mind that I am working in
headphones but to my ears I will shelf a
| | 00:27 |
little bit of EQ above 10K, which means
I'm adding high end from 10K on up.
| | 00:37 |
(MUSIC).
And I'll do a drastic move with the EQ
| | 00:40 |
here, so you can hear what it's doing.
| | 00:44 |
(MUSIC).
| | 00:51 |
Next, I'll add a compressor.
(SOUND).
| | 00:58 |
(MUSIC) .
Go ahead and set up a loop here.
| | 01:03 |
(MUSIC).
That compressor's hitting it a little bit
| | 01:11 |
hard.
I'll change to a quicker attack, and a
| | 01:15 |
quicker release, so that the compressor
releases faster.
| | 01:20 |
(MUSIC).
(MUSIC).
| | 01:22 |
If I increase the attack again, it won't
sound like it's pumping so much.
| | 01:30 |
(MUSIC).
This is a very mild compression.
| | 01:32 |
I'm only compressing at 2 to 1 ratio with
a very low threshold.
| | 01:40 |
And I'm only grabbing a couple of dB of
compression right at the peak of the mix.
| | 01:51 |
I'll close this and move over to urban 1.
And I'll start by adding the same 2
| | 01:56 |
plugins.
Choosing an EQ and let's listen to that
| | 01:59 |
first.
(SOUND) (MUSIC).
| | 02:01 |
As you can hear, there's quite a bit more
high end in the high hats in the urban
| | 02:06 |
track, as opposed to the Song in A minor.
(MUSIC).
| | 02:13 |
I'll bring a little of that down.
(MUSIC).
| | 02:22 |
Just A B very quickly.
We'll loop this.
| | 02:27 |
(MUSIC).
This is how you can activate and
| | 02:30 |
deactivate a plugin.
| | 02:33 |
(MUSIC).
| | 02:36 |
And I'll add a compressor.
| | 02:46 |
(MUSIC).
| | 02:56 |
That default setting actually sounds
pretty good to my ears.
| | 03:00 |
Next I'll add a limiter on the master
fader.
| | 03:03 |
So, the limiter, will effect both songs.
Just take off loop play and go back to
| | 03:08 |
the first song.
(MUSIC).
| | 03:12 |
Back this up.
| | 03:21 |
(MUSIC).
| | 03:26 |
And as you can hear, as I lower the
threshold, the mix actually starts to get
| | 03:31 |
a little bit louder.
It's, it's being limited.
| | 03:36 |
(MUSIC).
And it takes on a bit of a punchy sound.
| | 03:45 |
Let's see how Urban 1 sounds.
| | 03:48 |
(MUSIC).
| | 03:50 |
(MUSIC).
| | 03:53 |
Going back to Urban 1.
(MUSIC).
| | 04:02 |
I hear a little bit of a low end
discrepancy.
| | 04:09 |
Now, obviously we're dealing with two
different musical genres here, so I'm not
| | 04:12 |
expecting Song in A Minor to necessarily
to have the same kick drum sound.
| | 04:16 |
But I'll go back to Song in A Minor and
bump up the low end a little bit more.
| | 04:21 |
(MUSIC).
And I'll change the compression ratio a
| | 04:31 |
little bit.
| | 04:35 |
(MUSIC).
| | 04:38 |
Excellent.
Going back and forth, momentarily.
| | 04:46 |
(MUSIC).
| | 04:48 |
It's not uncommon during the mastering
process to notice elements about your mix
| | 04:56 |
that you may want to go back and revise.
Remember, we've added EQ compression and
| | 05:04 |
a limiter to both of these songs, and I'm
noticing that certain elements are
| | 05:07 |
jumping out at me that maybe I didn't
catch before I prepared this file for
| | 05:11 |
mastering.
In the next movie, I'll show you how to
| | 05:16 |
quickly revise your mix from the song
page, and update it in the project page.
| | 05:23 |
| | Collapse this transcript |
| Making changes to your original mix during mastering| 00:00 |
I've decided to back to my original mix
and make a slight mix change, as well as
| | 00:04 |
an arrangement change.
I'll click on the song button and it will
| | 00:08 |
take me back to the song page.
Now, I felt that the snare drum was a
| | 00:11 |
little bit loud.
So, I'm going to lower that a dB, hit F3
| | 00:16 |
to access my mixer and my snare drum,
coming from impact, is at 1.5 dB, plus
| | 00:21 |
1.5.
I'm going to lower that down to plus 0.3
| | 00:27 |
and take a listen to it.
(MUSIC).
| | 00:31 |
Excellent.
