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Reference Manual
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Table of Contents
Table of Contents i
Introduction 1
Installation and Activation 3
Installation 3
Activation 4
Content Installation 8
Setup 11
System Requirements 11
Set Up Your Audio Device 11
Audio Device Input/Output Setup 15
Set Up Your MIDI Devices 17
Managing Your Content 22
Creatinga New Song 24
General Options 26
Advanced Options 27
Fundamentals 31
Nondestructive Editing and Undo/Redo 31
High-Precision Mix Engine 31
Automatic Delay Compensation 31
Audio Dropout Protection 31
MIDI — and beyond MIDI. 31
Drag- and-Dr op 32
Transport Controls 32
Key Commands 32
Studio One Help and Infor mation 33
Flexible Parameter Control 34
ControlLink 34
PreSonus Hardware Integration 35
Working with PreSonus Notion Software 35
Pages 39
Start 39
Song 41
Show 42
Project 42
Quick Switch 43
Recording 44
Audio Tracks 44
Instrument Tracks 48
Activating Recording 52
Metronome Control 53
Loop Recording on Audio Tracks 55
Instrument Track Recording Modes 56
Step Record 58
TrackLayers 59
Audio Recording Format 59
Creatinga Good Monitor Mix 59
Cue Mixes and Low-LatencyMonitoring 59
Print Effects While Recording 61
Editing 63
Events 63
Arrange View Mouse Tools 64
Clip Gain Envelopes 68
The Grid 69
Common Editing Actions 70
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Lock Tracks or Events 75
Convert a Part into a Pattern 76
Audio Loops and MusicLoops 76
Edit Groups 77
Timestretching 79
Comping 80
Transient Detection and Editing 82
TrackT ransform 86
Trackand Event Inspectors 87
Edit View Event Editing 91
Action Menu 102
Patterns 104
Pitch Correction with Melodyne Integration 112
Undo History 113
Navigating with Zoom 113
Macro Toolbar 114
Editing Suggestions 119
The Score Editor 120
The Score Editor 120
Overview 121
Score Editor Toolbar 122
Note Editor Inspector (Score View) 124
Editing the Score 126
The Browser 130
Searching for Files in The Browser 130
Browser Tabs and Search 130
ThumbnailView 131
Gallery View / Toggle Tree Mode 131
Adding Thumbnailand Gallery Images for 3rd-Party Plug-ins 131
The Navigation Bar 131
Instruments and Audio Effects 132
Browsing for Instruments 133
Loops Tab 139
Files Tab 140
Cloud Tab 145
Shop tab 146
The Pool 147
Browsing Song and Project Content 148
Arranging 150
QuicklyDuplicating Events 150
DuplicatingTracks 150
Tempo Track 151
Time Signature 152
Arranger Track 153
Scratch Pad 155
Chord Track 156
Bouncing 164
Mixdown Selection 165
Adding Time to the Arrangement 165
Deleting Time from the Arrangement 166
Folder Tracks 166
TrackList 168
Mixing 170
The Console 170
Effects Signal Routing 178
Channel Editor 185
Groups 190
Scenes 192
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VCA Channels 194
The Listen Bus 196
Metering 198
Automatic Plug-In Delay Compensation 199
Manual Audio T rack Delay 200
Using the Marker Track 200
Looping During Mixing 202
Mixing Down 202
Export Stems from your Song 204
Mixing Suggestions 206
The Show Page 209
The Show Page 209
A Tour of the Show Page 210
Select a Show 211
Create a New Show 211
Add an Open Song to a Show 212
Add Content to the Show 212
Show Setup 212
The Setlist 213
Players and Patches 215
The Show Page Toolbar 219
The Overview window 219
The Controls View 221
Performance Mode 226
Automation 228
What is Automation? 228
Automation Types 228
Editing Automation Envelopes 230
Automation Modes 232
Instrument Part Automation 233
Control Link 236
What is Control Link? 236
Set Up Your External Devices 236
Map Your Keyboard 236
ControlLinking 238
Globaland FocusMapping 239
Automation with Hardware Contr ollers 240
MackieControl Support 241
Mastering 246
Creatinga New Project 246
Adding Tr acks 247
TrackSequencing 249
Editing Tracks 250
Using Insert Effects 251
Master Device Rack 252
Metering 252
Publishing Your Project 254
Song and Project Integration 257
Built-In Effects 259
Built-in Effect Micro Views 259
Analysis and Tools 259
Delay 266
Distortion 269
Dynamics 278
Pro EQ² 283
Mix Engine FX (Studio One ProfessionalOnly) 285
Console Shaper 285
Mastering 286
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Mixing 288
Modulation 295
Reverb 300
Pipeline XT 303
Built-in Virtual Instruments 307
SampleOne XT 307
Presence XT 317
Presence XT Editor 327
Impact XT 334
Mai Tai 339
Mojito 349
Multi Instruments 351
Note FX 354
Video Playback and Sync 358
Video Player Inter face 358
Import Video 358
Sync to Video 359
Exporting Video F iles 359
Import and Export 360
Import Song Data 360
Exporting Audio and MIDIFiles 360
AAF Import and Export 361
Importing Project Files from Other Applications 361
Index 363
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Introduction
Thank you for purchasing PreSonus™ Studio One™ softwar e, and welcome to the Studio One Reference Manual.
Studio One 5.0 is a groundbreaking music-creation and production application for macOS®and Windows®that makesaudio recording,
MIDI sequencing, and audio mastering (in Studio One Professional) easy and fun—the way it should be. From tracking to mixing to mastering and distribution, this is a creative environment built for intuitive use, speed, and efficiency,yet robust enough for the most complex
productions. Version 5.0 adds a wide range of new features, improvements, and advanced technologies.
This manual isa great place to start learning about Studio One, and it also provides an in-depth reference for experienced and new audiosoftware users alike.
PreSonus is committed to constant product improvement, and we value your suggestions highly. We believe the best way to achieve our
goal of constant improvement is by listening to the real experts: our valued customers. We appreciate the suppor t you have shown us
through the pur chase of this software.
Studio One Versions
There are three versionsof Studio One 5.0: Prime, Artist and Professional. Studio One uses a single installer for all versions, and the
product keywith which you activate Studio One determines the version that you run. The following describes the key differences between
the versions.
Studio One Prime
Unlimited audio and instrument tracks
Stereo inputs and outputs
Basicsetof plug-ins, PresenceXT sampler
Basicsetof editing features, including Arranger Track
Content browser with musical search and direct accessto the PreSonus Shop
Stud io One Artist
Unlimited audio and instrument tracks, unlimited simultaneous record inputs
Advanced editing features, including comping, transient detection and editing, pitch correction (Melodyne trialversion), and much
more
Full SoundCloud™ integration
Introduction 1
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30 Native effectsand 5 virtual instruments(adds Impact XT, Sample One XT, Mai Tai and Mojito)
Adds Event-based effects
Adds support for user-definable Macros
Adds support for 3rd par ty VST/AU plug-ins and Rewire
Adds support for Studio One Remote app
Stud io One Professional
Includes allArtist features and content
Adds the Project page, an integrated mastering solution
Adds the Show page, an integrated live performance environment
Adds Arranger T rack and Scratch Pads
Adds Chord Trackand harmonicediting
Adds Score editor based on Notion
Adds AAF and Song Data Import
Adds fully licensed Melodyne Essential 5 pitch corr ection
Adds Extended FX Chains and Multi Instruments
Adds support for 3rd par ty sampler for mats (EXS, Giga, Kontakt, Bitwig)
Adds video playbackand sync
Adds Note FX, Groove Delay, Multiband Dynamics, OpenAIR, Pipeline, and IR Maker Native Effects plug-ins
VST is a registered trademark of Steinberg Media Technologies GmbH
ASIO is a trademark and software of Steinberg Media Technologies GmbH
Introduction 2
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Installation and Activation
This section takes you through the Studio One installation and activation process.
Installation
The process for registering, installing, and authorizing your copy of Studio One willdiffer, dependingon the method you used to acquire it.
Retail Purchase If you bought Studio One in a retailbox and only received a Product Key in the box, you'll register the key and then down-
load Studio One, and then activate itonline upon first launching the product.
Direct Purchase from Shop.PreSonus.comIf you bought the software directly from http://shop.preson us.com, installation and
activation happen entirely online and the purchased software isautomatically added to your user account.
Retail or Direct Purchase of USB Flash Drive If you're installing Studio One from the USB flash dr ivewhich comes with select retail
versions and is also available as an additional accessory purchase from http://shop.presonus.com, your activation willhappen online using
the Product Key after launching the product for the first time.
If you purchased Studio One by any of these three first methods, see Register and Download Stud io One for further detailson registration and downloading your new software.
PreSonus Audio Interface or Audio Mixer Purchase If you bought an AudioBox, FireStudio or StudioLive Ai Mixer product, these all
come with a bundle version of Studio One Artist. Registering the hardware in your My.Presonusaccount automatically givesyou accessto
Studio One and a corresponding Product Key. When you launch Studio One for the firsttime, you can authorize the software using the
provided Product Key.
If you came about acquiring Studio One by purchasing a PreSonus hardware product and wish to claim your Studio One Artist license, see
Register and Download Stud io One Bun dled with PreSonus Hardware for more information.
Creating a My.PreSonus Account
You must have a PreSonus account to install and activate Studio One for use on your system. If you bought Studio One from our website,
you already have a My.PreSonususer account. If you do not yet have a My.PreSonus user account, you'll want to create one.
Beyond being a requirement to download and activate the latest version of Studio One, there are many benefits to creating a My.PreSonus
account including easyaccess to additional documentation and other content files, access to the user forums, latest tips and product
videos,and the ability to easily create a technicalsupport ticket.
To create a user account, go to: http://my.presonus.co m. On that web page, click [Create My PreSonusAccount], then fill out the
provided form and then click[Create My PreSonus Account] again to create your new account.
If your computer isnot connected to the internet, you can still download and activate Studio One by using a different computer that does
have internet access, as described in the Offline Activation section below.
Once you create your account, a verification emailfrom PreSonus is automatically sent to the emailaddress you provided. Click on the link
in the emailto activate your account. You are now r eady to download and install Studio One.
Register and Download Studio One
To download the Studio One installer, log into your My.PreSonususer account at http://my.preso nus.com. Clickthe [Register a
Product] button, choose Software or Extensionsfrom the Choose Product Type menu, and enter your Product Key.
If you bought a license or upgrade for Studio One from our website, the Product Key is sent to you by email. If you bought a boxed version
of Studio One, the Product Key is included in the box. If you bought your copy of Studio One in a retailstore, your dealer may have provided
your Product Key on the sales receipt for your purchase.
Once you've entered the Product Key, click the [Register] button to register your copyof Studio One. A confirmation window appears,and
you can pressthe [View Your Product] button to see your new software in the software section of your My.PreSonus account. T hispage is
where you download your Studio One installer.
The installer download button for your operating system should be the first in the list. If you are downloading from a different type of computer than the computer on which you plan to install Studio One, you can click the [View Other Systems] button to access installer downloads for other operating systems.
Once you have downloaded the appropriate installer for your type of system, run the installer and follow the on-screen prompts to install
Studio One.
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Register and Download StudioOne Bundled with PreSonus Hardware
If your copy of Studio One came bundled with a PreSonus audio interface or mixer, follow this procedure to claim your Studio One Artist
license and download the installer.
First, visit my.presonus.comand log into your user account. Here you can register your hardware and any software it came bundled
with. If your har dware came with a Studio One Product Key, register Studio One with that key, as described in Register and Download
Stud io One, then r egister your new hardware as described below.
If no Studio One Product Key is provided with your bundled hardware, registering the hardware willautomaticallyregister its bundledsoftware and enable the software to be downloaded and installed. In thiscase, clickthe [Register a Product] button in your My.PreSonus
account page, choose Hardware from the Choose Product Type selector, and enter the purchase date and serial number of your new
hardware into the form. Your hardwar e's serial number can be found on the bottom of the unit, as wellas on the provided registration card.
Once you have entered the serial number and purchase date, click[Register] to conclude the hardware registration process. Then, click
[View Your Product] to see all the newly registered hardwar e and software in your account. In the Studio One Artist section, click the [View
More Details] button to accesssoftware downloadsand further installation information.
The Studio One installer download button for your operating system should be the first in the list. If you are downloading from a different
type of computer than the computer on which you plan to installStudio One, you can clickthe [View Other Systems] button to access
installer downloads for other operating systems.
Once you have downloaded the appropriate installer for your type of system, run the installer and follow the on-screen prompts to install
Studio One.
Activation
Studio One mustbe activated for use on your computer. Once installation is complete, launch Studio One. The License Agreement
appears.
Click[I Accept] to accept the agreement. The PreSonus Login window is then displayed.
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If you already have a user account, enter your email address (or My.PreSonus username) and password, and press [Login] to log into
your account.
If you need to create an account and your computer is connected to the internet, clickon [Create My.PreSonus Account].
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Fill in your desired user-account details, and click[Create PreSonus Account].
Activating Studio One
In most cases, Studio One willself-activate the first time you log in with your My.PreSonus account. In the rare instance where you have
multiple licenses of the same Studio One version registered to the same My.PreSonus account, you willneed to select which license to activate. If you have not already done so, launch Studio One and select Studio One Activation from the Studio One menu.
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Online Activation
If the computer on which Studio One has been installed is connected to the Internet, select the [Activate my pur chased version of Studio
One] option. Click the drop-down button next to the Product Keyfield, and choose Show my Existing Product Keys from the menu. Your
registered Studio One license(or licenses) are shown. Choose the license you wish to use, and clickthe [Activate] button to finish the activation process.
If you purchased a PreSonus Sphere license and your subscription license is currently active, Studio One willbe activated automaticallyat
launch if your computer is connected to the Internet. In this case, the “Activate with PreSonus Sphere” option remains active. In order to
run a PreSonus Sphere license, your computer musthave an active Internet connection at least once within two days.
To checkthe current status of your PreSonus Sphere license, checkthe “About Studio One” window.
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Offline Activation
If the computer on which Studio One has been installed is not connected to the Internet, click [Activate Offline] in the Studio One Activation
window, and make note of the Activation Code shown in the instructions. Offline Activation lets you activate your copy of Studio One using a
separate, internet-connected computer. To activate Studio One in thisway, you will need a USB flash drive (or other portable data storage
device), a written copy of your ProductKey, and your Activation Code.
Head to a computer withan Internet connection, visit h ttp://my.presonus.com,and log in to your account. Clickthe [Register a Product]
button, choose Software or Extensions from the Choose Product Type menu, and enter your Product Key, as printed on the Studio One
package or provided via email. Click on [Register], and you are taken to your Software list.
Clickthe [View Mor e Details] button for the version of Studio One in your Software list, and then click[Offline Activation] on the next page.
Click[Activate Software], and enter the Activation Code provided by Studio One. You may also enter a computer name to help you keep
track of your five allowed activations.
Click[Offline Activation] again, and then click [Download License] to download your User License file. Save thisfile to some sort of external
media (such as a flash drive or CD-R), and then copy the file to the computer on which Studio One is installed.
In Studio One, navigate to the Studio One/Studio One Activation dialog again, click[Activate Online], then click[Select License File] to load
your user license file, activating Studio One.
Content Installation
Studio One comes with many audio loopsand instruments that are organized into Sound Sets, as wellasdemo songs and tutorial videos.
The number of Sound Sets available for installation depends on the version of Studio One you have installed (Artist or Professional). To
installthe Sound Sets and demo/tutorial material, launch Studio One and open the Studio One/Studio One Installation menu item.
In the InstallFrom selector, you can choose to download allselected content from your PreSonus Account, or navigate to downloaded content in your file system (or a provided USBstick). If you wish to installanyfurther content at a later time, you can alwaysreturn to Studio
One/Studio One Installation window to do so.
By default, all packages included with your version of Studio One are selected for installation. You can set the Install To location to any
desired location on your computer, then clickon [Install].
As your files download, a Transfers window is shown, giving information on the status of each file queued for download. If you hide the
Transfers window and later wish to see it again, navigate to View/AdditionalViews/Tr ansfers, or just click the animated arrow button in the
toolbar, which lookslike this:
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After installation, you can find allof the installed content in the Browser, which is on the Song page. Demos and tutorialscan be accessed
from the Start page. Instrument presets are listed under the related instrument in the Instruments tab of the Browser, as well as the preset
browser in the plug-in window.
Downloading Included Content from My.PreSonus.com
If you have any difficultydownloading the content from within Studio One, you can always visit my.presonus.co m to download the content
directlyfrom your user account page. T o do this, first log into your user account, then clickthe [My Products]button to view your registered
software.
Clickthe [View Mor e Details] button under your current Studio One license to view available downloads. All included Sound Sets and content ar e available to download on this page. Once downloaded, to installthe content, simply double-clickeach file, or drag it onto the Studio
One window.
Installing Add-On Content
If you need to install additional content you've pur chased from the http://shop.presonus.com alongside Studio One, or as an Add-on at
a later time, simply locate and select it from the Studio One Installation window, listed as “My Purchased Items.” Alternatively, download the
content from your http://my.preso nus.com account. To installthe content to the defaultuser location, simplydouble-click or drag the content onto the StudioOne window.
If you wish to store the content in another location, place it there, and add that location to Studio One/Options/Locations (macOS:Prefer-
ences/Locations). There, you can add new locations for Sound Sets, Instruments, and 3rd-party plug-ins. Once you tellStudio One where
your new content islocated, it becomes available for use in Studio One.
Activating Add-On Content
Once you've installed add-on content, you are prompted to activate it. If your computer is connected to the internet, simplypress the [Activate] button to activate the content in the current copy of Studio One.
If your computer isnot connected to the internet, go to a computer with internet service, and log into your my.presonus.com user
account. Click[My Products] to see your registered products, then click[Add-ons] to see your purchased add-on content. Locate the addon you are tr ying to install, and click[View More Details].
On the following screen, click [Offline Activation], and download the license file for your add-on content. Transfer this license file to your Studio One computer using a flash drive or other form of removable storage device.
Once you installthe add-on content, you are prompted to activate the content. Press [Select License...] and navigate to your new license
file. Once the activation is confirmed, r estart Studio One to use your new content.
Melodyne
We have partnered with Celemonyto bring you accessto their Grammy-winning Melodyne, a useful timing and pitch correction and manipulation tool that integrates closelywith Studio One. Studio One Artist comes withCelemony Melodyne Trial.
We have partnered with Celemonyto bring you accessto their Grammy-winning Melodyne, a useful timing and pitch correction and manipulation tool that integrates closelywith Studio One. Studio One Professional comes with a full Celemony Melodyne Essential 5 license.
Installing Melodyne
In Studio One, navigate to Studio One/Studio One Installation. Check the box next to the version of Melodyne that islisted to select it. Once
selected, you can click [Install] to install Melodyne.
Studio One Professional comes with a full license for Melodyne Essential 5. Click the [Claim Product Key] button next to the Melodyne listing
to claim your Melodyne product key. T he key is displayed, and you can clickthe [Copy] button to copy it to the clipboard.
Authorizing Melodyne Essential
Before you can use Melodyne Essential, you must first launch the standalone Melodyne application that is installed along with the plug-in
versions. Once opened, press the [Enter Serial Number] button, then type or paste in the provided Melodyne Essential serial number, and
press [Continue]. You are then prompted to register your copy of Melodyne, by clicking [Create myCelemony account]. Follow the prompts
to register your copy of Melodyne Essential.
Once registration is finished, you can quit the standalone Melodyne application, and then launch Studio One to begin using Melodyne
Essential.
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Starting your Trial of Melodyne
Before you can begin to try out Melodyne, you must first launch the standalone Melodyne application that is installed along with the plug-in
versions. Once opened, press the [T ry out Melodyne editor] button to start the trial process, then follow the pr ompts to authorize your 30day trial.
Once the tr ialhas been activated, you can quit the standalone Melodyne application, and then launch Studio One to begin using Melodyne
Trial.
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Setup
This chapter contains information about Studio One system requirements, hardware device setup, and software setup. A thorough knowledge of thisinformation is helpful before attempting to work in Studio One.
System Requirements
The following are the system requirements to run Studio One.
macOS®(10.13 or higher) systems
Minimum Hardware
Intel®Core™ i3 processor
4 GB RAM
Recommended Hardware
Intel Core™ i5 processor or better
8 GB or more RAM
Windows 10 (64- bit only) systems
Minimum Hardware
Intel®Core™ i3 processor
4 GB RAM
Recommended Hardware
Intel Core™ i5 processor or better
8 GB or more RAM
Add ition al Requirements (all Systems)
Internet connection on an available computer (for installation, activation and updates)
A monitor resolution no lower than 1366 x 768 resolution (high-dpi monitor recommended)
Multi-touch enabled monitor required for touch operation (in macOSsystems, monitor must support TUIO)
40 GB available hard-drive space for installation, content, and recording projects
Set Up Your Audio Device
Studio One automaticallyselects an audio deviceto use for audio input and output, pulling from a list of devices currently installed on your
computer. If you have a PreSonusaudio interface, it isselected automatically.
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Then follow these steps to configure your audio device for use in Studio One:
1. Navigate to Studio One/Options/Audio Setup/Audio Device (macOS: Preferences/Audio Setup/Audio Device) to open the Audio
Device settingswindow.
2. Select your audiodevice:
macOS: Select your chosen playback (output) device from the Playback Device menu. Select your chosen recording
(input)device from the Recording Device menu.
Windows:Select your device for audio input and output from the Audio Device menu.
3. Some devices offer a selection of configuration options. If your connected device has those controls, you can click on the [Control
Panel] button next to the device selection drop-down menu and make your changes within the device’s control panel. If your
device does not offer these options, the Control Panel button isgrayed out.
4. Set Device BlockSize to fit your needs. Lower settings minimize latency, which is useful when tracking. Higher settings bring mor e
latency, but give you additional processing power for effects and instrument plug-ins. Generally, you want to pick the lowestblock
size that still lets your system per form correctly. If you require higher performance but want to keep latency low, you can increase
the level of Dropout Protection and employ Low-LatencyMonitoring, as described here.
5. When the aforementioned settings are selected, your system’s current total input and output latency, sample rate, and bit depth
are reported below the Audio Setup menus.
6. Release Audio Device in Background (Windows only) isdisabled by default. When engaged, the current audio device is made
available to other applications when Studio One is minimized.
Import/Export Device Configurations
If you have already created a device configuration on a different setup, you can import that configuration into Studio One. You can also
export your device configuration from Studio One and use it on a different setup. Those features are available on the Song Setup page and
are described in the Audio Device Input/Output Setup section of the manual.
Audio Dropout Protection and Low-Latency Monitoring
When you are working with a large amount of audio tracks and virtual instruments, computer performancecan limit your capabilities. You
can increase the amount of buffer to help free up computer resources, but this traditionallycomesat the costof greater latency (or delay)
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when monitoring audio inputs or playing virtual instruments. Set the buffer too low, and audio dropouts and glitches can occur.
To remedy this, Studio One features Audio Dropout Protection and an advanced Native Low-LatencyMonitoring system. Under this system, the tasksof audio playback and monitoring of audioinputs and virtual instrumentsare handled as separate processes. This, in effect,
lets you use a large processing buffer to handle heavy audio playback and effectsprocessing tasks, while keeping latency low for audio
input and virtual instrument monitoring.
Device Block Size Vs. Process Block Size
The latencythat you hear when monitoring audio inputs or playing virtual instruments isbased primarily on the Device BlockSize that you
specify in the Studio One/Options/Audio Setup/Audio Device (macOS: Preferences/Audio Setup/Audio Device) window. For the lowest
latency, DeviceBlock Size should be set to the lowest setting that provides the performance you need.
The Audio Dropout Protection system uses its own buffer for playback and processing of audio tracks, distinctfrom the Device BlockSize
setting. The size of this buffer (also known as the Process Block Size)depends on the Dropout Protection level that you specifyinthe Stu-
dio One/Options/AudioSetup/Processing (macOS: Preferences/Audio Setup/Processing) window. If you use Native or Hardware LowLatency Monitoring, the Dropout Protection level has no effect on audible latency,though higher levelscan affect the responsiveness of
onscreen meters and displays.
As long as the Process BlockSize is larger than the Device Block Size you've specified, you have the option to use Native Low-Latency Monitoring.
Monitoring Latencies
The Monitoring Latencies displayshows you the latencyvalues for audio inputs (round-trip, from input to output) and virtual instruments,
based on the current Device Block Size and Dropout Protection settings. The "Standar d"column shows the latency for the current settings
if you choose not to use Low-LatencyMonitoring, while the "Low Latency"column shows valuesfor the Native Low-Latency Monitoring system.
Plug-in Use with Native Low-Latency Monitoring
When monitoring an audio input or virtual instrument through the Native Low-Latency Monitoringsystem, anyinserted FX on the corresponding Channel continue to function and can be heard in realtime, provided that they add 3 ms or less of latency. Plug-ins that meet
this latencyrequirement show a green power button in the Console (rather than blue or gray). Any inserted plug-ins that introduce more
than 3 ms of latencyare not audible in the monitoring path while a Channel is armed for monitoring or recording under Native Low-Latency
Monitoring. T hey begin functioning again when recording/monitoring mode is disengaged.
The following plug-in types and configurations are not supported on Channels that utilize Native Low-Latency monitoring:
External effects, routed into the system using the Pipeline plug-in
Analyzer plug-ins
FXChainsthat incorporate Splitter devices
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Configuring Audio Dropout Protection and (Native or Hardware)Low-Latency Monitoring
To configure Audio Dropout Protection and Low-Latency Monitoring, do the following:
1. Navigate to the Studio One/Options/Audio Setup/Processing (macOS: Preferences/Audio Setup/Processing) settings window.
2. Choose your desired level of protection from the Dropout Protection drop- down menu. The Process BlockSize display shows you
the corresponding processing buffer size. If you want to use Native Low-LatencyMonitoring, choose a Dropout Protection level
that sets the Process BlockSize to a value that ishigher than the Device Block Size you have selected.
3. For low-latency performance when playing virtual instruments, enable the "Enable low latency monitoring for instruments" option.
If you run into performance issues when using a virtual instrument with particularly high CPUusage, you may want to disable this
option.
4. If using a supported DSP-enabled audiointerface, you havethe choice to use itsonboard Hardware Low Latency Monitoring
(and hardwar e DSP-based effects when available, as with the PreSonus Studio 192) for incoming audioinputs, or to use the Native Low LatencyMonitoring that Studio One provides. Enable "Use native low latencymonitoring instead of onboard DSP" to use
Native Low-Latency Monitoring, or disable it to use Hardware Low-Latency Monitoring.
Note that when using Hardware Low-Latency Monitoring to monitor an audio input, Insert F X do not function on the
related Channel, since the audioinput is being monitored before it reachesStudioOne. If Insert FX are needed while
tracking, use Native Low-Latency Monitoring instead. To do this, navigate to Studio One/Options/Audio Setup/Pro-
cessing (macOS: Preferences/Audio Setup/Processing) and enable the "Use native low-latencymonitoring instead of
hardware monitoring" option.
Enabling Low-Latency Monitoring in the Console
Once you've configured your system to use Native or Hardware Low-Latency Monitoring, you can toggle low-latencymonitoring on and off
for the Main output as wellas any Cue Mix outputs you've specified, by clicking the Enable Low-LatencyMonitoring button ("Z", short for
Z-Mix) below the volume fader for the related output. When low-latency monitoring is disabled, the "Z"button goes dark. When Native
Low-LatencyMonitoring is enabled, the "Z"button tur ns green. When Hardware Low-Latency Monitoring is enabled, the "Z" button turns
blue.
Monitoring Mode Attributes
This table describes the primary monitoring methods available in Studio One, and the conditions that must be met to use them.
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Type Z-Mix
Necessary Condi-
tions
Monitoring Insert FX Send FX
Standard Software Monitoring
Disabled Large Device Block
Size, low Process
BlockSize (Dropout
Protection)
Standard latency Allfunction Allfunction
Native LowLatency Monitoring
Enabled Process BlockSize
(Dropout Protection)
must exceed Device
BlockSize
Native low-latency Plug-ins with 3ms or
lessof latency function normally, all others are disabled
Allfunction
VirtualInstrument
Low-Laten cy Monitoring
Enabled Process BlockSize
(Dropout Protection)
must exceed Device
BlockSize
Native low-latency Plug-ins with 3ms or
lessof latency function normally, all others are disabled
Allfunction
Hardware LowLatency Monitoring
Enabled "Use software low-
latencymonitoring
instead of hardware
monitoring"option
must be disabled
Hardware lowlatency
No Insert FX function
Allfunction
Process Precision
By default, Studio One’spr ocessprecision is set at Single (32-bit). If using Studio One Professional, you may choose double precision (64bit) from the Process Precision drop-down menu.
Supported Devices
Studio One supports most audio devices, including those that run on ASIO or WASAPI (Windows) or Core Audio (macOS) drivers.
When using a WASAPI audio device in Windows, note that WASAPI offers Exclusive and Shared modes of operation. In Exclusive mode,
lower latencycan be achieved, but other applications (such as Windows Media Player) cannot use the audio device at the same time.
Refer to the Windows Contr ol Panel/Hardware and Sound/Sound to configure the options for your WASAPIdevice.
Performance Monitor
When setting up your audio device (specifically when determining appropriate Internal or Device BlockSize, or selecting Single or Double
Process Precision), you should take into account the related performance demandson your computer.
Open the Performance Monitor byselecting it from the View menu, or by clicking on the [Performance] button in the Transport. This monitor displaysthe current relative overall CPU and disk performance, as wellas the performance of instruments and automation.
When these meters approach or reach the top of their range, you may need to consider altering your audio device settings (or changing
the Song or Project) to avoid audible clicksand pops or possible instability.For instance, it is common to lower the Device and/or Internal
BlockSize while recording to keep monitoring latency low but then to increase Block Size while mixing to provide as much CPU headroom
as possible for effects processing.
If any playback issuesare encountered with third-partyvirtual instrument or effect plug-ins that have their own multiprocessor support
implementation (e.g., NI Kontakt, FL Studio), it is recommended that this support be disabled in the plug-ins.In this case, Studio One manages all processor scheduling.
Audio Device Input/Output Setup
Software I/O Channels
In most recording applications,audio tracks are directly correlated to the channelsof your hardware audio device. In Studio One, there is a
layer of software I/O (input and output) channels between your hardware audio device channels and your Tracks. This setup affords many
advantages over the traditional method.
For instance, let’ssayyou produce a Song in your studio, using a multi-channel interface, then take your Song file to your friend’s studio,
where you use a different audio interface. Simply connect your friend’s hardware audio device channels to the correct software I/O channels. When you get back to your studio, the original I/O configuration for the Song is automaticallyloaded for you, as if you never left. You
can do the same thing if you need to open the Song on your laptop using its built-in audio hardware.
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This is possible because Studio One stores I/O configurations with your Song, per computer and per audio devicedriver, ensuring that
your Song remains highly portable and is never “broken” by changing audio devices.
Audio I/O Setup Menu
Each Trackin a Song receivesa signal from an input source and routes to an output destination. The input sources and output destinations
made available to each Track are determined by the software I/O channel configuration created in the Audio I/O Setup menu. To view this
menu and set up a default I/O configuration for each Song, create a new Song by clicking on Create New Song in the Start Page and navigate to Song/Song Setup/Audio I/O Setup.
The configuration of the Audio I/O Setup is done withineach Song, so that it is possible for each Song to have a separate I/O setup. As discussed below in DefaultDeviceI/O Setup, a default I/O setup can be created so that each new Song defaultsto a particular I/O setup if you
desire.
In the Audio I/O Setup menu there are two tabs: one for input configuration and one for output configuration. In each tab a Matrix Routing
view shows the current configuration, with the vertical columns indicating hardware audio device channels (hardware I/O) and the horizontal rowsindicating created software I/O channels. Software I/O channels function as the input sources and output destinations available
to individualTracks in Studio One.
Add or Remove Software I/O Channels
Clickon the [Add (Mono) ] or [Add (Stereo)] button to add an Input or Output Channel, depending on which tab you are currently viewing.
When a new channelisadded, the next unassigned hardware inputs or outputsare assigned to the new channel by default.
To remove any channel, click on the channel to select it and then clickthe [Remove] button. T o rename any channel, double-click on the
name of the channel, type a new name, and pressEnter.
It is also possible to add any number of new inputs and outputs at the same time. To do this, first select the Inputs tab or the Outputs tab,
and then click [Add...] to accessthe Add I/O Channels window. From here you can give the new channelsa name, select whether they will
be mono or stereo, enter how many channels should be added, and specifya color. If you are adding more than one channel the names
willincrement automatically(Name, Name+1, etc.). Then click OK to create the channel(s), and they will be added to the configuration.
Finally,in order for these software I/O changes to occur, be sure to click [Apply] before exiting this menu. If you decide you want to start
over with the original configuration for your device, click [Reset to Default].
Assigning Hardware I/O to Software I/O Channels
Hardware inputs and outputs are assigned to software I/O channels in a matrixrouter, which is a visual representation of the routing. Software channels (mono and stereo) are each given a horizontal row, and hardware inputs and outputs are given verticalcolumns. T he
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points at which theserows and columns intersect represent potential connections, or routes, between the hardware I/O and software I/O
channels.
By default, Studio One creates three Input Channels: one stereo and two mono. These channels are labeled Input L+R (stereo), Input L
(mono), and Input R (mono). By default, the stereo Input Channel receives input from the first stereo hardware input pair of your selected
audio device. The two mono Channelsreceive input from the same stereo hardware input pair.
The Output Channelislabeled Main Out (stereo) and isrouted by default to the first stereo hardware output pair of your selected audio
device.
To create a route between software I/Ochannelsand hardware I/O, click on the empty square at the intersection of the desired hardware
input or output and the software channelinput or output. A colored square appears with an M, L, or R label, indicating whether the route is
a mono route (M) or the left or right side of a stereo route (L or R).
While it is uncommon for Audio I/O Setup changes to be required in the middle of Song production, the audio I/O routing can be changed at
any time. However, you should be aware that routing changes affect all associated Tracks, possibly switching inputs for audio Tracks, changing the hardware output for the Main Output, and so on.
When making new routes in the Audio I/O Setup menu, notice the meters to the left of the software I/Ochannels. By displayingsignal levels
on each channel, these meters help you ensure that the appropriate routingshave been made.
Default Device I/O Setup
We recommend that you create a default Audio I/O Setup that can be a starting point for allnew Songs. This lets you immediately begin
working in your new Song, with little or no preliminary setup.
To do so, create software I/O channels for all of your audio device’scommonlyused inputs and outputsand name them appropriately.
Then, click on the [Make Default]button in the Audio I/O Setup menu, and a pop-up window appears to confirm that you wish to make the
current I/O setup the default for new Songs. ClickYes, and from that point forward all new Songs are created with this audio I/O setup.
You can alwaysuse the [Reset to Default] button to apply this configuration to a song.
Import/Export Device I/O Configurations
If you have already created a device configuration on a different setup, you can import that configuration into Studio One. You can also
export your device configuration from Studio One and use it on a different setup.
There are two ways to access these features: either navigate to Song > Song Setup, or use [Ctrl]/[Cmd]+, to accessthe Options/Preferences page. If it isnot already selected, clickthe Song Setup button at the bottom of the page and select the Audio I/O Setup menu
at the top.
The Import/Export buttons are located on the lower right side of the page. To import a device configuration, click Import, navigate to the location of the file, and clickOpen. The I/O configuration will replace your current one then.
You can also simply drag-and-drop the device configuration file onto the Audio I/O Setup window. Then the I/Osetup will be added to your
current configuration.
Be sure to click[Apply] to confirm the configuration change before you exit the menu.
If you want this configuration to be the starting point for every new Song, click the [Make Default] button. A pop-up window will appear and
ask you to confirm your choice. Click Yes, and from that point forward allnew Songs will begin with this audio I/O setup.
To export the configuration of the current device, click the Export button. The default location for the file is*Documents\Studio One\IO Configurations, but you can navigate to a different location. Clickthe Save button and the file willbe exported with the extension .ioconfig. You
willonlyneed to do this once; the .ioconfig file contains the data for both the Input and Output tabs.
Audition Channel
The Preview Player in the Browser and in the Import File menu uses the Audition channel for audioplayback. Any stereo Output Channel
can be used as the Audition channel, allowing you to audition sounds from an output other than your main output.
Set Up Your MIDI Devices
AllMIDI-capable hardware devicesare collectivelyreferr ed to as External Devices in Studio One. There are three typesof External
Devices: Keyboards, Instruments, and Control Surfaces. While each device type functions in a slightly different way, there is one menu to
add and configure any External Device. The menu can be found by navigating to Studio One/Options/External Devices/Add Device
(macOS: Preferences/External Devices/Add Device).
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Set Up MIDI Keyboards
A MIDI keyboard controller isa hardware MIDI device that isgenerallyused for playing and controlling other MIDI devices, virtual software
instruments, and software parameters. In Studio One, these devicesare referred to as Keyboards. Before recording a perfor mance with a
Keyboard, the MIDIkeyboard controller must first be set up inStudio One. Once a Keyboard is set up, it is availableat all times for use in Studio One.
To set up your Keyboard, navigate to Studio One/Options/External Devices (macOS: Preferences/ExternalDevices) and follow these
steps:
1. In the Options/External Devices menu (macOS:Preferences/External Devices), click on the [Add...] button.
2. Choose your device from the predefined device list or set this to New Keyboard if you do not see your device in the list.
If set to New Keyboard, you may wish to type in a Manufacturer Name and a Device Name in the appropr iate fields. This
makes identifying your Keyboard easier.
3. Specifywhich MIDI channelsto use to communicate with this Keyboard. AllMIDI channels are selected by default.
If you are unsure of the appropriate MIDI channels to use, just leave this at the defaultsetting.
4. Engage Split Channelsif you would like to create a separate Instrument Tr ackinput for each MIDI channel from the Keyboard.
5. Specifythe device to which the Keyboard issending and the device from which it isreceiving via Studio One. Select your device
driver name from the drop-down menu for both Receive From and Send To.
6. You can choose to use this Keyboard as your Default Virtual Instrument Input by checking the appropr iate box. If you are using
only one Keyboard with Studio One, you should check this box.
7. Enable MPE if your Keyboard isable to tr ansmit MPE data (MIDIPolyphonic Expression). Use the Pitch Range field to specify the
range of the keyboard (the number of keys in chromaticsteps). Note that when the Enable MPE box is checked, the MIDI Channels and Split Channelsfields are disabled.
Also, Enable MPE must be active for a virtual instrument if you want to take advantage of thisfeature. This is done in the Instru-
ment Editor wind ow.
Your Keyboard is now ready for use in Studio One.
Clickon the "+" button in the Externalwindow of the Console to quickly set up a new Keyboard or other External Device.
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Set Up External Hardware Instruments
In Studio One, an ExternalInstrument isan external MIDI hardware synthesizer, workstation, or other device that can generate or manipulate sound. External instruments are set up globally and then are available for use in any Song. The audio output of an external instrument can be routed through one or more Aux Channelsin the Studio One Console, where its volume can be controlled with sampleaccurate automation, its live signal can be processed by the effects plug-ins, and itsperformancecan be included in a Trackbounce, an
exported Stem, or the mixdown of a Song.