I'd like to add eight bars of music at
| | 00:36 |
the end, so that I don't have a cold
ending when the vocal ends.
| | 00:46 |
I will highlight this whole section here
and all I have to do is hit D to
| | 00:50 |
duplicate, and I'll bring that back one
bar.
| | 00:54 |
I'll take a listen, and I'll actually add
a crash cymbal at the very end of the
| | 00:59 |
song.
Let's take a listen to the last bit of it
| | 01:03 |
here.
| | 01:05 |
(MUSIC).
| | 01:08 |
Excellent.
As I listen to that crash cymbal decay,
| | 01:20 |
I'll consider measure 36 the end of the
song now.
| | 01:35 |
Underneath Song > Song Setup and I'll
change the song end to measure 36.
| | 01:39 |
The reason that I need to change the song
ending to 36 is that so when I update
| | 01:43 |
mastering files, which I will do from the
Song menu.
| | 01:48 |
Studio One will automatically insert this
new version of the mix directly into the
| | 01:53 |
project session and my mastering session
will be adjusted accordingly.
| | 01:58 |
I'll choose Update Mastering File.
Studio One gives me a window telling me
| | 02:03 |
what the file name is and I will choose
Yes.
| | 02:10 |
I hit the Project button.
And as you can see on my timeline, the
| | 02:14 |
new mix has been automatically inserted
into my mastering session.
| | 02:18 |
As you can see, the song is slightly
longer.
| | 02:20 |
Let's take a listen and make sure that it
is truly the mix that we exported.
| | 02:24 |
(MUSIC).
And that is indeed the updated mix.
| | 02:52 |
The nice thing about Studio One's work
flow is that my EQ and compressor that I
| | 02:56 |
had originally put on the last version of
the mix stays intact.
| | 03:01 |
So, none of the mastering settings on the
plugins that I've chosen have been
| | 03:04 |
effected at all.
Studio One simply swaps out the audio
| | 03:08 |
files allowing me to continue my
workflow.
| | 03:12 |
Its not uncommon during the mastering
process to go back to your mixes and make
| | 03:16 |
mix and or arrangement updates.
And Studio One makes this extremely easy
| | 03:21 |
by allowing you to update your mastering
files.
| | 03:25 |
| | Collapse this transcript |
| Exporting the finished product| 00:00 |
We're almost ready to export the master
session.
| | 00:03 |
But before we do so, I'd like to Zoom In
and tighten up the space between the
| | 00:08 |
audio regions.
As you can see, there's a few seconds of
| | 00:12 |
silence here at the end of our first
song.
| | 00:15 |
And that's a little bit too much time
considering that there's a two second
| | 00:18 |
pause between songs.
I can see my pause length right up here
| | 00:21 |
in the Pause window.
So, what I'll do is I will just trim this
| | 00:25 |
audio region, bring it back, and as you
can see, Urban One, the second song,
| | 00:31 |
follows as I trim this time.
Let's take a quick listen.
| | 00:37 |
(MUSIC) I'll bring this in just even a
little bit closer, bring the fade over to
| | 00:49 |
the left a little bit.
Listening.
| | 01:00 |
(MUSIC)
| | 01:02 |
That's much better.
There's not as much silence between the
| | 01:12 |
songs now.
In the upper part of the Track column, we
| | 01:15 |
have a drop down menu that allows us to
enter the project's metadata.
| | 01:21 |
You may choose to enter information in
all of these fields or some of these
| | 01:24 |
fields.
It's a personal choice.
| | 01:26 |
I will enter my name as the song writer,
as well as the composer, as well as the
| | 01:32 |
arranger and I will type in the year as
well.
| | 01:39 |
Now, if I'm interested in adding album
artwork, I simply click on the box with
| | 01:44 |
the little three dots.
And I will choose this picture for my
| | 01:50 |
album artwork.
Studio One is asking me if I'd like to
| | 01:54 |
resize it to 512 by 512 pixels, so I will
choose Yes.
| | 01:58 |
And now, this is my album artwork and it
will follow my tracks that are exported.
| | 02:04 |
In other words, when they're played in
iTunes, this is the art work for the
| | 02:07 |
album.
I'll click this arrow and close the drop
| | 02:11 |
down menu.
You also have the ability to enter track
| | 02:14 |
specific metadata.
If you happen to be working on a project
| | 02:18 |
where maybe, different songwriters wrote
the songs of the project that you are
| | 02:21 |
mastering.
And maybe you wanted to import different
| | 02:25 |
artwork on a per song basis.
Let me go back up to the Project Metadata
| | 02:30 |
window.