To set up your Instrument, navigate to StudioOne/Options/External Devices (macOS: Prefer ences/ExternalDevices) and follow these
steps:
1. In the Options/External Devices menu, clickon the [Add...] button.
2. In the left-hand browser, choose your device from the predefined device list. Set this to New Instrument if you do not see your
device in the list. If set to New Instrument, you may wish to type in a Manufacturer Name and a DeviceName in the appropriate
fields.This makes identifying your New Instrument easier.
3. Specifywhich MIDI channelsto use to communicate with this Instrument. MIDI Channel 1 isselected by default. If you are unsure
of the appropriate MIDI channelsto use, just leave this at the defaultsetting.
4. Specifythe device to which Studio One is sending MIDI and the device from which the software isreceiving MIDI. Select the appropriate MIDI device from the dr op-down menu for Send To and (optionally) Receive From. It is likely your external instrument is not
connected directly to your computer. In this case, your external instrument must be physically connected to another MIDI device
(such as a MIDI interface) that does connect to your computer ; you need to select the driver for that device.
5. You can choose to send MIDI Clock to this Instrument and/or use MIDI Clock Start by checking the appropriate boxes. You should
send MIDI Clock to your Instrument if it has a built-in sequencer or components ( such as LFOs) that need to sync to Studio One.
Enabling MIDI ClockStart sends MIDI Clock Start signals to your Instrument.
6. You can choose to send MIDI Time Code to this Instrument. You can set a DisplayOffset under Song/Song Setup/General to
correct for time-code variances with external devices.
7. You can vary the speed at which Automated MIDI CC messagesare transmitted, using the CC Automation Interval slider. You
can vary the value between 10-100 ms, with the default value being 10 ms.
8. Enable MPE if your Instrument has is able to receive MPE data (MIDIPolyphonic Expression). Use the Pitch Range field to specify
the range of the instrument (the number of chromatic steps it can reach). Note that when the Enable MPE box is checked, the
MIDI Channels field is disabled.
Set Up Your MIDI Devices 19
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Your external instrument isnow available for use in any Song. The easiest wayto use an external instrument in a Song is to set up an Aux
Channel. T his isdescribed in the next section.
Note that if your instrument is also a controller (such as a keyboard workstation), you need to set it up twice. First, set it up as an External
Instrument without a ReceiveFrom selection, and then set it up as a Keyboard, without a Send To selection. T hisallows the keyboard-controller section of the workstation to be used as a source for Instrument Tracks, while allowing the synthesizer section to be used asan
external instrument.
Set Up an Aux Channel
An Aux Channel allows an external audio source to be monitored through the Console without the need for an associated tr ack. The incoming audio can be processed by the native plug-in effects, and its volume can be controlled through the sample-accurate automation
provided by Studio One.
An Aux Channel is also useful when working with an external MIDI hardware synthesizer, for example, as you can make changes to the
MIDI data on an Instrument track without needing to record another taketo your hard drive. Audio from the device returns through your
audio interface into an Aux Channel, wher e it becomes a part of the mix like any other track.
Here's the process:
1. Click[External] in the Console Navigation column to open the External Devices panel.
2. Clickthe menu arrow for the externaldevice.
3. Select Edit from the menu to open the control mapping window.
4.
Clickthe Outputs button ( ).
5. Select Add Aux Channel at the bottom of the window. An Aux Channel appears in the Console.
6. If your external instrument has multiple outputs connected to your audio interface, add as many Aux Channels as you need.
7. Important: ClickSave Default before closing the window; we'llexplain that later.
8. Route the Aux Channel to the desired output. Your external device is now available the Console.
Remember that the externalinstrument needs to be physically connected to one or more inputs on your audio interface, since its audio will
always be "live". Note that different versions of the Audio I/O setup can be saved for different use cases.
Note also that running external audio signals through the Consolemeans that bouncing, rendering and mixdown automatically switchesto
real-time.
Make anInstrument Track for the Aux Channel
Here's why it was important to click Save Default after adding the Aux Channel. After following the steps in the previous section, the new
Instrument becomes available in the “ExternalInstruments” folder in the Browser / Instruments tab. T his enables you to create a new
instrument tr ackwith AUX inputsin one step: Simply drag-and-dr op the instrument from the Browser onto an empty Tr ack. This automatically creates the Instrument Track with the AUX channelsalready mapped.
Of course, you can always create an audio Track to record the output of the externalinstrument if you like. The easiest way to do this is to
use the Bounce Trackcommand, which createsthe Audio Track and bouncesthe audio in one step.
Set Up Control Surfaces
In Studio One, a Control Surfaceisa hardware device that includes transport controls, faders, and other specialized controls. T he control
surface might use MIDI directlyor via a special control layer suchas Mackie Control.
To set up a ControlSurface, do the following:
1. In the Options/External Devices menu (macOS: Preferences/External Devices, click on the [Add...] button.
2. Choose your device from the predefined device list. Set thisto New Control Surface if you do not see your device in the list. If set to
New Control Surface, you maywish to type in a Manufacturer Name and a Device Name in the appropriate fields. Thismakes
identifying the ControlSurface easier.
3. Specifythe device to which the ControlSurface is sending and the device from which it is receiving via Studio One. Select your
MIDI device driver name from the drop-down menu for both Receive From and Send To.
4. You do not need to specify the MIDI channels your Control Surface should use, as control surfaces use alternative pr otocols, such
as Mackie Control, to communicate with Studio One.
5. Your Control Surface is now ready for use in Studio One.
For more information on using Mackie Control devices with Studio One, see Mackie Control.
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Custom Placement of Control Surfaces
If you are using multiple surfaces with motorized faders, you can customize the placement of the fader banksso that Channelsin the Studio
One Console ar e spread across your surfaces in the desired order.
To customize this placement, clickon Placement in the Options/External Devices menu after adding your surfaces. Allungrouped surfaces
appear under the Ungrouped tab. To place a surfacein a group, select a Group tab, then click-and-drag the surface from the Ungrouped
area to the selected gr oup area. To adjust the order of the grouped surfaces, click-and-drag them left or right. Channelsin the Console
appear in order across the surfaces from left to right.
Up to four Groups can be created, to allow for mirroring of Channels across multiple surfaces. Thisis helpful if you have more than one location in the studio where you wish to use control surfaces(e.g., an A room and B room or a control room and live r oom).
Onlysupported and predefined Control Surfaces appear in the Placement window. User-defined devices do not appear in this window.
Use Your Computer Keyboard as a MIDI Keyboard
You can use your regular QWERTY computer keyboard as a MIDI Keyboard to play virtual instruments and record note data in Studio
One. To do this, add a new device in the Studio One/Options/External Devices/Add Device menu (macOS: Preferences/External
Devices/Add Device), choosing the QWERTY Keyboard device from the PreSonusdevice folder.
Set Up Your MIDI Devices 21
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With the device added, to use your keyboard as a MIDI Keyboard, open the interface for the QWERTY Keyboard device by double-clicking
on it inthe External panel of the Console. Any record-enabled Instrument T rack then receivesinput from the QWERTY Keyboard, as
shown in the QWERTY Keyboard device interface. Your keyboard only transmits data to Instrument Tracks while the QWERTY Keyboard
device interface is open.
Using the PreSonus FaderPort
If you have a PreSonus FaderPort connected to a computer running macOS or Microsoft Windows, Studio One automatically recognizesit
and configuresit for use. Just open a Song or Project to use the FaderPor t immediately.
Reconnect Devices
In most applications, when MIDI devices become disconnected while the application is running, you usuallyhave to restart the application,
and the software may crash. In contrast, if an external MIDI device becomes disconnected while Studio One isrunning with a Song or Project open, the device can be r econnected without restarting Studio One.
If this occurs, navigate to Studio One/Options/ExternalDevices (macOS: Preferences/External Devices) and clickon Reconnect at the bot-
tom of the menu. Then reconnect your devicesand click OK. The devicesshouldnow work normally in Studio One.
If an external device is not present when Studio One is started—for instance, if you’re traveling and don’t have some of your gear with
you— the application still runs nor mally. You should see a warning message that makes you aware of the situation. If your setup frequently
changes, you may wish to turn off thiswarning message by disengaging the Notify Me If Devices Are Unavailable When Studio One Starts
option.
Later, when you start Studio One with the device connected to your computer, Studio One recognizes the device automatically, and it can
be used exactly as before, with no further setup required.
Managing Your Content
Content management and file management can become unwieldy when working with digital audio workstation software due to the sheer
volume of loops, effects,song ideas, individual tracks, and so on. In Studio One, you onlyneed to locate your preexisting content once, after
which all of the locationsare remembered. Any content you create using Studio One is similarly managed. In Studio One, your content is
kept in distinct categories.
The following describesthe process of managing your content using the Studio One/Options/Locations (macOS: Preferences/Locations)
menu.
User Data
Any content you create using Studio One is automatically stored in the location you specify. This includes Songs, Projects, Effects Presets,
and all of the files these categoriescontain.Allof your creativeoutput can be logically organized and kept in a single place, which makes
Managing Your Content 22
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future location and backup a breeze.
When creating a new Song or Project, the User Data folder is the default save location. While we recommend using this location, you can
specify any save location when creating any new Song or Project.
Engage the Auto Save Documents option to automatically save any open document at a specified interval of time.
Engage the Ask to Copy External Files when Saving Song feature to be given the option to consolidate any outside files to the central data folder when saving a Song.
File Types
Allsupported file extensions are listed in the Studio One/Options/Locations/FileTypes (macOS: Preferences/Locations/File T ypes) menu.
Onlythese supported filetypesare displayed in the Browser.
It is possible to add file extensions to this list by clicking on the [Add...] button. In the pop-up menu, you can choose an icon, enter the file
extension, and provide a description for the file type. Select a user-added extension from the list and clickon Remove to remove it.
Sound Sets
Preconfigured packagesof loops and samplesare bundled with Studio One. The Browser’s Sound Sets folder makesfinding this content
quickand easy. These packages alsocontain information about each content vendor, which is displayed in the Browser when a package is
selected. Click on the Visit Website link in the Browser for more information about the vendor and the content they supply.
Instrument Library
Studio One includes a native virtual instrument called Presence XT that utilizes a cross-platform sample library format, as well as standard
libraries in Giga, EXS, Kontakt(version 4 and below), and Sound Font (SF2) formats. Using the Instrument Librar y function, you can tell
Studio One where your sound sets are located, giving you access to them as presetsinPresence XT.
To add sound libraryfile locations to your Instrument Library, in the Studio One/Options/Locations/Instrument Librar y (macOS: Prefer-
ences/Locations/Instrument Library) menu, clickon the [Add...] button and specify a file location, then click OK. You can specify as many locations as you need.
For more information on the Presence XT built-in virtual instrument, refer to the Presence XT section.
VST Plug-ins
When Studio One starts for the first time, most of your plug-insare located automatically and ar e ready to use immediately. If Studio One
failsto find certain plug-ins, adding them is easy.
To add any missing VST plug-ins, navigate to the Studio One/Options/Locations/VST Plug-ins (macOS: Preferences/Locations/VST Plug-
ins) menu and clickon the [Add...] button, then specify a location and clickOK. You can also dr ag-and-drop anyfolder from the Explorer/Finder into the Locationslist. Studio One then scans these locations at startup, including searching for new plug-ins you’ve added. You can
always add mor e locations if needed.
AU, VST 3, and ReWire-enabled plug-ins and applications have their own pre-set file path in the OS and do not have to be located manually.
Failed Plug-ins
If any plug-in failsto start correctly when scanned at startup, a notice appears next to its name in the startup message list, and a warning
message is shown. If the plug-in continuesto fail at startup—for instance, if it is not authorized correctly or a required iLok key is not
present—Studio One puts the plug-in in a blocklist and ignores it at startup from that point on.
To reset this blocklist and force Studio One to scan missing plug-ins again at startup, navigate to Studio One/Options/Locations/VST Plug-
ins (macOS: Preferences/Locations/VST Plug-ins) and click on [Reset Blocklist]. The next time you start Studio One, the previously blocklisted plug-ins are scanned again. If the issues that caused the plug-ins to failthe scan have been resolved, the plug-ins are made available.
VST Format Support
Studio One Producer and Professionalsupport VST 2.4 (including VSTXML for hierarchicalparameter structure) and VST 3.
Backup and Restore
If you’re running a PreSonus Sphere subscription license, you can use your available PreSonus Sphere cloud storage to backup your complete user settings. You may create individual backups for different computer s, artists or projects. The number of backups is only limited by
the available cloud storage space.
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To backup your settings to PreSonus Sphere, select Backup and Restore from the Studio One menu. In the Backup and Restore window
click the [Backup Now] button to initiate the backup process. Backups already saved to PreSonus Sphere will be listed in the Restore section of the window.
To Restore any or allsettings from a cloud backup to the current computer, first select a backupfrom the list, then check which par ts of the
backup to r estore in the Restore Options list. These include program settings, plug-in thumbnails, I/O configurations, presets, templates
and macros. Any options unchecked will remain unchanged. With a backup and options selected, clickthe [Restore] button to initiate the
download and restore process.
Creating a New Song
A Song iswhere allrecording, editing, arranging, and mixing takes place. To create a New Song, do one of the following:
From the Start page, click on the New Song... link.
Navigate to File/New Song.
Press [Ctrl]/[Cmd]+N on the keyboard.
If no Song is currentlyopen, click on the Song quick-access button.
The default name of each new Song isderived from today's date and the Artist name you've set in the Artist Profile on the Start page. You
can set your own title by editing the text in the Song Title field.
Song Templates
On the left side of the New Song creation menu, there is a list of preconfigured Song templates, which are designed to help get you started
quickly with various r ecording tasks.
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The templates can include particular I/O and Track setups, effects plug-in and virtual instrument processing, and all other aspects of a
Song. By default, the Empty Song template isselected, which creates a completely empty Song with no Tracks or preconfigured I/O setup.
Create a Song Template
If ther e is a particular Song setup you use again and again, itcan be helpfulto create a template. To do so, first create a new Empty Song.
Next, configure the I/O and create and configure all Tracks, and virtualinstruments, effects plug-ins, and any other aspectsof the Song
that you need in your template. Then, in the File menu, selectSave as Template.
Type in a title and description, choose an image for the Template icon, if you like, and select OK. You can also drag an image from Windows
Explorer or Mac F inder onto the image icon to use that image. T he exact curr ent state of the Song is now available as a template in the
New Song creation menu.
Song Location
New Songs and allr elated data are saved to your User Data location, set in Studio One/Options/Locations/User Data (macOS: Prefer-
ences/Locations/User Data). If you like, you can choose a different file location by clicking on the [...] button in the New Song dialog, and
browsing to your chosen location.
Sample Rate
“Sample r ate” refers to the rate at which incoming analog audio issampled per second during conversion to a digital signal. The most common setting isthe standard sample rate for audio CDs: 44.1 kHz, meaning 44,100 samples per second.
The Studio One sample rate should match the sample rate of your audio interface, so by default,the sample rate is set to your curr ent
audio interface’s sample rate, and changing this setting initiates a sample rate change in that device. If the sample r ates don’t match,Studio
One resamples all audio files to match the sample r ate of the hardware, but this can cause performance problems and shouldbe avoided.
Studio One is capable of recording at any sample rate your hardware audiodevice offer s.
Not alldevices allow a third-party software application to change the hardware sample rate. The desired sample rate should be set before
creating a New Song.
File size isdirectlyproportional to the sample rate and resolution. The higher the sample rate and resolution, the larger the resulting audio
file is.
Resolution
“Resolution” refers to the bit depth of digitalaudio, which is related to the audio’sdynamicrange. Standard CD audio hasa 16-bitresolution, which results in roughly96 dB of dynamic range. Thus, with “CD-quality” audio, the difference between the quietestand loudest
sounds possible is 96 dB. The most common resolution setting in professional recording is24-bit, which produces a dynamic range of
approximately 144 dB.
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Studio One can record audio with 16, 24, 32, or 64-bit (floatingpoint) resolution. Which resolution to use is a matter of preference. If you
are unfamiliar with these concepts, try experimenting with recording at each resolution and comparing your results.
Timebase
The timebase of your New Song deter mines the way the timeline is represented. The timebase selection can be changed at anytime. You
have the option of the following:
Seconds The timeline division is an expression of hours : minutes : seconds : milliseconds.
Samples The timeline division is an expression of samples.
Bars T he timeline division is an expression of musicalbars and beats.
Frames The timeline division is an expression of frames.
Song Length
Here, you can specify a length for your new Song, or go with the default setting of five minutes. If you wish to change the length of a Song
once in progress, you can move the Song End mar ker to the desired end point, as detailed in the Song Start and End Markers section.
You can also change the length of the currently open Song by opening the Song/Song Setup dialog and setting the Song End parameter to
your desired end point.
Tempo
Here, you can specify a starting tempo for your Song, or go with the default setting of 120 BPM.
Time Signature
Here, you can specify a starting time signature for your Song, or use the default setting of 4/4.
Stretch Audio Files to Song Tempo
Enable this option to automaticallytimestretchimported audio files(that have tempo information) to match your Song’scurrent tempo. This
is highlyrecommended to avoid having to manuallystretch audio or place Tracks in Timestretch mode.
However, if you do not intend to wor k with Timestretchingin your Song and want to ensure that nothing gets timestretched automatically
by mistake, make sure this option is deselected.
Onlyaudio fileswith encoded tempo information are stretched automaticallywith this option engaged. Studio One rememberstempo
information you specify within the Inspector view for any audio file.
General Options
The following options give you a varietyof controls over how Studio One looks and operates. Clickon each tab in the Studio One/Op-
tions/General (macOS: Preferences/General) menu to access these options.
General
Language Choose your language fr om the list.
When Studio One starts Choose the default action to be done upon startup.
Do Nothing No Song or Project opensby default.
Open Last Song/Project The most recent Song or Project opens.
Open Defau lt Son g/Project The default Song or Project opens. To set the Song or Project to open by default, set up a
Song or Project and save it, with the name “default,” to the Songs or Projects folder located at the current User Data location set in Options/Locations.
Create a New Son g A new Song is created and opened.
Check for Updates Check for software updates on startup.
Appearance
Set the color balance for the user interface in Studio One, withseparate controlsfor Background and Arrangement elements.
Independent settingsfor Plug-Insand the Score View let you choose between Darkand Light viewing modes. Note that these options only
affect certain Studio One plugins, not third-party plugins. They also do not affect Studio One pluginswith a custom interface (Ampire, Fat
Channel, Analog Delay, etc.). The “Colored” option linksthe Studio One plugin color to the Background and Arrangement settings.
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Your settings can be stored as Presets and shared with other users or archived for personal use. Dozens of presetsare pr ovided so you
can customize the appearance of Studio One quickly. Press[Reset] to set the color balance and viewing modes back to factory the settings.
Keyboard Shortcuts
This panel lets you assign and change keyboard shortcuts for features and functions in Studio One. For more information, see Key Com-
mands.
Network
Toggle the "Allow remote control apps to discover this DAW" option on to let compatible networked controllers connect to Studio One.
TouchInput
Here, you can enable multi-touch operation (if you have a compatible display attached to your system), aswell as specifywhich monitor is
to be used for touch input. To specify the current monitor, click the [This] button.
Advanced Options
Studio One offers the following waysto customizeyour workflow. Clickon each tab in the Studio One/Options/Advanced (macOS: Prefer-
ences/Advanced) menu to accessthese options.
Many of the following options that pertain to editing in Arrange view can be accessed and toggled on or off by clicking the Options button in
the Arrange view toolbar.
Editing
Clickon the Editing tab to access the following options:
Enable Crosshair Cursor f or To ols isengaged by default. It enables a large, white, vertical-and-horizontal crosshair in the
Arrange view that aidsin displaying the exact position of the various mouse tools.
Locate When Clicked in Empty Space is disengaged by default. When engaged, it allows the timeline cursor to be located
based on clicking in empty space or clicking where there are no Events.
Expand Layers After Recording Takes is engaged by default. When this and the Record Takes To Layers options are both
engaged, the layers of each recording take are shown as soon as recording stops. If you prefer for thisnot to happen, disengage
this feature.
App ly Folder Track Colo r to Content is disengaged by default. When engaged, it causes all content contained in a Folder
Trackto be color-coded with the same color you choose for the Folder Track.
Colo rize Track Controls is disengaged by default, and in that state, the color you choose for each Track is shown in a small area
in its controls in Arrange view. When Colorize Track Controlsisengaged, it causes the whole control area of each Track to be
color-coded with assigned color, for better visibility.
Auto-co lorize Tracks and Layers isengaged by default. This option appliesto importing files, when tracks are created without
using the “Add Tr acks” dialog.
Show Channel Numbers in Tracks is disengaged by default. Some Tracksdo not have corresponding Channels in the Con-
sole (and vice versa). Because of this, T racks and Channelsare assigned numbers separately to avoid gaps in Track or Channel
numbering. This means that in some cases, a Track and its corresponding Channel may be numbered differently. If thisbothers
you, enable the Show Channel Numbers in Tracksoption to mark each T rack with its corresponding Channel number, avoiding
this mismatch.
No Overlap When Editing Events is disengaged by default. When engaged, moving or pasting an Event over another Event
deletes whatever is buried beneath, so ther e is no overlapping data ( only the audio crossfadesare preserved). If the range being
copied includesdata outside an Event, the r ange selection is treated as if it were par t of the Event. So when the range selection is
pasted, it overwrites the identical range at the destination.
Note that the "No overlap" setting only worksfor note data if"Cut long notes at part end" is enabled at Studio One/Options/Advanced/MIDI (macOS: Preferences/Advanced/MIDI) .
Show Even t Names removes the name labels from Events in the Arrangement view. This is purelyan aesthetic difference and
does not change any functions.
Show Envelopes on In strument Parts overlaysa graphicrepresentation of controller activity(volume,sustain, etc.). This
does not change any functions. Disengage thisto displayonlythe notes.
Show Chords on Even ts adds an overlayto Audio Events in the Arrangement showing detected chords. Thisrequires the track
height to be set to Small or higher.
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Draw Events Translu cent is disengaged by default.It enables the Timeline grid in the Arrange and Edit view to be seen in the
background, through Events. Seeing the gridmay help with various editing tasks.
Draw Smooth Waveformsadds smoothing to audio waveformsthroughout the application. Disable this option if you experience
any degradation in graphics performance or user interface responsiveness(which depends on your specific graphics engine and
hardware).
Draw Event Badges is engaged by default. When engaged, a dar ker field is added around the Event name in the Arrangement
view so they're easier to read.
Automation
Clickon the Automation tab to accessthe following options:
Automation Follows Events is engaged by default. This means that automation envelopes lock to Events so that moving an
Event with automation “under” italsomoves the automation.
Disable Events Und er Automation Envelopes isalso engaged by default.This makes Events unavailable to the mouse tools
while viewing an automation envelope, which helps prevent you from unintentionallyediting underlying Events while editing automation.
Automatically Create Automation Tracks for Channels is disabled by default. Engaging this option automaticallyadds an
automation T rack for every new FX Channel, Bus, or VCA Channel that you create in the Console. T hishelps to retain parity
between the structure of T racks in Arrange view, versus Channelsin the Console.
Automatically Add Envelopes for allTouched Parameters isenabled by default. Engaging this option adds an automation
envelope for any automation-friendlyparameter when you touch its control.
Redu ction Levelallows you to control the densityof new automation data as it is written. This helps reduce the CPU load during
playback. Note that thissetting hasno effect on existing automation envelopes.
The Default Envelopes for new Audio Tracks selectors let you specifywhich types of automation envelopes are created for
each new track by default.You can enable or disable Volume, Pan, and Mute.
Audio
Clickon the Audio tab to access the following options:
Enable 'Play Overlaps' for New Audio Tracks is disengaged by default. When engaged, the 'PlayOverlaps' feature will be
enabled automaticallyfor everyaudio track you create. For mor e information, see the Track Insp ector section of the Editing
chapter.
Use Cache for Timestretch ed Audio Files is engaged bydefault. It isdescribed in depth in the Using Timestretch Cach e
section of the Editing chapter.
Record Tempo Information to Audio Files isengaged by default. When engaged, this option enablestempo tagging for any
audio file recorded in Studio One. The Song tempo at the time position of the recording issaved with the file, so that automatic
timestretching can be accomplished. If another application has issues reading audio filesfrom Studio One, try disabling this option.
Use Dithering for Playback and Audio F ile Export is engaged by default, and means that triangular dithering (with no
noise-shaping) is applied when the audio signal’s bit depth isreduced from a higher bit depth by a device or during file export. T urn
this off if you would like to use a third-party dithering solution, such as a limiter Insert effect on the main output that has built-in
dithering withcharacteristics you prefer.
Use Realtime Processing to Update Mastering Files ensures that real-time processing is used when the mastering file for a
given Song is automaticallyupdated. Thisisnecessary when Songs utilizecertain devices,such asExternal Instruments, that
require a real-time mixdown in order to be included in the mix.
Pre-record Audio In put creates a buffer of a length you can specify, which records continuously, even when the transport is
stopped. Thissaves the audio you create before recording begins. Once recording concludes, the number of seconds of audio
you've specified are available before the point at which recording started.
The recorded data is collected in the Input Channelsaslong as physicalinputs are connected. After recording with PreRecord enabled, you can reveal the pre-recorded data by pulling the Event-start handle to the left.
If recording restarts on the same Tr ack,the Pre-Record data is limited to the last recording’s end, so that data is not
repeated and a seamlessjoin between the two recordings is possible.
Record Offset allows you to input a value, in samples, by which any recorded audio should be offset in the arrangement, thereby
compensating for device/driver latency.
Ignore Audio Device Timestamps (Windows only). Studio One uses the system clock by default, because some ASIO drivers
have incorrect timestamps.This setting can be disengaged, but if you experience erratic behavior such as a jumping playback
cursor, re-enable thissetting.
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MIDI
Clickon the MIDI tab to access the following options:
Timecode Follows Loop isengaged by default and allows MIDI Timecode to remain in sync when Loop isactive in a Song or
Project. With this disengaged, MIDI Timecode continues to run linearly (counting up) while Studio One'stransport islooping.
Reveal Precount Notes is disengaged by default. Engage this option to retain any MIDI notes played during the count-in when
Precount is enabled. This can be helpful when playing in parts that start just before the downbeat.
Chase Long Notes is engaged by default. When engaged, if playbackstarts after a note start, the note is played as though its
start time were at the position at which playbackstarted. F or instance, if a synth pad note starts at bar 1 and lasts through bar 8,
and playback is started at bar 4, the note plays from bar 4 as it would normally from bar 1. With this option disengaged, in the
above example, the note would not playat all.
Cut Lo ng Not es at Part End is not engaged by default. When engaged, this means that notes are cut at the end of a Part
where it would otherwise extend beyond the Part end. This effectivelyplaces the note-off at the Part End.
Record Offset allows you to input a value, in milliseconds, by which any recorded musical performance should be offset in the
arrangement, ther eby compensating for device/driver latency.
Console
Clickon the Console tab to access the following options:
Enable Undo Enable thisoption to allow undo for changes in the Console, such as fader moves and channel mutes.
Colo rize Channel Strips Enable this option to apply channel color coding to full channel strips in the Console. Normallythe color
only shows on the channel labels. This sort of enhanced visual reference can be helpful when trying to navigate large Songs.
Colo rize Plug-in Header Enable this option to apply channel color coding to the open editor window of a plug-in. This is handy
when the same plug-in isbeing used for several Console Channels(the PreSonus Compr essor, for example).
Fader Mode This sets the mouse behavior for channel faders in the Console. Choose Touch to require clicking on the fader
handle itself before dragging it to the desired position. Choose Jump to allow clicking anywher e on the travelof the fader to set its
position.
Plug-In Men u T his changes the style of the local Plug-In menus everywhere in the Console, the Inspector and the Channel
Editor. Choose Basicfor a simplified list of Plug-Ins sorted by folder (including custom user folders). Choose Advanced for an
expanded browser-style view with search and sort options (similar to the Plug-Ins tab of the Browser). Changing this option
changes the appearance of all localPlug-In menus throughout the Console.
Aud io Input follows Selectio nEnable this option to automaticallyengage Record and Monitor mode for any Audio Tr ackyou
select.
Instrument Input follows Selection Enable this option to automatically engage Record and Monitor mode for any Instrument
Trackyou select.
Solo Follows Selectio n With thisoption enabled, oncea trackis soloed, selecting a different trackcauses the newly selected
track to be soloed. When this option is disabled, tracks stay soloed until solo is disengaged.
Chan nel Editor follows Selection isengaged by default and causes currentlyviewable channeldevices, such as virtual effects
or instruments, to automaticallyswitch when a Channel is selected. This ensures you are onlyviewing the devicesrelated to the
selected Channel.
If you would like Audio or Instrument Track monitoring to be enabled automaticallywhen recording is enabled on a Track, engage
the Audio Track Monitoring Follows Record and Instrument Track Monitoring Follows Record options.
Aud io Track Monitoring Mutes Playback (Tap e Style) mutes playback of anypre-existing audio on Audio Tracksthat have
monitoring enabled.
Cue Mix Mute Follows Channel Enable this option to mute allother tracks within a Cue Mixwhen a channel in that mixis
soloed. Disable this option to cause other channelsin the Cue Mix to continue playing when a channel within that mix is soloed.
NOTE When this option is disabled, Cue Mix sends are not available in busses and FX channels. In this state, Cue Mix
sends on channels are routed directly to the Cue Mixoutput
Synchronization
Clickon the Synchronization tab to access the following options:
Sync to External Devices Click this box to make Studio One follow incoming MIDI Time Code (MTC). Note that some
MIDIdevices only transmit MIDIclock data, not MTC. Studio One requires a greater degree of accuracy than a simple MIDIclock
can provide. For conversion from SMPTE, an outboard synchronizer is required. For additional accuracy, using an external word
clock (master) is recommended.
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MIDITime Code Selectthe device that willreceive MIDITime Code (MTC). The gray field to the right of the device name indic-
ates the current status of MTC transmission.
MIDI Machine Control Select the device that willreceive MIDIMachine Control (MMC).
Services
Studio One gives you the ability to selectively enable and disable particular services, or modules, that enablespecific features. This may be
helpful when troubleshooting. For instance, if a ReWire device seems to be causing a problem, you can disable the ReWire service to see if
that resolves the issue. Thiskind of troubleshooting enables the Studio One technical-support team to quickly locate and resolve specific
issues with your computer system and to identifyany previouslyunknown problemsin the program.
Allservices are enabled by default. To disable any service, clickon the Services tab in the Studio One/Options/Advanced menu
(macOS:Preferences/Advanced) and click on the confirmation button, paying specialattention to the disclaimer message. Then click on
any service in the list and clickon the Disablebutton to disable that service. You must restart Studio One for these changes to take effect.
If a service hasbeen disabled, follow the instructionsabove, and clickon the Enable button for the service in order to re-enable it. Again,
Studio One needsto be restarted for any of these changes to take effect.
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Fundamentals
The following chapter presents important, fundamental design aspects of Studio One. Familiarity with these aspectsof Studio One helpsto
ensure that your experience is as enjoyable and creatively stimulating aspossible.
Nondestructive Editing and Undo/Redo
Almost every editing and mixing action inStudio One can be undone and redone. There is no limit to how far back actions can be undone
and to how far for ward actionscan be redone once they have been undone. Most actionsthat cannot be undone or r edone ar e accompanied by verification dialog boxes.
So, feel free to explore without fear that you might permanently alter anything. In fact,playing freelywith the controls isa fast way to learn,
and it often leads to unexpected results.
Undo/redo history is cleared when you save a Song or Project, or exit Studio One.
High-Precision Mix Engine
Studio One features a cutting-edge high-precision mix engine. A mixengine is the “number cruncher” that does the mathematical summing required to mixmultiple sources of digitalaudio. Studio One employsa floating point, mixed-mode engine.
64-Bit Mix Engine
Studio One Professional offersboth 32-bit and 64- bit mix engine modes.This means that the audioengine can automaticallyswitch
between using 32-bit, single-precision floating-point and 64-bit, double-precision floating-pointmath on the fly, depending on the capability
of the plug-ins (VST/AU effects, etc.) inserted into the signal chain.
In Studio One/Options/Audio Setup (macOS: Preferences/Audio Setup), set Process Precision to Double (64-bit) to activate 64-bit pro-
cessing. Otherwise, allprocessing is done in singleprecision (32-bit).
Automatic Delay Compensation
Studio One automaticallycompensates for the time delay that results from some VST and AU processing. This lets you avoid having to
manually realign Tr acksto compensate for that delay, and keeps all Tracksperfectly in syncregardless of the number of virtual plug-ins
and effectsyou run. For more information on thistopic,refer to the Automatic Plug-In Delay Compensation section.
Audio Dropout Protection
When using a DAW, working with high track and plug-in counts can be challenging. Squeezing the highest perfor mance from your computer generally requiresthe use of high buffer settings, which can dr amatically increase the amount of latency(or delay)you experience
when monitoring audio inputs or playing software instruments. Set the buffer too low, and audio playbackcan be compromised.
Audio interfaces that employ hardware DSP (such as the PreSonus Studio 192)can provide low-latency audio input monitoring at high buffer settings. However, theyare not able to help keep virtual instrumentsfree of disruptive latency, as those instruments must run within the
DAW's native audio engine.
Next-Level Performance with Low Latency
Studio One now features an improved audio monitoring engine that can provide dropout-free audio playback and Native Low Latency Monitoring monitoring for audio inputs and virtual instruments,even as trackand plug-in counts push the limits of your system.
For more information on working with and configuring the new audio engine, see Aud io Dropout Protection and Low-Latency Mon -
itoring.
MIDI — and beyond MIDI.
Studio One works with all the standard MIDI gear you know and love, from controllers to tone modules. But once MIDI data arrives into Studio One, it’s converted to a high-resolution, 32-bit internal format. That means no zipper noise on instruments, smoother controller
changes and pitch bends, more detailed automation, and other benefits when working in the Studio One environment.
And if you need to drive external MIDI gear, you’re covered there too— Studio Onetranslates its high-resolution format back into standar d
MIDI data if it needs to return to the outside world.
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Drag-and-Drop
Many functions in Studio One have integrated drag-and-drop support. This means that objects can be clicked on and then dragged to various locations, and over other objects, in order to accomplish certain tasks. For example, you can find an audio effect in the Browser, and
then click-and- drag it directlyonto a Track to insert the effect onto that Tr ack. You can then click-and-drag that effect onto another Track to
copy that effect and its settings to a new Track.
You can drag a virtual instrument from the Browser and dr op it into blankspace in the Arrange view to create a new Instrument Track with
that virtual instrument. You can alsodrop the virtual instrument on top of an Instrument Track to replace the existing virtual instrument.
If, while in mid-drag, you decide you no longer want to drag the object in question, press[Esc] on the keyboard to cancel the drag action.
These, and many other drag-and-drop features, allow you to work very quickly, without having to stop for menu navigation or other distracting processes.
Transport Controls
The Transport Controlsare a central set of buttons that give you control over playback, navigation, and recording in Studio One. Transport
Controlsare present in both the Song and Project pages. The following controlsare available:
Play Start playbackat the current cursor location. You can also Play by hitting the spacebar on your keyboard, which also worksto
stop the transport, when itisin playback.
Stop Stop playback. You can also Stop by hitting the spacebar on your keyboard, or [0] on the numerical keypad.
Record Begin recording at the current cursor location. You can also activate recording by pressing [*] on the numeric keypad.
Loop Pressto enable/disable Loop mode. You can alsotoggle looping by pressing [/] on your keyboard.
Rewind and Fast Forward Press these buttonsto move the cursor back or forward in time.
Go To Previous/Next Marker Pressthese buttons to shuttle to the previous or next marker on the Marker Track.
Retu rn to Zero (RT Z) Return the playback cursor to the beginning of the timeline. You can also zero the transport by pr essing
[,] on the keyboard.
Key Commands
Many operationsin Studio One have associated key commands, or keyboard shortcuts, that can be used inlieu of navigating menus with
the mouse. Some key commands usemodifier keys, and some modifier keys differ depending on the operating system.
In this manual,keycommands with modifier keys are shown with the Windows modifier key first, as follows: [Win modifier key]/[Macmodifier key]+[key]. F or example: [Ctrl]/[Cmd]+[C] means “press [Ctrl]+C in Windows, or press [Cmd]+C in macOS.”
Where there isno difference between the Windows and Mac version of a key command, onlyone key command is displayed. Example:
[F3].
In several instances, options are located in the Studio One menu in the Windows version but in Preferences in the macOS version. In these
cases,the Windows location is given first, and the Mac location follows in [brackets].
A complete list of keycommands isalwaysavailable via Help/Keyboard Shortcuts, which renders an HTML document and opens it in your
browser with the currently configured keycommands.
Key Commands for Migrating Users
If you are migrating from another DAW to Studio One, you might find it helpful to switch the key command set to one specifically created to
make the transition from another DAW easier.
In the Studio One/Options/General/Keyboard Shortcuts(macOS: Preferences/General/Keyboard Shortcuts) menu, you can see a head-
ing called Keyboard Mapping Scheme. Here, you can select fr om keyboard maps for several DAWs; select a map, and Studio One recognizesand applies common key commandsfrom that DAW. You can then customize the key commands to fit your workflow.
The keycommands used for each DAW can be viewed in the Key Command menu and can be exported in several file types for external
viewing.
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Mapping Custom Key Commands
In the Studio One/Options/General/Keyboard Shortcutsmenu (macOS: Preferences/General/Keyboard Shortcuts), you can modifythe
existing key commands to be anything you like, as wellasadding commands for functions that don’t have default keycommands.
Note that all mentions of keyboard shortcuts in thismanual refer to the standard settings.
To modify any key command:
1. Find the function for which you wish to edit the keycommand by typing in the name of the function in the Sear ch field.
2. When the function is found, select it by clicking on it in the list on the left.
3. Clickin the Enter Key field and input any key combination using your computer keyboard. Your keycombination is displayed.
4. ClickAssign to assign this key command to the selected function.
5. If the key command you are trying to assign isalready in use, the current use is displayed below the Enter Keyfield, along with a
Show link that selects that function for you so that you can change it.
6. Clickon the Keyboard Mapping Scheme selection box to choose from the following options:
Import Select to import a Studio One Keyboard Mapping Scheme.
Export Select to export your Studio One Keyboard Mapping Scheme.
Export as Text Select this to export your Studio One Keyboard Mapping Scheme as a text file so that you can create a
reference guide to your custom mappings.
A complete list of keycommands can be viewed viaHelp/Keyboard Shortcuts, which render s an HTML document that showsthe currently
configured key commands and opens the document in your browser.
Studio One Help and Information
We have worked to make Studio One as easy to learn and use as possible, but any tool with as many capabilitiesasa modern DAW is
bound to come with a learning curve. To help you on your way, thismanual contains information about every feature in Studio One. You
can accessthismanual at any time by navigating to Help/Studio One Reference Manual, or by pressing the F1 key on your keyboard.