And I'm going to enter genre here, I'm
| | 02:35 |
going to enter Rock/Urban.
Now, I have genre metadata attached to
| | 02:42 |
the project.
I'll close this again.
| | 02:45 |
And up here under Disc, I will just call
this miscellaneous songs.
| | 02:51 |
This would be the album name.
And underneath artist, I'll enter my
| | 02:54 |
name.
And as you can see, I have a total length
| | 02:58 |
of time of a minute and 49 seconds.
This length of time is also reflected in
| | 03:04 |
the CD capacity meter.
At the top of the Project page, you'll
| | 03:08 |
notice we have multiple options to export
our project.
| | 03:11 |
Burn Audio CD, Image, DDP and Digital
Release.
| | 03:15 |
Let's start with Burn.
I'll click on the Burn button and up pops
| | 03:19 |
a Burn Audio CD window.
This window will allow me to set my CD
| | 03:23 |
burner to burn a standard audio CD.
Since we don't have any media in the CD
| | 03:29 |
burner right now, that's why the speed
defaults to 0 and the Burn button is
| | 03:34 |
grayed out.
Next, we have Image, and this allows us
| | 03:39 |
to make a disc image.
Maybe you're interested in sending your
| | 03:43 |
project to professional CD duplication
company, and they may ask for a digital
| | 03:47 |
image of the content of your CD, rather
than risking possible errors or
| | 03:50 |
imperfections with a burned copy of the
project.
| | 03:55 |
Here, you see, we have our Resolution,
Sample Rate, Audio File format, and
| | 03:59 |
Destination Location on our hard drive of
where to burn the project.
| | 04:04 |
You can choose to publish or not to
publish to Nimbit or SoundCloud.
| | 04:10 |
Next is DDP, and DDP images have become
the standard method of getting a disc
| | 04:14 |
image from mastering to disc
manufacturing.
| | 04:18 |
The DDP image contains all of the
contents of the master disc, along with
| | 04:21 |
specific formatting information that will
ensure a proper and accurate duplication
| | 04:25 |
of your master.
The resulting DDP image will be exported
| | 04:29 |
to a single folder with a .ddp suffix at
the end of the project name.
| | 04:34 |
This folder is what should be delivered
to your CD duplicator.
| | 04:39 |
And finally, Digital Release.
Digital Release allows a digital
| | 04:43 |
publication of your project with all the
project songs and song metadata placed in
| | 04:47 |
a single folder.
This is the publication method of choice
| | 04:51 |
for releasing your music online.
As you can see, I have a list of all the
| | 04:54 |
tracks and they default to being selected
with the boxes next to the song names
| | 04:58 |
checked.
I can also choose the Location, Audio
| | 05:03 |
File format, I have a choice of WAV,
AIFF, FLAC, or OGG and mp3.
| | 05:10 |
Next, I have bit rate.
I have the ability to choose as low as
| | 05:14 |
64kbs and going all the way up to 320kbs,
otherwise known as kilobits per second.
| | 05:21 |
As with DDP image, you have the ability
to publish to Nimbit and SoundCloud or
| | 05:25 |
not to publish.
And underneath Options.
| | 05:29 |
There are boxes to check or uncheck
relating to Track Numbers, Artist Name,
| | 05:33 |
and Real Time Processing.
Real Time Processing will play the
| | 05:36 |
project from start to finish in real
time.
| | 05:39 |
I generally leave these settings in their
default state.
| | 05:43 |
The Project page has covered all the
different methods of publishing a project
| | 05:46 |
for today's music climate.
And your choice may change from project
| | 05:50 |
to project.
I have found that Digital Release is the
| | 05:54 |
one that I use the most often.
| | 05:57 |
| | Collapse this transcript |
|
|
6. Connecting with Your Audience and Other PreSonus UsersPublishing to SoundCloud| 00:00 |
I've mentioned several times throughout
this course that Studio One allows for
| | 00:03 |
direct publishing of your finished work
to Soundcloud.
| | 00:07 |
If I hit Cmd+E on Mac, Ctrl+E on Windows
I bring up my Export Mixdown window.
| | 00:13 |
And I have the ability to choose Upload
To Soundcloud under the Publishing
| | 00:16 |
window.
But I prefer to publish my finished works
| | 00:19 |
to SoundCloud from the Project window,
where I have already performed mastering
| | 00:23 |
as well as entered additional metadata
for my finished work.
| | 00:28 |
I would choose Digital Release, change
WAV file to MP3 for my audio file format,
| | 00:33 |
change my bitrate to 320, leave the
sample rate at 44.1.
| | 00:40 |
And select Upload to Sound Cloud.