If you have one of the built-in Studio One plug-ins open and need help with its functions, pressing F1 takes you to the relevant section of this
manual.
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Info View
The Info View panel, accessed via the Question Mark icon in the top toolbar on the Song and Project pages,displays all possible actions for
the selected mouse tool, as well as showing the possible modifiers and their related actions.Various controls in the Studio One interface
and included plug-ins also display information inthe Info View when you hover the mouse pointer over them. From Info View, you can
press F1 on your keyboard to jump directly to related sections of the Studio One reference manual.
Tooltips
Many controls, tools, and windows in Studio One have associated tooltips that display when you hover your mouse pointer over the control.
These short descriptions can help you quickly orient yourself to the functions available in Studio One.
PreSonus.com
Our website, http://presonus.com, contains a wealth of information about Studio One and how best to use it. You can also get information and answers from fellow usersat our forums at ht tp://forums.presonu s.com/
Flexible Parameter Control
Many controls and parameters throughout Studio One let you adjust their settingswith the mouse and keyboard in several useful ways:
Scrollwheel Hover your mouse pointer over the desired control or parameter and move the scrollwheel (or other scrolling
mechanism)on your pointing device. In thisway, you can smoothly adjust variable controls(such as mixer faders or plug-in parameters) and scroll quicklythough listsof options (such as setting Quantize Value or channel I/O assignments).
Click and Drag While moving knobs and linear faders by clicking and dragging may seem obvious, also note that many numerical
settings (such as Transpose or Start and End times)can be adjusted by clicking the center of the setting's display, and dragging up
or down to the desired value.
Dou ble-Click and Typ e Many numerical parameter s can be precisely set by double-clicking the currentlysetvalue and typing in
the desired value. Press [Enter] to lock in the new value.
[Rig ht]/[Ctrl]-Click and Typ e Many parametersof the instruments and effects included with Studio One can be automated or
assigned to a Macro. Select a control,use [Right]/[Ctrl]-Clickto open the Automation/ChannelMacro window, and note the
parameter name and value field. Values can be entered there: just double-clickthe value field, type in the desired value, and press
[Enter] to lock it in.
Control Link
Controlling DAW software with hardware MIDIcontrollers can sometimes be a complex task. To make things simpler, Studio One provides
the Control Link system, a clear and easy MIDI mapping protocol. With minimal configuration, you can achieve effective control over your
software and externalequipment.
For more on the ControlLinkSystem, refer to the Control Link chapter .
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PreSonus Hardware Integration
Studio One offers integrated control for the following PreSonus audio hardware products:
Stud io 192 audio interface
Stud io 192 Mobile audio interface
Stud ioLive AI-series mixers
Stud ioLive RM-series mixers
Quantum Thunderbolt Interfaces
When you connect one of these supported units to Studio One, many of the hardware control features you know from the included UC Surface software are then available directly within Studio One.
Basic Setup Procedure
To connect your PreSonus Studio 192 interface or StudioLiveAI or RM-seriesmixer to Studio One, do the following:
1. Connect your interface or mixer to the computer running Studio One, using the included data cable ( USBor Firewire) .
2. Installand launch the included UC Surface software on the computer running Studio One.
3. Launch Studio One. The control features for your hardware are now enabled inStudio One.
For more detailed information on setup and Studio One hardware integration, see the owner's manual for your Studio 192 seriesinterface
or StudioLive AI or RM-series mixer.
Working with PreSonus Notion Software
PreSonus Notion isour musical notation application for macOSand Windows. With Notion, you can create full-fledged musical scores for
composing new work or transcription of existing music, working with both note data and audio. Notion can exchange note data and audio
PreSonus Hardware Integration 35
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freely with Studio One. Together, they create an ideal tool set for fusing the worlds of composition and production in your musical projects.
This section describes the workflow for sending data between Studio One and Notion.
Sending Note Data and Audio from Studio One to Notion
In Studio One, when you have a Song open that contains note data or audio content you wish to send to Notion, navigate to Song/Send to
Notion to bring up the Send to Notion window. In this window, you have the following choices:
Compu ter Selector Thislets you choose to send note data and audio to an instance of Notion running on your own computer
("ThisComputer"), or to a Notion instance on another computer on your network. If any computerscurrently running Notion are
on your network, they are listed in thisdrop-down menu for access.
Send Note Data of Entire Song T hisoption sends the note data for allInstrument Tracksin the current Song to the chosen
instance of Notion. A new Score is created in Notion, with instrument par ts that mirror the Instrument Tracks in your Studio One
Song.
Send Note Data of Selected Tracks Thisoption works similarlyto the option above, but only sends note data from the cur-
rently selected Instrument Tracks inStudio One.
Send AudioMixdown This option mixes your Song down to a stereo audiofile, and sends the file to Notion, where it opens in a
new Score.
Create lead sh eet If you have chords in your Chord Track, you can checkthe box in the dialog, to applylead sheet formatting to
imported note data.
Merge in to open document Select this option whether to merge into an existing document ( overwriting a previous transfer) or
to create a new document.
You can also send audio filesto Notion from the Browser in Studio One. To do so, [Right]/[Ctrl]-click the audio file, choose "Send to Notion"
from the pop-up menu, and follow the on-screen instructions to complete the action. Thisoption is available for 16-bit/44.1 kHz WAV files
only.
Note that upon sending MIDIand/or audio to Notion, Studio One also sends tempo map information, ensuring that tempo and time signature changes remain in syncbetween the two applications.
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Sending Note Data and Audio from Notion to Studio One
In Notion, if you have a Score open that you wish to send as score, MIDI or rendered audio to Studio One, navigate to File/Send to Studio
One to open the Send to Studio One window. In this window, you have the following choices:
Compu ter Selector: T hisletsyou choose to send score, MIDI & audio to an instance of Studio One running on your own com-
puter ("ThisComputer"), or to a Studio One instance on another computer on your network. If any computers currently running
Studio One are on your network, they are listed in this drop-down menu for access.
Send Audio This option renders audio files from each instrument part in your Notion Score (using internal sounds or 3rd-party
instruments, as appropriate). It then creates a new Song in your chosen instanceof Studio One, and createsAudio Tracks within
it, containing the rendered audio for each part in Notion.
SendScore Thisoption transfers the score information to Studio One where you can now assign sounds.
Send MIDI This option createsa new Song in Studio One and creates Instrument Parts within it, each containing the note data
from the corresponding instrument parts in your Notion Score. If VST instruments are used in your Notion score, instrument and
preset information is also sent to Studio One, to keep your sounds consistent across both platforms.
Merge in to open document Select this option whether to merge into an existing song (overwriting a previous transfer) or to cre-
ate a new document.
Note that upon sending MIDIand/or audio to Studio One, Notion also sends tempo map information, ensuring that tempo and time signature changes remain in syncbetween the two applications.
Updating Audio and MIDI Between Studio One and Notion
If you've already transferred MIDI or audio between Studio One and Notion, and something is changed in either program, feel free to follow the sending procedure again. Repeating the sending procedure from the application in which the change was made to the other application updates allpreviously sent MIDI and audio filesto match the new information.
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Using MIDI-Over-ReWire with Notion
Studio One and Notion can be connected using the ReWire protocol. Thislets you use native PreSonus Instruments (such as Presence XT
or MaiTai) as sound sources for Notion. To accessStudio One Instruments in Notion, do the following:
1. In Notion, open the Preferenceswindow, and enable the "Enable ReWire" option in the General tab.
2. Save any open work, and exit Notion. If Studio One isalso open, save any open work there, and exit it as well.
3. Launch Studio One, and once it isfullyopen, launch Notion.
4. In Notion, enter Score Setup mode, and create a ReWire Miditrack in your Score. If this isyour first ReWire MIDI track, set it to the
first available ReWire Bus and Channel(such as Bus 1, Channel 1) .
5. In Studio One, open the Instruments tab in the Browser, navigate to the ReWire folder, and drag the Notion object to a blank area
in the Track List. Thiscreates a Notion ReWire connection object, enabling the flow of note data by ReWire.
If you plan to access multiple Studio One Instruments in Notion, be sure to enable the "Multiple MIDIOutputs"option in
the Notion ReWire window that opens.
6. Create Instrument Tracks in Studio One for the Instruments you wish to access with Notion.
7. Looking at the editing window for each Instrument you wish to access, set the input to "Notion," and if you plan to accessmultiple
Instruments using ReWire, set the ReWire Bus and Channel to match thoseyou have specified in Notion, as shown below.
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Pages
The functionsin Studio One are organized into two main pages:Start and Song. Each page is designed to help you accomplish a specific
set of tasks, and each page isaccessible at alltimes.
The functionsin Studio One are organized into four main pages:Start, Song, Project, and Show. Each page is designed to help you accomplish a specific set of tasks, and each page isaccessible at all times.
In this chapter, we discuss the gener al layout of the user interface for each page.
Start
When Studio One is launched, the Start page is displayed.
This page isthe central location for document management and device configuration controls, as wellas your ar tistprofile, a news feed,
and links to demosand tutorials. The following section provides a brief description of the Start page.
Tasks
In the top por tion of the Start page there are two options: New Song, for starting with an empty Song, and Open, so you can navigate to
an existing file and open it. A Song is where you can record, edit, arrange, and mixaudioand note data. Songsare accessed in the Song
page.
In the top por tion of the Start page there are four options.The first three allow you to create a New Song, a New Project, or a New
Show, and the fourth allowsyou to Open an existing file. A Song is where you can record, edit, arrange, and mixaudioand note data. A
Project is where multiple Songs or audio files can be arranged and mixed on a single timeline for mastering purposes. Songs are accessed
in the Song page, and Projects are accessed in the Project page.
Recent Files and SongsFiles, Songs, and Projects
The Recent Files list includes linksto the most recently accessed documents. Clickon any of these linksto quickly open the associated Song
or Project. Floating the mouse to the left of any listed document revealsa Pin icon that, when clicked, pins that document to the Recent
Files list until it is unpinned.
To open an auto-saved version of a document, [Right]/[Ctrl]-clickthe name of the document and choose the desired revision fr om the popup list. This right-click menu also offers the ability to display the selected document in the WindowsExplorer or the macOS Finder.
The Songs and Projectslist displays all Songs and Projects contained in the User storage location.
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Setup
This area displays your currently selected audio device and containslinks to configure your audio device, configure external devices, check
for updates, and view information about Studio One.
Configure Audio Device
Studio One automaticallyselects, from a list of devices installed on your computer, an audio device (such as an audio interface) to usefor
audio input and output. To select a different device, click on the Configure Audio Device link to access the Audio Setup tab in the Options
menu. For in-depth information on how to set up your audio device, refer to the Set Up Your Audio Device section.
Configure External Devices
Studio One can send and r eceive note data to and from any MIDI device connected to your computer . Studio One’s advanced use of MIDI
devices requires you to tellit a few things about your devices. For detailson how to set up these devices, refer to the Set Up Your MIDI
Devices section.
Check for Updates
From time to time, PreSonus issues software updates for Studio One to incorporate bug fixes and add featur es. To checkfor updates
manually, click on the Check for Updates link. Your version number, as well as the most current version number, is displayed. If a newer version of Studio One is available, a link to download the new version is also displayed.
About Studio One
Clickon the About linkto view your current license and version information, as well as information about the Studio One development team.
Artist Profile
Here you can specify certain meta-information that is used to tag your Songs, including an image, artist name, genre, and ar tist Web URL.
To add an image to the artist information, click the [...] button to choose a file, or drag-and-dr op an image onto the image icon from any location on your computer. To remove the current image, clickthe button marked X.
In addition to enabling you to personalize Studio One, this feature saves you the effort of filling inmeta-information for every Song.
SoundCloud Dashboard
Once you’veset up an account, the SoundCloud dashboard lets you have direct interaction with your fans and customers, as wellasview
various statistics, such as play and download numbers, and the number of followersyou have.
Shows you the number of soundsyou have posted.
Shows you how many fans you have.
Shows you the number of plays you have.
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Shows you the number of downloads you have.
Shows you the number of hearts you've been given.
Shows you the number of comments left by listeners.
News Feed
The Studio One newsfeed comes directly from PreSonus. This news feed contains helpful information related to Studio One and updates
automaticallyif your computer is connected to the Internet.
Demos and Tutorials
Any installed demo or tutorial songs appear s in the Demos list, which can be launched by clicking on the demo-song name. Use these
demo songs to check out various aspects of Studio One.
Song
When a new Song is created or an existing Song isopened, you are taken to the Song page. This page containsallof the necessary tools
to record, edit, arrange, and mix multitrack audio and instrument data.
Done
Song Page Workflow
The Song page isa complete multitrack production environment with a single-window interface. On this page any number of audio and
instrument T racks can be recorded, edited, and arranged. Any number of audio effects, virtual instruments, and external effects and instruments can be used, and most parameters can be automated using Trackor Part automation.
An integrated Browser makes it fast and easy to find and import audio and note data files,VST/AU audio effects, and VST/AU virtual instruments and applications. Audio files can be imported and automaticallytimestretched to fit the current tempo. Virtual instruments can be
dragged from the Browser directly into the Song for instant setup of all parameters, allowing a fast workflow when inspiration hits.
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When the final touches have been made and the Song is ready for a mastering pass or a live performance, it can be added to a Project or a
Show with a single command.
Show
When a new Show is created or an existing Show is opened, you are taken to the Show page.
The Show page provides an independent yet fully integrated live performance environment for performingartists, bands, and live sound
engineers. It combines Setlist management with playback of backing tracks, playing virtual instruments, and processing real instrument
audio signalsthrough virtual FX racks – allfrom a single, intuitive interface that can easily receive content directly from any trackon the Studio One Song page.
The Show page also offers two customizable views– one for editing and one for performing. The dedicated Performance View with customizable Macro Controls workshand in hand with hardware controllers such as the PreSonus FaderPort and ATOM series to create a
streamlined software/hardware user interface that hides any information not needed in the actuallive performance.
While presenting information in a new way, the Show page still followsthe established Studio One workflow with intuitive drag- and-drop
operation and convenient, easy-to-use localcontext menus to present available commands and options. It shares the familiar Browser,
Console, External Devices and Instruments panels, as wellas many functions already introduced on the Song page. Customizable keyboard shortcuts with dedicated Show page commands allow for even further customization, for example when usingthe Studio One
Remote app (iOS/Windows/Android).
It's simple to get your Songsready to perform using the Show page. For details, see the Show Page chapter.
Project
When you create or open a Project in Studio One Professional, you are taken to the Project page. This area contains the toolsyou need to
master and publish audio.
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Project Page Workflow
The Project page isa dedicated mastering solution integrated into Studio One Professional. Here you can bur n industry-standard Red
Book audio CDs, create high-qualityMP3 albums, and standard disc and DDP images. Songsand audio files are arranged as a sequence
of Trackson a continuoustimeline.
You can applyeffectsto individual Tracks,as well as to the master output Track, in order to achieve soniccontinuity throughout the Project.
An integrated Browser makes importing Songs, audio files, and audio effects quickand simple.
High-quality master output metering is displayed at all times, including Spectrum, Peak/RMS, and Phase meters. These toolshelp you
know at a glance exactly what isgoing on sonically in your Project. Loudnessmetering and offline loudnessanalysis isavailable, offering
information in the current EBUR128 and LU/LUFS standards, for dynamic perfection in broadcast and streaming-oriented material.
As mentioned, Songs can be added directly to your Projects without having to export a Song mix. After adding a Song to a Project, you can
go back and change the Song mix, and the Project is automaticallyupdated.
For detailed information on the Project page, refer to the Mastering chapter.
Quick Switch
In Studio One Professional, you can have multiple Songs and Projects open simultaneously and can switch between them quickly. The fastest way to switch between any open Song or Project, as wellasthe Start page, isto press [Ctrl]+[Tab] and continue to hold [Ctrl] on the keyboard. This displaysa pop-up list of all open documents.
While holding [Ctrl], press [Tab] to cycle through the open documents. Release [Ctrl] when the desired document is selected. Now, you
can view that document.
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Recording
The following chapter discusses aspects of r ecording in Studio One, including Audio and Instrument Tracks, recording modes and formats,
and recording tips.
Audio Tracks
Before recording can take place, you need at least one Trackon which to record. Studio One has two types of Tracks for basicrecording:
the Audio Track and the Instrument Tr ack. Audio is recorded to Audio Tracks, while musicalperformance data is recorded to Instrument
Tracks.
Creating an Audio Track
To create an Audio Track, navigate to Track/Add Tracks or press [T] to open the Add Tracks menu.
The following options are available in this menu:
Name Clickhere and type in a name for the new T rack.
Cou nt Choose the number of Tracks you would like to create.
Type Choose Audio.
Colo r Choose a color.
Auto-Color Check this box if you would like your Tracks auto-colored.
Format Choose mono or stereo.
Preset Choose an FX Chain to be pre-loaded on the Tr acks.
Input Assign an audio Input to the new Tr ack(s). When creating multiple Tracks, you can engage the Ascendingoption to assign
Inputs to each Trackin ascending order (Track 1, Input 1, Track 2, Input 2, etc.).
Output Assign an audio Output to the new Track(s). When creating multiple Tracks, you can engage the Ascending option to
assign Outputsto each Track in ascending order (Track 1, Output 1, Track 2, Output 2, etc.).
Once these options are configured, clickon OK, and the Tracks appear in the Arrange view, below the currently selected Track.
Navigate to Track/Add Audio Track (mono or stereo) to quicklyadd an audio Track.
[Right]/[Ctrl]-clickin blank space in the Track Column and select Add Tracks For All Inputs to quickly add a Track for every configured input
in Audio I/O Setup.
Alternatively, you can [Right]/[Ctrl]-clickin any blank space in the TrackColumn of the Arrange view and selectAdd Audio Track (Mono) or
Add Audio T rack (Stereo) to quickly add an audio Track.
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Use and Create Presets
In Studio One, you can store presets of an entire chain of effectsplug-insas an FX Chain, allowing quick recall of complexeffectssetupson
any Tr ack. Any factory preset or user-created FX Chain can be selected asa Preset when creating a Track. For more information, r efer to
the FX Chains section of the Mixing chapter.
Configuring an Audio Track
This section describes the editable Audio Track parameters.
Input/Output Selection
An Audio T rack’sI/O channel(s) can be selected from three places: the TrackColumn, the Console, and the TrackInspector.
To select an Input Channel from the Track Column:
If needed, expand the Track's control area to expose the input selector.
Clickthe Input Selector immediatelybelow the horizontal Track fader to choose from any configured Input Channel.
To select an Input or Output Channel from the Console:
Open the Console by clicking the [Mix] button, or press [F3] on the keyboard.
Clickthe selectors above each Track’sFader and Pan controls to choose an Input and/or Output Channel. T he Input Channel
selector is on top, with the Output Channelselector beneath.
To Select an Input or Output Channel from the Inspector:
Open the Inspector window by clicking on the [I]button above the TrackColumn or pressing [F4] on the keyboard.
In the Channel area of the Inspector window, you can find the currently selected Track’s ChannelMode toggle (mono or stereo)
and Input and Output Channel selectors.
Clickon the Input or Output Channel selector to choose a Channel.
Stereo Tracks can select from both mono and stereo Input Channels, while Mono Tracks can only select from mono Input Channels.
Tempo Mode
The Tempo mode, found in the Inspector, affects the way in which Audio Eventsare handled on any audio Track.
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There are three Tempo modes:
Don ’t Follow Audio Events on the selected Track are not affected by Song tempo.