Studio One will perform an offline export
| | 00:45 |
and prompt me to log in to my Sound Cloud
account.
| | 00:51 |
The Sound Cloud client window pops up,
and I choose Connect with Sound Cloud.
| | 01:01 |
I'll log in to my SoundCloud account,
click Connect.
| | 01:06 |
And I'm provided with a verification
code.
| | 01:12 |
I'll copy and paste my verification code,
and click Authorize.
| | 01:16 |
Now you'll notice in my Studio One client
window I'm now authorized as J.
| | 01:21 |
Harris Lynda, and I have the ability to
deauthorize if I so desire.
| | 01:26 |
Now it's time to look through the
additional metadata windows here, and
| | 01:31 |
I'll call this rock song.
There's also another window under the
| | 01:36 |
More Info, where I can enter release
date, keywords for search engine
| | 01:40 |
optimization, label name, ISRC code
number, and other URL information.
| | 01:47 |
For now I'll leave those settings blank
since I'm simply uploading this song to
| | 01:52 |
SoundCloud.
Now this is just for song in a minor.
| | 01:56 |
Next I'll choose Urban 1, and I'll enter
urban for song description And all I have
| | 02:01 |
to do to upload my songs to SoundCloud is
click upload, and that, as you can see, I
| | 02:06 |
have a progress bar underneath State up
here, showing me the percent of upload
| | 02:10 |
completion.
I'll go back to my SoundCloud account,
| | 02:17 |
and underneath You, I select Tracks.
And as you can see, the two tracks that I
| | 02:23 |
just uploaded are now on my SoundCloud
account.
| | 02:27 |
Let's take a listen to Urban 1.
| | 02:29 |
(SOUND)(MUSIC)
| | 02:35 |
Excellent.
As you can see, this process is extremely
| | 02:43 |
seamless.
I was able to take a finished mix from my
| | 02:46 |
mastering session, and upload it directly
to my SoundCloud account.
| | 02:51 |
| | Collapse this transcript |
| Uploading your song to Nimbit| 00:00 |
Nimbit is a company owned by PreSonus
that allows bands and artists to sell
| | 00:04 |
their music and merchandise online.
And I'm able to publish my finished work
| | 00:09 |
directly to the Nimbit website from the
Song page.
| | 00:13 |
Underneath the Song menu, I choose Export
Mixdown and up pops my Export Mixdown
| | 00:17 |
window.
From the Publishing window, I have the
| | 00:21 |
ability to choose Upload to Nimbit, but I
prefer to upload my finished work to
| | 00:26 |
Nimbit from the Project page.
In the Project page, I've already
| | 00:30 |
mastered the project, as well as entered
additional metadata.
| | 00:34 |
I'll choose Digital Release.
And up pops the Digital Release window.
| | 00:38 |
Nimbit prefers a 16 bit 44.1 WAV file as
its audio file format.
| | 00:44 |
I'll choose upload to Nimbit.
Click OK.
| | 00:45 |
And Studio One will perform the offline
export.
| | 00:49 |
I'm now prompted to log in to my Nimbit
account.
| | 00:54 |
Click Sign In, and here are the two
songs, Song in A Minor and Urban 1.
| | 01:02 |
I'll choose Add.
And again, I have additional metadata
| | 01:05 |
information that I'm able to input if I'm
interested.
| | 01:08 |
For now, I'll leave these parameters as
they are and click Upload.
| | 01:13 |
And as you can see, I'm provided with an
Upload Progress Bar.
| | 01:16 |
And as you can see, Urban 1 was
automatically uploaded once Song in A
| | 01:21 |
Minor finished its uploading process.
I'll close the Nimbit Client window.
| | 01:27 |
And now, both of my songs are uploaded to
my Nimbit account.
| | 01:31 |
A full tour of the Nimbit website is
beyond the scope of this course, but I
| | 01:35 |
highly recommend that you spend some time
checking out the Nimbit website because
| | 01:39 |
it's a wonderful medium for selling your
music online.
| | 01:44 |
As you can see, PreSonus has made
uploading my music directly to the Nimbit
| | 01:47 |
website extremely easy.
It only takes minutes to publish and
| | 01:51 |
upload your finished works to your Nimbit
account, allowing your music to be bought
| | 01:56 |
by all of your fans.
| | 01:59 |
| | Collapse this transcript |
| Accessing user-generated content with PreSonus Exchange| 00:00 |
PreSonus Exchange is an online community
of Studio One users sharing their own
| | 00:04 |
user-created content.