Follow The start position of Audio Events on the selected Track is adjusted with tempo changes,so the Events stay in sync with
their Bars (barsand beats) position. The length of the Event is not affected.
Timestretch Assuming that the Song file contains tempo information, tempo changes cause Audio Eventson the selected Track
to be dynamically stretched so that the Events’ start and end times stay in sync with their Bars (bars and beats) positions. The
length and internal timing of the Event is affected in the stretching processbut the pitchof the audio remains unaffected.
If the Stretch Audio Filesto Tempo option is selected when creating a new Song, Timestretch isset as the default tempo mode for all new
Audio Tracks.
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Re-Recording
Instrument Output, Bus, and ReWire channelscan be selected as the input to any stereo Audio Track. T hese Channels are grouped in
branches in the input selection menu for the Audio Tr ack.
This is very useful in a number of situations in which you would like to “print” the live output of one of those Channel types (live virtual instrument r ecording to audio, hybrid analog mixing, etc.).
Record-Enabling an Audio Track
To record to an Audio Track, the Track mustbe record-enabled. T o record-enable an Audio Tr ack, click on the Track’s Record Enable button once or select the Track and press [R] on the keyboard. Select multiple Tracksand record- enable any of them to record- enable all
selected Tracks. The Record Enable button turns red when active, and the T rack’smeter beginsto move up and down if there is live audio
input on the Track’s selected Input Channel.
Alternatively, if you press and hold [Alt]/[Option] on the keyboard, and then clickon Record Enable, you both record-enable the related
Trackand disarm record-enable for all other Tracks.
You can find the Audio Input Follows Selection in the Studio One/Options/Advanced/Console options list (macOS: Prefer-
ences/Advanced/Console). Engaging this automaticallyrecord-enablesthe last Trackselected in the Arrange view. Monitor-enable is, by
default, automaticallyengaged when Record Enable is engaged.
When an Audio Trackisrecord-enabled, a clip indicator appears at the top of the input-level meter for that Track in the Arrange view. If clipping occurs at the input, the clip indicator turns on. When clipping occurs, you should adjust the input gain/level on your audio interface, as
once the distorted signal is recorded, it cannot be fixed.
Once an Audio Track is record-enabled, you are r eady to record. Refer to Activating Reco rding for more on this topic.
Software Monitoring
To monitor (listen to) liveaudio input on an Audio Track, click on the Monitor enable button once. Thisbutton should turn blue, and you
should begin to hear your live audio input and see its input level on the Track meter. You can also hold [Alt]/[Option] on the keyboard and
then clickon the Monitor enable button to simultaneouslyengage monitoring on a Trackand disengage monitoring on all other Tracks.
It may be helpful to picture the signal path to under stand exactlywhat is happening. For example, if you are listening to a guitar plugged into
channel 1 on your audio interface, then Studio One receives the guitar input on Hardware Input 1.
In Audio I/O Setup, you willhavecreated a mono Input Channel with Hardware Input 1 as its source. Your Audio Track has that Input Channel selected as its input. T he Output of your Audio Trackislikelyto be the Main Output, which is a stereo Output Channel. The Output Channel sends to a designated stereo pair of outputs on your hardware audio interface,which presumably are connected to your monitor
speakers or headphones.
When monitoring live audio input from a microphone, avoid listening with speakers that are in close proximity to the microphone. Otherwise, you might create a feedback loop that could quickly generate dangerously loud audio levels, possibly harming your ear s and your
speakers.
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Hardware Monitoring
Some audio interfacesfeature the abilityto monitor the har dware inputs and outputs directly,as opposed to monitoring thr ough softwar e.
This is refer red to as “hardware monitoring” or “zero-latency monitoring.” When using thistype of interface,we recommend that you monitor live audio input via the hardware, r ather than through the software. This can help you to avoid common problems that result from software latency, such as hearing a delay when you record vocals, or recording off-beat.
Setting Input Levels
Setting good input levelsiscritical to making a good recording. Thisbeginswith the hardware audio interface. If the hardware’sinput level
is set too low, and you increase the level later in Studio One to compensate, you also raise the levelof any noise in the signal. If the levelis
too high, you can overload the hardware input, causing unpleasant clipping distortion that cannot be fixed. Therefore, you should set the
input gain on your audio interface as high as possible without overloading the input. There is usuallya clip indicator for each input on the
audio interface to assist you in detecting overloads.
As long as the input levelsare not clipping in your audio interface or on the Track to which you are recording in Studio One, you can always
adjust the levels of recorded material after the recording is made. To visually monitor the input levels for any input in Studio One, it is best to
view the Input Channelsin the Console by clicking on the Inputstab in the Console.
Disabling an Audio Track
When working in large Songs with high Audio and Instrument Track counts, it can be useful to disable certain Tracks that are not currently
in use, to free up CPUand RAMresources for use elsewhere. Disabling an Audio Track disables and unloads any Insert effects used. To
disablean Audio Track, [Right]/[Ctr l]-click the Track in Arrange view, and choose "Disable Track"from the pop-up menu. To r e-enable a
disabled Audio Track, [Right]/[Ctrl]-click the Track and choose "Enable T rack" from the pop-up menu.
Instrument Tracks
Instrument Tracks are where perfor mance data isrecorded, drawn, and edited. This data usually comes from a Keyboard, which is used
to play a virtual instrument or hardware sound module. Performance data is not audio;the virtual instrument or sound module is the audio
source.
In Studio One, MIDI controllers are referr ed to as Keyboards. If you have not set up a Keyboard, refer to the Set Up Your MIDI Devices
section of the Setup chapter.
Creating an Instrument Track
To create an Instrument Track, navigate to Track/Add T racks or press [T] to open the Add Tracks menu.
The following options are available in this menu:
Name Click here and type ina name for the new Track.
Cou nt Choose the number of Tracks you would like to create.
Type Choose Instrument.
Colo r Choose a color.
Auto-Color Check this box if you would like your Tracks auto-colored.
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Input Assign a MIDI input Device to the new Track(s). Choose All Inputs |Any to accept input from any connected MIDI Device.
When creating multiple T racks, you can engage the Ascending option to assign inputs to each Track in ascending order
of device and MIDIchannel.
Output Assign an Instrument to the new Tr ack(s). To create a new instance of a softwar e instrument for each new Track,
choose New Instrument and select an instrument from the provided list. To assign the new Tracks to a hardware instrument or to
a softwar e instrument already in use in the Song, choose Existing Instrument, and select from the provided list.
When creating multiple T racks, you can engage the Ascending option to assign Outputs to eachTrack in ascending order
of Instrument and MIDIchannel.
Once these options are configured, clickOK, and the Tracks appear in the Arrange view, below the currentlyselected Track. It is important
to note that Instrument Tracksdo not appear directlyin the Console, as they do not output audio. The virtual instrumentsgenerate sound
and ar e represented in the Console by Instrument Channels.
Alternatively, [Right]/[Ctrl]-click in a blank space in the Track Column of the Arrange view and select Add Instrument T rack from the pop-up
menu to quickly add an Instrument Track.
Configuring an Instrument Track
An Instrument Trackcan only receive input from a Keyboard that has been set up in the External Devices menu. To set up a Keyboard,
refer to the Set Up Your MIDI Devices section of the Setup chapter. If you have a Keyboard set up as the default Instrument Track
input, all Instrument Tracks default to using that Keyboard.
An Instrument Trackcan trigger a virtual instrument that hasbeen set up in a Song or an external instrument. The Instrument TrackInput
and Output can each be selected in one of two places:
Selecting an Instrument Track Input or Output from the Track Column:
Set the Arrange view Tracksize to medium or larger to be able to access the current Instrument Track Input.
There are two I/O selectors on each Instrument Tr ack. Click the top selector to choose an output to any previouslyset up virtual or
external instrument. Clickthe bottom selector to choose from any configured Keyboard input.
Selecting an Instrument Track Input or Output from the Inspector:
Open the Inspector window by clicking on the [I] button above the TrackColumn or by pressing [F4] on the keyboard.
Clickthe Input or Output selector to select from any configured Keyboard input or to trigger any previously set up virtual or external
instrument.
Press [F11] to open the instrument editor for the selected Instrument Track.
Note that it is possible to select All Inputs as the input for Instrument Tracks, which combines the input of alldefined keyboard devices. If
Default Instrument Input is not checked for any Keyboard device, new Instrument Tracks automaticallyuse AllInputs.
This item is always in the inputs list, even if no keyboard device is defined. However, for any MIDI input to be received on an Instrument
Track, your MIDI input device (Keyboard Controller, etc.) must first be set up in the External Devices menu asa Keyboard.
Set Up a Virtual Instrument
Studio One supports VST and AU virtual instruments,ReWire applications,and Studio One's Nativevirtual instruments. The difference
between these types of virtual instrumentsistransparent to the user in Studio One, as they are all handled in the same manner. To use any
VST or AU virtualinstrument, you need to be sure Studio One knows where they ar e installed on your computer. Refer to the VST Plug-
ins section of the Setup chapter for more information on locating your plug-ins.
Add a Virtual Instrument from the Browser
To add any VST, AU, ReWire, or built-in virtual instrument to your Song, open the Browse view and click on the Instruments tab to view
your virtual instrument. Then do one of the following:
Clickon and drag any virtual instrument to an empty space in the Arrange view to simultaneously add the virtual instrument to your
Song and create an Instrument Trackwith its output r outed to the virtual instrument. The Instrument Track conveniently inherits
the name of the virtual instrument.
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Clickon and drag any virtual instrument on top of an existing Instrument Tr ackto replace the Track’s current virtual instrument.
Clickand drag any virtual instrument from the Instrumentstab to the Console to simply add the virtual instrument to your Song. In
order to control or playthisvirtual instrument, you need to select it as the output for an Instrument Track.
The virtual instrument is now set up and ready to play and hasone or more dedicated Audio Channelsin the Console.
Once a virtual instrument is added to your Song, be sure that an Instrument Trackis routed to it so that the instrument can be played.
Set Up Multiple Virtual Instrument Outputs
Many virtual instruments have the capability to send audio on mor e than one channel. In Studio One, onlythe first output or output pair of
any virtual instrument isactive by default.
To activate the other possible virtual instrument Output Channelsinthe Console:
Open the Console by pressing [F3] on the keyboard, then open the Instruments panel (open by default) by clicking the [Instr.] button to the far left of the Console.
Clickonce on the virtual instrument in the Instrumentspanel, and the Output Channel activation menu expands.
Clickon the checkbox next to any output to activate that output for the virtual instrument.
Each active virtual instrument output has a dedicated Audio Channelin the Console.
You can also activate virtual instrument outputs in the plug-in window. Any virtual instrument plug-in that offers multiple Output Channels
has an Outputs button near the top of the plug-in window. Click on this button to view and activate the available outputs.
Set Up a ReWire™ Application
ReWire applications are set up in a similar way to virtual instruments. Any ReWire applications known to Studio One Professional are listed
in the Browser Instruments tab, along with allknown virtual instruments. You can drag in the ReWire application just like an instrument, and
Studio One has a specialReWire object to represent the application.
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The ReWire interface window issimilar to the virtual instrument interface windows. There are also two special controls, Open Application
and Close Application, which can open and close most ReWire applications, so you do not need to leave Studio One to open or close the
ReWire application.
If clicking on Open Application doesnot immediately launch your ReWire application, this means that the ReWire application does not support thisfunction, so you need to manually launch the application. The application should launch as secondary ReWire device.
Engaging the Allow tempo/signature changes option in the ReWire interface window allows the ReWire application to maketempo and
time signature changes within Studio One. To suppressthese changes from the ReWire application, disable thisoption.
Record Enabling an Instrument Track
To record musical performance data to an Instrument Track, the Track mustbe record-enabled. T o record-enable an Instrument Track,
click on the Record Enable button once; it should turn red.
Also, note that monitor-enable is, by default, automaticallyengaged when Record Enable is engaged. This behavior can be configured in
the Studio One/Options/Advanced/Devices menu (macOS:Preferences/Advanced/Devices). If note data arrivesfrom the Track’s selected
Keyboard, the Instrument Track’s meter moves up and down, corresponding to that input.
Once an Instrument Track isrecord-enabled, you are ready to record musicalperformance data to that Track. Refer to Activating
Recording for more on this topic.
Monitoring an Instrument Track
Instrument Tracks record and output musical performance data, not audio. T he virtual or external instrument to which the Instrument
Trackis routed gener ates the audio. The following describes how virtual and external instrument audio output is monitored.
Disabling an Instrument Track
When working in large Songs with high Audio and Instrument Track counts, it can be useful to disable certain Tracks that are not currently
in use, to free up CPUand RAMresources for use elsewhere. Disabling an Instrument Trackalso disables and unloads any Insert effects
used. To disable an Instrument Track,[Right]/[Ctrl]-clickthe Trackin Arrange view, and choose "Disable Track"from the pop-up menu. T o
re-enable a disabled Instrument Track, [Right]/[Ctrl]-clickthe Trackand choose "Enable Track" fr om the pop-up menu.
Monitoring a Virtual Instrument
Virtual instruments usually load with a default sound; however, you should be sure that the virtual instrument you wish to monitor is set up
correctly to generate audio. With the Output of an Instrument Trackrouted to the virtual instrument you wish to monitor, clickon the Monitor button, and it turns blue.
You should now be able to play the Keyboard that you selected as the input to the Instrument Trackand should see the Trackmeter moving, as wellashear the audio output of the virtual instrument. If you cannot hear the audio output of the virtual instrument, make sure that
your virtual instrument is set up correctlyand that the corr esponding Audio Channelsin the Console are not muted.
If you select the Instrument Input Follows Selection option in the Options menu, any Instrument Track you select automaticallyhas Monitor
and Record enabled, and all other Instrument Tracks have these disabled.
Monitoring an External Instrument
You can use an Aux Channel to monitor the audio output of an external instrument if you don't want to record the audio to your hard drive.
This is useful when working with an externalMIDI hardware synthesizer, for example, asyou can make changesto the MIDI data on an
Instrument track without needing to r ecord another take to your hard drive. Audio from the device returns through your audio interface into
an Aux Channel in the Console, where it becomes a part of the mix like any other track.
Remember , if your external instrument is also a controller (such as a keyboard workstation), you need to set it up twice. First, set it up as an
External Instrument without a Receive From selection, and then set it up as a Keyboard, without a Send To selection. This allows the keyboard-controller section of the workstation to be used asa source for Instrument Tracks, while allowing the synthesizer section to be used
as an external instrument.
Here's how to set up an Aux Channelfor an external instrument:
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1. If you haven't already done so, set up th e external instrument as a MIDIdevice.
2. Press [F3] to open the Console.
3. Click[External] in the Console Navigation column to open the External Devices panel.
4. Clickthe menu arrow for the externaldevice.
5. Select Edit from the menu to open the control mapping window.
6.
Clickthe Outputs button ( ).
7. Select Add Aux Channel at the bottom of the window. An Aux Channel appears in the Console.
8. If your external instrument has multiple outputs connected to your audio interface, add as many Aux Channels as you need.
9. Important: ClickSave Default before closing the window. This makes it easy to create new instrument trackswith the AuxChannels already mapped. See Make anInstrument Track for the Aux Chan nel to learn more.
10. Route the Aux Channel to the desired output. Your external device is now available the Console.
Remember that the externalinstrument needs to be physically connected to one or more inputs on your audio interface, since its audio will
always be "live".
Note also that running external audio signals through the Consolemeans that bouncing, rendering and mixdown automatically switchesto
real-time.
Activating Recording
Once you have the desired Trackscreated, setup, and record-enabled, the next step isto record. The following illustrates several waysto
activate recording, each associated with a different purpose.
Manually
Manually activating recording is the mostbasicway to record. Recording starts at the current playback-cursor position and continuesuntil
you manually stop recording. To manually activate r ecording, clickon the Record button in the Transport or press [NumPad *] on the keyboard.
The Record button in the Transport turns red, the playback cursor starts to scroll from left to right, and new Events ar e recorded to any
record-enabled Tr acks. Recording continues until you manually stop it.
Precount and Preroll
When recording audio or Instrument Parts, itisoften useful to givethe performer a count-inbefore recording begins, to alert them that
recording isstarting, and present the tempo of the Song so that they can play on-beat from the start. Studio One offers two ways to do this:
Precount and Preroll.
Engaging Precount lets you specifya number of bars of metronome clicks to be played before recording begins. Prerolllets you specify a
number of bars in the Song to playbefore r ecording begins. Choose the mode that best meets your needs as you r ecord.
Follow thesesteps to use Precount or Preroll:
1. Clickon the Metronome Setup button to open the Metronome Setup menu.
2. Select Precount or Prer ollin the Metronome Setup menu, and enter a number in the Barsfield for the number of bars you wish to
play before recording begins.
You can also enablethe selected mode by clicking on the Precount or Prer ollbutton in the Transport, or by pressing
[Shift] + [C] on the keyboard to engage Precount, or [O] to engage Pre-Roll.
3. Set the playbackcursor to the timeline position at which you wish to begin recording.
4. Clickon the Record button in the Transport or press [NumPad *] to begin recording.
In Precount mode, the Metronome clicks for the specified number of bar s. The number of beats remaining before recording starts is displayed in the Record button in the Transport.
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In Preroll mode, playback begins a specified number of bars before the position you chose, with the playback cursor moving from left to right.
5. Recording automatically activates at the position you chose. The Record button in the Transport turns red, the playbackcursor
scrollsfr om left to right, and new Events begin recording to any record-enabled Tracks.
6. Recording continues until you manuallystop it by pressing [Space Bar] on the keyboard or clicking Stop in the Transport.
Auto Punch
It is sometimes useful to automate the point at which recording begins and ends.For example, if you wish to record over a specific phrase
of a vocalpart, but not before or after that phrase, you can automatically begin and end r ecording at specified points. Thisprocessiscommonly referred to as “punching in and out,” and the resulting new Audio Event is referred to as the “punch-in.”
In Studio One, punching in/out is achieved with the Auto Punch feature. Follow these steps to engage Auto Punch:
1. Set the Left Locator in the Timeline Ruler of the Arrange view at the position you wish to punch in—that is, where r ecording should
begin.
2. Set the Right Locator in the Timeline Ruler of the Arrange view at the position you wish to punch out, that is, where recording
should stop.
3. Clickon the Auto Punch button in the Transport, or press [I] ( the letter ‘i’) on the keyboard.
4. With Tracksrecord-enabled, begin recording at any point before the Left Locator position.
5. Playback begins and recording automatically activatesat the Left Locator position. The Record button in the Transport turns red,
the playback cursor continuesto scroll from left to right, and new Events begin recording to any record-enabled Tracks.
6. Recording automatically stops at the Right Locator position. However, playbackcontinuesbeyond the Right Locator position until
you manually stop it bypressing [Space Bar] on the keyboard or by clicking Stop inthe Transport.
If you use the Auto-Punch feature in Studio One to record your punch-ins, or if you punch in manually, the newly recorded audio is automatically crossfaded at itsedges with the existing Audio Event, so the transition between the old and new audio is not audible. The crossfade time isvery smalland not audible; however, you can edit the crossfade manually.
Metronome Control
A metronome makes audible clicks or other sounds that corr espond to beats at a selectable tempo, providing the musicians with a tempo
reference while recording. This is especially useful when recording drums or other rhythm-intensive tracks, as the editing and arranging
processes are made much easier when the recorded audio lines up with musicalbars and beats.
In Studio One, the metronome can be engaged and disengaged both globally and for each hardware output inthe Console, including the
Main Out and any Sub Outs.
Turn the Metronome On/Off Manually
In the Transport, the Metronome button isto the left of the Master Volume fader and meter. Clickon the Metronome button, or press[C]
on the keyboard, to globallyengage and disengage the metronome. The metronome is globally disengaged by default.
The Output Channelsin the Console also featur e Metronome buttonsand level controls above the volume fader. These controls allow you
to choose, for each output, whether or not the metronome is heard, and itslevel.
Metronome Setup
Clickthe Metronome Setup button (next to the Metronome button in the Transport) to access the Metronome Setup menu. In this menu,
you can configure sounds and behavior for the metronome, as wellas Precount and Preroll.
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Here, you can choose an individual sample and volume levelfor Beats, Accents, and Offbeats. Accents play on the downbeat, or first beat,
of each new bar . Offbeats play in the space between each Beat. You can choose from seventeen default samples for each, including Click,
Clave, Rim Shot, and Tambourine. Bydefault, the Accent Level setting ishigher than the Beat Levelsetting, as most musicians like to have
the downbeat of each bar emphasized to help keep time.
Metronome Presets
Once you have configured the Metronome, you can save the current setup as a preset by clicking the [Store] button.These presetscan be
recalled at anytime by clicking the [Load] button.
Precount and Preroll
Precount and Prerollare two methods you can use to signal the start of recording and give a senseof the song'stempo to a musician
before recording begins.When you clickRecord with Precount enabled, the metronome clicksfor the number of bars specified in the Bars
parameter, before recording starts. When you click Record with Preroll enabled, Studio One starts playbackbehind where the cursor is
placed, by a number of barsspecified by the Bars parameter. When playback passesthe cursor position, r ecording starts.
When Precount is enabled, pressing record shows a countdown inthe record button, of the number of beats remaining before recording
starts.
Precount can also be enabled by clicking the Precount button, to the left of the Metronome buttons in the Transport, or by typing [Shift] +
[C]. Preroll can also be enabled by typing [O].
RepeatAccent
This setting repeats the Accent sound when using a time signature with more than one accent per bar, such as 12/8. You can try this out by
doing the following:
1. Open the Metronome settings, and chose a sound for the Accent that is different from both the Beat and the Offbeat.
2. Leave the Repeat Accent checkbox empty.
3. Make sure the Clickin Play option is active, so that you can hear the Metronome during playback.
4. Set the time signature to 12/8, and either click the Play button or press the SpaceBar.
You’llnotice the Accent is only heard every 12 beats. However, if you go through steps 3 and 4 with the Repeat Accent function switched
on, the Accent is heard every 3 beats.
Click in Precount Only
When recording is triggered with Pre-Roll engaged, as discussed in the Precount and Preroll section of this chapter, a specified number
of Precount bars playbefore reaching the curr ent playback cursor position. The number of Precount barsisspecified in the Metronome
Setup menu. In thissame menu, there is a checkbox to engage the Click Only in Precount option, which is disengaged bydefault.
With ClickOnly in Precount engaged, the metronome providesa traditional count-in during the Precount bars and is not heard beyond
those bars.
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Click in Play
The Click in Play option in the Metronome setup menu allows you to enable/disable the Metronome during playback,as opposed to while
recording. Disabling Click in Play allows you to leave the Metronome engaged in the T ransport at all times, so that if you are recording, you
hear a click, but if you are playing back, you do not hear the click.Click in Play is engaged by default; clickon the Click in Play checkboxto disengage the Metronome during playback.
Render Metronome
You can create an Audio Trackof the Metronome by clicking the [Render] button located in the upper-right corner of the Metronome Setup
window, and choosing one of the Render range options. These optionsallow you to create a clicktrack that is either the full length of your
Song, or just the length of a looped range within it, such as 4, 8, or 16 bars.
Loop Recording on Audio Tracks
It can be very useful to loop a specific section while recording in order to capture multiple performances or takes of the same musical passage. In Studio One, this is called “Loop Recording.”
Follow thesesteps to accomplish Loop Recording:
1. Set the Left and Right Locators in the T imeline Ruler at the beginning and end, r espectively, of the area in which you wish to
record.
2. Clickon the Loop button in the transport or press[NumPad /] on the keyboard to engage Looping.
3. Activate recording manually or via Pre-Rollor Auto Punch.
4. When the playbackcursor reachesthe Right Locator position, it loops back to the Left Locator Position.
5. Recording continues until you manuallystop it by pressing [Space Bar] on the keyboard or clicking Stop in the Transport.
When Loop Recording with Audio Tracks, multiple Takes are created. These Takes represent each recorded pass over the looped region.
If Record Takesto Layers is engaged in the Record panel, opened from the View menu or with [Shift]+[Alt]+[R] on the keyboard, the takes
are automatically placed in separate layers which are expanded when recording is stopped. Refer to the Comping section of the Editing
chapter of this manual for more information.
Selecting Takes of an Audio Event
When ther e are multiple Takes available for an Audio Event, the Take icon appears in the lower left corner of the Event in the Arrange
view.
By default, the last recorded Take isselected. To select any other take, [Right]/[Ctrl]-click on the Audio Event to expose a list of Takes. Click
on any numbered Take to select it. Takes are edited as a single Audio Event, so sizing or splicing any T ake splices all of the Takes contained in the Audio Event.
It is possible to splice an Audio Event that contains multiple Takes, then selecta different Take for each splice of the original Event. For
example, if you r ecorded three Takesfor a vocalverse, you could split that Audio Event in between each vocal phrase,and then, for each
phrase, select the best of the three Takes.
Unpack Takes
When two or more Takes exist for an Audio Event, itispossible to unpackthe individual takes to separate Events on new Tracks, new Layers, or existing Layers. To do this, [Right]/[Ctrl]-clickon the Event and click on Unpack Takes in the contextual menu.
Choose Unpackto Tr acksto place each Take at the appropr iate time on itsown new Track.Note that the settings of the originating Track
are not duplicated for the new Tr acks.
Choose UnpackTakes to New Layersto place each Take on itsown Layer. This is usuallydone for comping, discussed in detailin the
Compin g section of the Editing chapter. Choose UnpackT akes to Existing Layers if you would liketo unpack the Takes to existing Lay-
ers.
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Set and Shift Loop
Several key commands that you may find helpful when loop recording are available in the Keyboard Shortcutsmenu and by default have
no key command assigned.
Set Loop Start and Set Loop End allow you to place the left and right locators at the current playback-cursor position. The same commands might be used when setting left and right locators for a punch-in using Auto Punch.
Shift Loop and Shift Loop Backwards allow you to move the loop range to the next or previous range of equal time. For instance, if you
have eight bars looped, Shift Loop would move the loop range to the next eight bars.
Instrument Track Recording Modes
There are several modes for recording to an Instrument Track. To switch between these modes, navigate to the View menu and select
Record panel, or press [Shift]+[Alt]+[R] on the keyboard. In the Record panel, you can choose between a range of recording modes, and
accesscreative recording tools. The following describes each of the Record Panel modes and functions.
Record Mode Options
Replace and Overdub
When in the Replace recording mode, recording over any existing Instrument Part r esultsin the new material being recorded to a new
Event, which replacesthat portion of the original Event. While recording, you do not hear the previouslyrecorded Event playing back, as
the pur pose of thismode is to replace the existing material.
When Replace is disabled, you are in Overdub recording mode. In this mode, r ecording over any existing Instrument Part results in the
newly recorded materialbeing overdubbed, or added to, the existing material. While recording, you hear the previously recorded Event
playing, along with the material currentlybeing recorded, assuming that you are monitoring the Instrument Track.
Takes to Layers
Engage the Record Takes to Layers option to move the contents of each Take created while recording in loop mode to its own Layer below
the current Track. If you engage this option while Record Takes isenabled, the notes from each run-through of the loop are moved to
their own new Layer. Engaged while Record Mix isenabled, a new Layer is created each time recording isstarted and stopped, containing all notes from the entirety of the most recent recording pass.
Input Quantize
Engage Input Quantize to snap recorded notes to the rhythmic value set bythe Quan tize parameter. When recording parts that are
destined to be heavilyquantized (such as synth arpeggios or drum-machine-style beats), thissavesyou the step of later Quantizing the contents of your loop.
Instrument Loop Record Options
Record Takes and Record Mix
If Loop is engaged in the Transport while recording, the recording mode changes either to Loop Record Takesor Loop Record Mix,
depending on the selection in the Record panel. These modes are functionally similar to the regular Record Mode Overdub and Record
Mode Replace.
When Loop Record Takes is selected, each pass through the looped region isr ecorded to a new Take within a single new Instrument Part.
When recording is stopped, eachTake is individually selectable by [Right]/[Ctrl]-clicking on the Instrument Part and choosing one of the
numbered takes from the top of the pop-up menu. Only one Take can be selected at a time for any Instrument Part.
Takes on Instrument Parts can be unpacked to new Instrument Tracks, as with Audio Event Takes, described in the Unpack T akes section of thischapter.
When Loop Record Mixisselected, each passthrough the looped region is added to the existing materialwithin a single new Instrument
Part. For instance, if you loop a four-bar region to record a new drum part, this would allow you to play one piece of the drum kit during
each pass until you haverecorded the wholepart.
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Instrument Recording Tools
Undo Last Loop and Undo All Loops
The standard Studio one Undo/Redo functions do not apply to individual record passesin Loop mode. Instead, use these two special Undo
buttons. Once you have some note information in your loop, you can click Undo Last Loop to erase onlythe notes added in the most recent
run-through of the loop. ClickUndo All Loops to erase all notes inthe current loop, and start fresh.
Note Repeat
With Note Repeat active, any notes played retrigger according to the current Rate setting. Thiscan be set to QT ( to follow the current
quantize value) or to any specific rythmic value.
For example, when Rate isset to 1/16, held notes create a seriesof 16th notes at those note values. Thiscan come in handy when recording drum fills or rhythmic synth parts. Note that this mode cannot be combined with the Note Erase mode.
If your MIDI keyboard or controller supports aftertouch, you can vary the velocity of repeated notes by applying pressure to the keysor
pads when the After touch feature is enabled. The higher the pressure, the greater the velocityof the recorded notes.
Note Repeat Options
Note Repeat is highly configurable, and can be controlled extensively using MIDI, which unlocksa wealth of real-time creative options. To
reach the options window for Note Repeat, click on the wrench-shaped icon in the Note Repeat section of the Record Panel. You can also
open thiswindow by enabling Key Remote mode.
Active When enabled, Note Repeat is turned on.
Rate Sets the rhythmic rate of Note Repeat.
Gate Sets the length of each note.
Quantize When enabled, allrepeated notes snap to the main Song grid, even if a note is played off-beat. Disable this option to
allow free play of note repeat without rhythmiccorrection.
Aftertouch When enabled, key or poly pressure can be used to control note velocity as a note is held.
Single Mode When enabled, a range of keys on your MIDI controller play one note at different rates. By default,thisnote is the
last note played before this mode was enabled.
Change the Base parameter to move the range of SingleMode keys to a different octave on the keyboard.
Change the Pitch parameter to change the note that is played in Single Mode
Key Remote Enabling this option allows MIDI control of both Note Repeat rate (as in Single Mode), as wellas the active state of
Note Repeat, Note Erase, Gate times, Single Mode, Quantizing, and Aftertouch.
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Change the Base parameter to move the starting note of the Key Remote controlkeyrange to a different octave.
Change the Range parameter to expand or contract the range of keys used to control in Key Remote mode. The larger
the Range, the more controls can be accessed via MIDI.
Note: While a range of keys is reserved for control of Note Repeat when inKey Remote mode, the rest of the MIDI controller's notes are
free to change the pitch of the repeated notes. This allows radical changes in Note Repeat behavior to be made with one hand as single
notes and chords are specified with the other .
Look at the keyboard display in the Note Repeat options window to see the controlassignments for each note in the designated set of keys
for Key Remote mode.
Note Erase
If Note Erase isselected in the Record panel, any notes played during the current recording passerase existing notes of the same note
value. For instance, if you start recording a drum pattern, and the kickpattern is on C1 and has an extra eighth-note hit on beat four, you
could switch to Note Erase whilerecording and play C1 on beat 4 for one eighth-note, and that woulderase the previouslyrecorded note.
It is only possible to engage this mode ifRecord Mixis engaged and Note Repeat is disengaged; engaging Record T akes or Note Repeat
disablesthismode.
Step Record
Step Recording is a special, note-by-note method of recording musicalnote data. Rather than playing in real time, or drawing in notes with
the Paint tool, you can simply specifya rhythmic value and press keys on your MIDIcontroller to enter notes and chords with ease and precision.
Step Record Toolbar
To access Step Record mode, click to select the Instrument T rack you wish to record to, open the Editor by clicking the [Edit] button, then
click the [Step] button inthe Editor toolbar to displaythe Step Record toolbar. When you're finished, you can hide the Step Record controls
by clicking the [Step] button again.
The Step Record toolbar containsthe following controls:
Enable Toggle this on to enter Step Record mode. When enabled, playing notes on the keyboard adds notes and chords to the
selected Instrument Part. If you place the cursor in an empty area on the track, playing notes creates a new Instrument Part inthat
location, for notes to be recorded to. Toggle Enable off to exit Step Record mode.
Follow Q Enable this to link the Step Length setting to the current Quantize setting. If you change the Quantize value, the Step
Length value changes to match it.
Step Length With these selectors, you can choose a Step note length between whole notes and 64th notes, in the following
musicalnote groupings: Straight, Triplet (3 notes in the space of 2), Quintuplet ( 5 notes inthe space of 4), Septuplet (7 notes in the
space of 8) , or Dotted (notes ar e increased in length by 50% from the chosen rhythmic value).
Back Click thisbutton to erase the most recently added note or chord and move the cursor back to where that note or chord star-
ted. PressBackmultiple times to erase multiple notes.
Rest Clickthisbutton to move the cursor forward in time, according to the currentlyselected Step Length, in effect, creating a
musicalr est for that step.
Recording in Step Mode
To record a Part in Step Mode, follow these steps:
1. Place the cursor at the point within the chosen Instrument Trackthat you wish to record to.
2. Open the Step Record toolbar by pressing the [Step] button in the Editor toolbar.
3. Press [Enable] to enable Step Recording.
4. Choose a rhythmic value from the Step Length selectors. You can change this value at any time as you create the Part.
5. Play a note on a connected MIDIcontroller to create a note with the specified length at the cursor location. When you release the
note, the cursor movesahead according to the Step Length setting, and you're ready to enter the nextnote. If you wish to enter a
chord, simply play and hold the notes that make up the chord, then release.
6. When you're finished, press [Enable] again, to exit Step Record mode.
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Track Layers
In Studio One, both audio and instrument Tracks have optional layers that can be used to record multiple different ideas to a singleTrack.
For instance, you might want to compare one set of lyrics for a vocal Trackto another set of lyrics. In thiscase, you could r ecord two different performancesto two separate layers on a single Track and quicklyswitch between the two without needing a second Track.
To create a new layer on any Track, [Right]/[Ctrl]-click the Track's control area in the Arrange view, and choose Add Layer from the Layers
menu. You can also create a layer by opening the Inspector by pr essing [F 4] on the keyboard, then selecting Add Layer from the Layer
selection box. The new layer is effectivelylike having a whole new Trackwithout duplicating Inserts, Sends, and I/O setup. You can also
duplicate layers by selecting Duplicate Layer from the Layer selection box,which enables you to try out and compare two different editsof
the same Eventson two layers.
Layers are also used in the comping system of Studio One, as described in the Comping section of the Editing chapter of this manual.
Audio Recording Format
Studio One records in the Broadcast Wave file format. Thisisthe only format supported, as it is the most widelyused format, and it contains
timestamps that mark when recordings start within a Song. When recorded Broadcast Wave audio files get bigger than 4 GB, the RF64 file
format isautomatically used as the standard file format.
The recommended file system for the recording partition on your computer isNTFS for Windows and APFS for macOS.
Creating a Good Monitor Mix
When recording any per formance inthe studio, take the time to build a great monitor mix for the performers. It’scritical that they clearly
hear their performance and that of the other musicians, and a good monitor mixhelpsinspire a better perfor mance. Ideally, each performer should feel like they ar e playing on a finished record.
For instance, it is common in many styles of musicfor the lead vocalsto have some reverb so that theysit wellinthe space of the overallmix.
Therefore, when recording vocals, it issometimes a good idea to include reverb in the vocalist’s monitor mix. This way, the vocal willsound
more like a finished pr oduction. This approach often helpswhen recording guitars, keyboards, and other instruments, as well.
If your audio device supports zero-latency hardware monitoring, use that as the primary monitor source, so that no delay is heard. In addition, you can use Sends and FX Channelsin the Console, asyou normally would in a mix, to builda better monitor sound. For instance, on
the audioTrack to which you are recording, you could add a Send to an FX Channel with a reverb. You could then route the FX Channel
Output to a Sub Out Channel and back to your audio interface, where it can be mixed with the zero-latency drysignal.
When adding time-based effects, such as r everb or delay, you generallydon’t have to be concerned about plug-indelayand latency that
could result from using software plug-ins on a live input source. A few milliseconds of processing delay on a reverb will probably not be audible.
Cue Mixes and Low-Latency Monitoring
Studio One features a powerful Native Low-Latency Monitoring system that provides low-latency monitoringfor audio recording and
virtual instruments, without compromises in system perfor mance. Hardware Low-LatencyMonitoring is also available when using a compatible DSP-enabledaudio interface. In this section, we will discusshow to take advantage of these featur es to create low-latency cue
mixesfor monitoring while recording or composing.
Creating a Cue Mix Output
In Studio One, it is possible to quickly and easily create multiple cue mixes. A cue mixisseparate from the main mix and is usually provided
to musiciansfor monitoring purposesduring recording.
For instance, when recording vocals, the engineer and vocalist often need to hear different mixes. Many vocalists want to hear their vocal
boosted in the mix, possibly with some reverb to make it sound natural, while the engineer might want to focus on how the performancebalances with the rest of the mix. The cue mix functionality in Studio One makesthistaskeasy.
The first step in building a cue mix isto create an additional Output Channel. To do this, open the Song/Song Setup/Audio I/O Setup window in a Song, switch to the Outputs tab, and add a new Stereo Output Channel. Next, specify that thisoutput is a Cue Mix output by clicking on the Channel’s Cue Mixcheckbox. You can create asmany cue mixes as your audio interface has available stereo outputs.
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Now that you have created a Cue Mixoutput, you can see specialSend objects (called Cue Mixobjects)in the Channelsof the Console. In
the Small Console view, Cue Mix objects appear in the right column when a Channel is expanded. In the Large Console view, Cue Mix
objectsappear below the Send Device Rack on each applicableChannel.
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Each Cue Mixobject features an Activate button, horizontallevel and pan fader s, and a Lock to Channel button.
The “Cue mixmute follows channel option" has to be engaged in the preferences in order to use Cue Mixes for FX Channels.
Mixing the Cue Mix
Cue mixes are built using Cue Mixobjects. By default, the level and pan values are locked to the channel level and pan faders. This means
that eachCue Mix is identical to the main mix in the Console. Changing the level or pan in the Cue Mixobject unlocks both settings, allowing
independent control of level and pan for each Channel in each Cue Mix. Thus, the level and pan for Channels in a Cue Mix can be completelydifferent fr om the related level and pan in the main mix.
At any time, you can lock the cue-mixlevel and pan back to the channel settings by clicking on the Lock to Channel button. To completely
remove any Channel from a cue mix, simplydeactivate the Cue Mixobject for that Channel.
Monitoring Live Input in a Cue Mix
Cue mixes are normally used in a recording situation in which one or more live inputs need to be monitored. This is where the Cue Mix feature in Studio One is very useful.Monitoring with very low latency can be achieved using the Native Low-Latency Monitoring system in
Studio One.
You can also achieve low-latency cue mixes by using Hardware Low-Latency Monitoring with a compatible audio interfacethat
provides that feature, such as a PreSonus Studio 192, Studio 1810, or Studio 1824 interface. These interfaces feature internal hardware
mixers that provide low-latency monitoring. While thesemixers are easyto use, Studio One makes it even easier by allowing you to control
the mixers from within the software.
Let’s return to our example of recording live vocals. For a vocalist to be comfortable and perform well, it is important that the performance
sound as natural and as polished aspossible. Vocalists need to hear themselves well, with no audible delay of their voicesin the mix.
Adding some r everb providesa little ambiance so the voice is not dry and lifeless.
Here’s how this scenario wouldlookin Studio One:
1. Set up a Cue Mix output for the vocalist.
2. Record-enable and monitor-enable the vocalTrack.
3. Engage the Enable Low- Latency Monitoring (or "Z") button below the level fader on the Cue Mix output being used by the vocal
channel. This enables Native or Hardware Low-LatencyMonitoring for that Cue Mix output (depending on what isin use).
Note:Channels that are able to be monitored using Native or Hardware Low-Latency Monitoring display a "Z" mark at
the bottom of their channel strip.
4. Create a Send on the vocalchannel to an FX Channel with your favorite reverb effect.
5. The vocalist hears the live low-latencyinput, as well as the rest of the cue mix,including the output of the reverb. Adjust the levelof
the vocal and other Channels in the Cue Mix to the vocalist’s liking, and you’re ready to record.
In a few seconds, you can ensure that vocalists hear their voices with low latency, in a custom mix that includes effects. Simultaneously, you
can listen to a completelyindependent main mix, allowing you to focus on engineering while the artist focuses on the performance.
Note that when monitoring with Hardware Low-Latency Monitoring engaged, you do not hear Insert FX on that channel, as you are monitoring the signalbefore it isprocessed in software. If you need to hear Insert FX, use Native Low-Latency Monitoring instead. To do this,
navigate to Studio One/Options/Audio Setup/Processing (macOS: Preferences/Audio Setup/Processing) and enable the "Use native low
latencymonitoring instead of hardware monitoring" option.
Low-Latency Monitoring on the Main Output
The Main output alwaysactsas a Cue Mix, and anyAudio or Instrument Channels routed to it can be monitored using Native or Hardware
Low-LatencyMonitoring (if enabled). To engage Native or Hardware Low-Latency Monitoring for the Main output, enable the "Enable
Low-LatencyMonitoring" (or "Z")button, found below its volume fader. When enabled, the "Z" button isgreen (when using Native LowLatency Monitoring)or blue (when using Hardware Low-Latency Monitoring).
Print Effects While Recording
Some peopleprefer to place Insert effects on Input Channelsso that those effects may be printed to the Track while recording. For
instance, you might place a compressor, EQ, or other effect on a vocal Input Channel in order to save time and computer resources later,
when mixing. Thisiseasyto accomplish in Studio One. It maybe helpful to review the Mixing chapter in order to better understand these
instructions.
To insert an effect on an Input Channel, open the Console and click on the Inputs tab on the far left to view the Input Channels. If you’re
working in the Small Console view, double-click on the Input Channel to open its Insert Device Rack.
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Insert an effect in the Insert Device Rackon any of the Input Channels, and those effects are recorded at the input of any Trackthat uses
that source. Studio One automaticallycompensatesfor anylatencycaused bythe Insert effects.
Note that when Insert effectsare used on Input Channels, and effects are recorded to a Track, ther e is no way to go back and change the
sound of the recording. To avoid this scenario, you might consider placing effects on the Audio Channels to which you are r ecording for
monitoring purposes only and printing with effects at mixdown.
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Editing
After recording, the next step in production is usuallyediting the recorded Events to achieve a desired sound. T he following chapter discusses aspects of editing in Studio One, including Arrange view and Edit view editing, mouse tools, Event envelopes, edit groups,
timestretching, comping, integrated Melodyne pitch correction, and transient detection and editing.
Events
Allaudio and note data that existswithin the timeline of your Song are visuallyrepresented by Events. Events that contain audio are called
Audio Events and can only be located on Audio Tr acks. Audio Eventsare distinct in that they displayaudio waveforms. Audio Par ts are
Events that contain multiple Audio Events.
Events that contain note data are called Instrument Parts and can only be located on Instrument Tracks. Instrument Partsare distinct in
that theydisplay musicalperformance information.
Audio Events and Instrument Parts are referr ed to collectively as Events in this manual.Event editing can take place both in the Arrange
view and the Edit view. Audio Eventsand Instrument Parts can be edited insimilar ways, but each has special considerations.
[Right]/[Ctrl]-clicking on any Event displaysthe Event contextual menu, which contains all related Editing actions, logically grouped. At the
top of the contextual menu, you can find the Event Name, which can be edited by double-clicking on it and entering a new name. You can
rename all Events on a Track by renaming the Trackand holding [Shift] while pressing [Enter] after typing in the new name. You can also
change the Event color by clicking on the color bar next to its name and selecting a color or scrolling through the colors with the mouse
wheel.
Common editing actionsare listed under the Event name, as well as a Recent Items list that contains the five most-recently used actions. In
this way, you have instant accessto the editing actions you mostlikely want to use.
Note that the available actions listed in the Event contextual menu depend on whether you are working with an Audio Event or an Instrument Par t, and the actions may vary slightly depending on your version of Studio One.
Tool and Event Snapping
Snapping allows editing actions to occur onlyat specified divisionsin time (such asbars and beats), making editing easier when working
with tempo-specific material. F or instance, Snapping makesit possible to rearrange specificbeats from a bar of a drum loop while keeping
the rest of the loop in time. Snap is engaged by default and can be disengaged by clicking on the Snap to Grid button. You can also temporarily defeat Snapping by pressing the [Shift] key while moving the mouse.
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If Snap isengaged, the current Snap setting affectsthe behavior of tools and Event editing, by snapping the tool or Event to nearby time values, as follows:
Adap tive The default setting, where snapping occurs at the nearest logicalsubdivision of the current Timebase, based on the cur-
rent timeline zoom level.
Bar Snappingoccurs at the nearest musical bar line.
Quantize Snapping occurs at the nearest musicalsubdivision of the current Quantize Setting.
Frames Snapping occurs at the nearest frame subdivision.
There are four optional behaviors that can be selected and applied to any of the four modes above:
Snap to Cursor and Loop This option enablessnapping to the playback cursor and Loop locators.
Snap to Events This option enablessnapping relative to Events in the Arrangement.
Snap to Zero Crossings This option ensures that the audio data in an Event willsnap to a zero crossing point. T his willhelp
avoid an unnatural click at the beginning of the audio data when the Event ismoved or split.
Snap to Grid T his option is engaged by default, allowing tool and Event snapping to the grid.
Relative Grid Thisoption maintains the time relationship relative to the grid for any Event, so that when the Event is moved, the
snap position maintains the originalposition relative to the grid,instead of snapping directly to the grid.
Arrange View Mouse Tools
The mouse tools allow direct interaction with Events, using the mouse. It ishelpful to remember that the mouse tool actions can be undone
at any time, so feel free to explore them. [Right]/[Ctrl]-clickinany open space in the Arrange or Edit views to open a list of mouse tools and
editing commands. Use the left mouse button to make a selection. You can also click the middle mouse button or the scrollwheel in the
open space to displayan expanded list of tools, including all of the Paint tool shapes.
In the Arrange view, the following mouse tools and related functions are available from left to right in the toolbar.
Link Button
The bracket-shaped button on the left side of the toolbar is the Link button. Clickit to combine the Arrow and Range tools. When it is
engaged, the mouse operates as Range tool inthe area above the horizontal center line of the Event, whereas the Arrow tool isavailable
in the area below the center line. This combination of tools is available at track heights of Normal or higher.
Arrow Tool
This tool is selected by default. Click on the Arr ow toolbutton or press [1] on the keyboard to selectthe Arrow tool. The Arrow tool can be
used for the following purposes:
Move an Event
To move an Event using the Arrow tool,clickanywhere on the Event and drag left, r ight, up, or down. Dragging the Event left or right
moves the Event backward and forward in time, relative to the current Timebase and Timeline zoom. When dragging an Event left or right
beyond the viewable arrangement, hold [Space Bar] on the keyboard to speed up the scrolling.
Dragging the Event up or down movesthe Event to another existing Tr ackof the same type. If the Event isdragged to a position where no
Trackcurrently exists, Studio One creates a new Track of the same type.
When dragging an Event from one Track to another (up or down), the position of the Event is constrained within an automaticsnapping
range to make it easy to keep the Event at the same time position. To defeat this snapping, holdShift while draggingthe Event up or down.
Size an Event
Events can be thought of as windows into audio filesand musical performances, where what you see is what you hear. Sizing is a fundamental technique wherein Events ar e made shorter or longer, so that only a por tion of the audio or note data they contain isseen and
heard. To size any Event using the Arrow tool, float the mouse to the left or right edge of the Event to reveal the Sizing tool. When this tool
appears, click-and-drag left or right to size the Event. Events can be sized and resized nondestructivelyany number of times.
Two adjacent Events can be sized simultaneouslyso that no gap is created between them. T o do this, float the Arrow tool to the bottom of
where the two Events meet in the Timeline, where you can see the sizing icon with both left and right arrows illuminated, and then clickand-drag left or right.
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Holding [Alt]/[Option] on the keyboard and then sizing an Event from the right edge results in the Event being fr eely timestretched. Refer to
the Timestretching section of thischapter for more information.
Adjust Audio Event Volume Envelopes
AllAudio Events feature a basic volume envelope that allows the volume of the audioto be shaped in several ways. Using the volume envelope, you can create a fade-inand fade-out, as wellas set a constant volume level between the fades. The volume envelope appliesgain
changes to the audio clip in the Event and is ther efore at the front end of the audio signal path.
To create a fade-in or fade-out, click-and-drag left or right on the Fade Flag in the upper left or right corner of an Audio Event. By default, a
linear fade iscreated over the length you have moved the Fade Flag. Fade times,as well as Event gain,can also be edited in the Inspector
for any selected Event.
To change the curve of the fade, clickon the Fade Curve box in the middle of the fade curve and drag up or down. The fade curve deter mines how quicklyor slowly the fade occurs and changes over time. If you press and hold[Shift] while editing the fade length or the curve, you
can edit both at once. Dragging up or down editsthe curve, and dragging left or right changes the length.
It is also possible to drag a complete crossfade left or right, or up or down, in order to change the location and characteristicsof the fade.
Float the mouse to the center of the crossfade until the Hand icon appears, then clickand drag to adjust. Dragging left or right adjusts the
locationof the fade, extending or shortening the crossfaded Events. Dragging up or down altersthe shape of the crossfade.
To adjust the overall volume level of an Audio Event, clickon the volume box in the center of the volume envelope and drag up or down. As
you adjust the volume envelope, the audio waveform is redrawn to approximate the effect of the adjustment.
You can also create complex envelopes anywhere inside an Audio Event using Gain Envelopes.
Select Multiple Events
Multiple Eventscan be selected in order to edit them all at once, with a single action. To select multiple Events with the Arrow tool, do one of
the following:
Clickoutside of the range of an Event, and then drag over any other Events; a gray box is drawn while you drag over the targetselection area. Release the mouse button once the box is drawn over allof the Events you wish to edit, and these Events ar e selected for editing.
Clickon any Event, then while holding [Shift] on the keyboard, click on anyother Events to select them. This allows you to select
multiple Eventsthat are not in close proximity to each other. Allselected Events can then be edited at once.
Clickon any Event, then press [Alt]/[Option]+[Shift]+[Home] or navigate to Edit/Select/Select from Start to Event, to select all
Events on all Tracksthat lie between the start of the Song and the current Event.
To select all Events on the currentlyselected Track that lie between the start of the Song and the current Event, press
[Shift]+[Home].
Clickon any Event, then press [Alt]/[Option]+[Shift]+[End] or navigate to Edit/Select/Select fr om Event to End, to select all Events
on all Tracksthat lie between the current Event and the end of the Song.
To select all Events on the currentlyselected Track that lie between the current Event and the end of the Song, press
[Shift]+[End].
Double-clickon the timeline of a Trackin the Arrange or Edit view whileholding [Shift], to select all Events present on that Track.
Normally, when you select multipleEventsand adjust volume or fade in/out shape on one of them, allselected Events change to match the
new setting. If you want to adjust an individual Event without losing your selection, hold [Alt] while making your changes.
Select a Range
Like the Range t ool, you can use the Arr ow toolto select a range, or area, within Tr acksand their contents, without switching tools. Do
this by hovering the Arrow tool in the upper half of a track. The cursor changes to a crosshair shape. Click-and-drag to select your chosen
range.
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You can enable or disable this feature by clicking the Link button to the left of the Arrow tool in the toolbar.
Alternate Arrow Tool Uses
For speed and efficiency when editing, a selection of modifier keyscan be applied while the Arrow tool is selected, giving temporary access
to the following alternate toolsand editing modes:
Rang e Tool Hold [Ctrl]/[Cmd].
Slip Editing Hold [Ctrl]/[Cmd]+[Alt] while floating the Arrow tool over an Event.
Defin e Tempo Hold [Ctrl]/[Cmd]+[Alt]/[Option] while floating the Arrow tool over the edge of an Event.
Range Tool
The Range tool isused to select a range, or area, within Events. Click on the Range tool button or press[number 2] on the keyboard to
select the Range tool.
To select a range within an Event, using the Range tool, click-and-dr ag over the area to be selected; a gray box is drawn over the target
selection area. Release the mouse button when the box is drawn over the range of the Events you wish to select. The range you have
selected isnow treated as a single, consolidated Event. Clicking oncewith the Range toolon a Track moves the play cursor to that location.
For instance, you can use the Range tool to select the content of several Audio Events across multiple Tracks in bar 12, and then use the
Arrow tool to move that section of audio to bar 14. Another common use of the Range tool isto quickly select and delete a range of audio
within an Event, rather than using the Split tool to make two splits, then select and delete the section with the Arrow tool.
When you float the mouse cursor over a selected range, the Arrow tool temporarily appears. This makes it easy to quicklyselect and edit a
range of Events.
To select multiple, non-contiguous ranges across any Event, on any Track, hold the [Shift] key while using the Range tool. Continue to hold
[Shift] and use the Arrow tool to select whole Events. F or instance, when using the Arrow tool, if you press and hold [Ctrl], you get the
Range tool. Press and hold [Ctrl]and [Shift] to selectmultiple ranges, then continue to hold [Shift] but release[Ctrl]; now you have the
Arrow tool and can select whole Events. All of your selectionsremain selected.
To split an event in half without reaching for the Split tool,double-click at your chosen split point. Double-clicka selected range to split the
Events in that range at the left and right borders of the range.
If Snap to Grid isenabled, your selections using the Range tool snap to the value set by the Snap Timebase parameter. To temporarily
reverse the Snap to Grid option while editing, hold the [Shift] key.
Selected ranges can be sized by floating the Range tool at the left/right edge of the selection. You also can split a selected range at the left
and right edges of the selection by choosing Split Range from the Edit menu or by pressing [Ctrl]/[Cmd]+[Alt]+X after selecting a Range.
To temporarily switch to the Arrow tool while the Range tool is selected, hold [Alt].
Split Tool
Using the Split tool, single Events can be split into multiple Events. Click on the SplitTool button, or press [number 3] on the keyboard to
select the Split tool.
With the Split tool selected, a verticaland horizontal line is drawn near the current mouse-cursor position. The vertical line indicates the
exact time position of the Split tool, while the horizontal line underscores the Trackon which the Event to be split resides. The Split toolisdirectlyaffected by the current Snap settings.
Clickon any Event with the Split tool to split the Event at that position. By splitting a single Event, you create two Events that can be edited
independently. If multiple Events are selected across multipleTracks, the Split toolaffectsallof the selected Events in the same way.
It is also possible to split selected Events at the timeline cursor, without using the Split tool, bypressing [Alt]+[X] on the keyboard. If you have
a range of time selected, pressing [Alt]+[X] will split the selected content into a new Event.
To temporarily switch to the Arrow tool while the Split tool is selected, hold [Alt].
Splitting Instrument Parts
Normally, if you split an Instrument Par t at a point that fallswithin one or more notes, thosenotes are truncated at the split point, and no
longer playinthe newly created Part to the right of the split point. Thiscan be an issue, especiallywhen splitting up Partsin which some
notes are held for long periods, such as pad and string passages.
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For example, if you have a four -bar Part in which a chord is played and held throughout, splitting the Part in the middle leaves the Part to
the left of the split point mostly untouched. However, the held notes are now missing from the newlycreated Part to the right of the split
point.
To split an Instrument Part and split(rather than truncate) any notes that crossthe split point, hold [Alt]/[Opt] while you make the split.
Eraser Tool
The Eraser tool isused to delete Events. Clickon the Eraser Tool button or press[number 4] on the keyboard to selectthe Eraser tool. To
delete any Event usingthe Eraser tool, simply click on the Event. If multiple Events are currentlyselected, clicking one of the Eventswith the
Erase tool erases all selected Events.
You can clickand drag across multiple Events with the Eraser tool, erasing each Event you touch.
To temporarily switch to the Arrow tool while the Eraser tool is selected, hold [Alt].
Paint Tool
In the Arrange view, the Paint tool can be used in two ways: to create an empty Instrument Part on an Instrument Track, or to create a complex Gain Envelope for an Audio Event. Click the Paint Tool button or press [number 5] on the keyboard to select the Paint tool.
Create an Instrument Part
To create a new, empty Instrument Part on an Instrument Track with the Paint tool, click-and-drag over any empty area in the Track lane
of the Instrument Track. Clicking oncewith the Paint tool creates an empty Instrument Part that variesinlength according to the current
timebase setting.
Create a Gain Envelope
To view, create, or edit a Gain Envelope, [Right]/[Ctrl]-click an Audio Event and enable the Gain Envelope box. T he whiteline that appears
inside the Audio Event represents the current GainEnvelope. If a Gain Envelope doesnot already exist, you'll see a white horizontal line
running through the zero point of the waveform.
When using the Arrow tool you must click somewhere on that white line to add a Gain Envelope point. Note that the gain of the entire Audio
Event can be raised or lowered after adding the first point: simplyclick-and-drag that point up or down to adust the gain of the Audio Event.
When mor e points exist, the click-and- drag method affects only part of the Audio Event, not the whole thing.
The Paint tool lets you click-and-drag anywhere inside the Audio Event to add new points. The menu arrow under the Paint tool icon
reveals the list of Paint tool shapes: Freehand, Line, Parabola, Squar e, Triangle, Saw, Sine, and Tr ansform. Select one of the shapes and
experiment with it by click-dragging across the Audio Event. You can alwaysundo those actions.
For more details,see the Gain Envelopes section.
Mute Tool
In the Arrange view, the Mute tool isused to mute Audio Events, Audio Parts,and Instrument Parts. Click on the Mute Tool button or press
[number 6] on the keyboard to select the Mute tool. To mute or unmute any Audio Event or Instrument Part, simply click on it with the Mute
tool. When an Event or Part is muted, it appears grayed out, and an “ m” icon appears in the lower left corner of the Event or Part.
Clickand drag the Mute tool to select multiple Events to mute. If multiple Events are already selected, clicking one of them with the Mute tool
mutes all selected Events.
To temporarily switch to the Arrow tool while the Mute toolisselected, hold [Alt].
Select Muted Events
Sometimes, you may use Event muting to silence superfluousAudio or Instrument content that you don't intend to use. If you decide you
want to get rid of these unused Events, you can quickly selectallmuted Events by navigating to Edit/Select/