To access PreSonus Exchange, I click on
| | 00:09 |
the down arrow by the service icon in the
browser window and I highlight Exchange.
| | 00:15 |
My registered version of Studio One
qualifies me to sign in to Exchange.
| | 00:20 |
And all I have to do is click on Sign In
and it will automatically log me in.
| | 00:26 |
As you can see, my Sign In button is
grayed out, and I'm already signed in to
| | 00:29 |
Exchange.
As we take a look at the content within
| | 00:33 |
the Exchange folder, you can see that
there's a diverse collection of Studio
| | 00:36 |
One user-created content.
FX Chains, Grooves, macros, presets and
| | 00:40 |
sound sets along with some other content.
I will choose percussion, from the crisp
| | 00:46 |
rap vocals FX Chain.
And all I have to do to download it is
| | 00:49 |
drag it onto the arrange window.
A Transfers window pops up showing my my
| | 00:54 |
download progress.
I will close it and I will move the
| | 00:57 |
percussion user preset right underneath
my lead vocal.
| | 01:02 |
I'll highlight my lead vocal, hold down
Option or if you're using Windows, Alt
| | 01:06 |
and drag down my lead vocal track.
I will solo it out and let's take a
| | 01:13 |
listen to this FX chain.
(MUSIC).
| | 01:18 |
I'll deactivate this FX chain, so you can
hear what the vocal sounds like by
| | 01:24 |
itself, and then, I'll activate it so you
can hear the difference.
| | 01:31 |
(MUSIC).
Next, I'll download a sound set which
| | 01:38 |
contains user-created audio loops.
I will go into the Stealth Recording
| | 01:48 |
Studio folder, and choose Stealth Sounds.
And just like the percussion preset, all
| | 01:53 |
I need to do is drag Stealth Sounds onto
the Arrange window.
| | 01:58 |
And as you can see Transfers box pops up.
In addition to Stealth Sounds One Sound
| | 02:03 |
Set, I will grab Stealth Sounds Drum
Loops.
| | 02:07 |
Drag them over as well.
96 megabytes of audio loops will download
| | 02:11 |
now.
And the resulting download will be
| | 02:13 |
visible in the sounds window within the
browser.
| | 02:17 |
When the download is completed, we'll
move to that window and I'll show you.
| | 02:20 |
Our download is complete.
And I'll move to the sounds window and as
| | 02:23 |
you can see Stealth Studio Drum Loops is
now in the list of available sound sets.
| | 02:29 |
We look inside the folder and we have
seven folders of user-created content.
| | 02:34 |
All I have to do is drag a WAV file on to
the arrange window, solo it out, and Take
| | 02:40 |
a listen.
(MUSIC).
| | 02:44 |
I can also audition the different drum
sounds by using my loop audition player.
| | 02:55 |
(MUSIC).
(SOUND).
| | 02:57 |
(MUSIC).
And I'll turn off the metronome, so that
| | 03:03 |
these files play at their source tempo.
(MUSIC).
| | 03:10 |
I hope you can see the benefits from
logging into Exchange and taking
| | 03:15 |
advantage of some wonderful user-created
content by other Studio One users.
| | 03:23 |
| | Collapse this transcript |
|
|
ConclusionNext steps| 00:00 |
Congratulations on finishing Up and
Running with Studio One.
| | 00:04 |
I hope this course provided you with an
insight into making music using Studio
| | 00:07 |
One's intuitive recording and editing
tools.
| | 00:11 |
I've spent many years recording and
mixing music in several different digital
| | 00:14 |
audio workstations and I feel that Studio
One's layout and work form environment is
| | 00:18 |
one of the easiest to navigate.
If you're interested in taking your
| | 00:23 |
knowledge further, I highly recommend
checking out some of our other audio
| | 00:26 |
courses on lynda.com.
For example, if you're interested in
| | 00:30 |
learning more about recording, I
recommend Audio Recording Techniques with
| | 00:34 |
Bobby Owsinski.
If you're looking to up your skills in
| | 00:37 |
mixing, you can't go wrong with Audio
Mixing Bootcamp with Bobby Owsinski.
| | 00:42 |
Lastly, if you're looking to get back to
the basics, I recommend our foundations
| | 00:46 |
of audio series.
Making music is about getting your ideas
| | 00:50 |
down seamlessly and at the same time,
enjoying the process.
| | 00:54 |
I encourage you to spend time diving
deeper into some of the features that
| | 00:57 |
were covered in this course.
As well as explore other features that
| | 01:01 |
Studio One has to offer.
Because I think, that you will enjoy
| | 01:05 |
making music in Studio One even more.
| | 01:08 |
| | Collapse this transcript |
|
|
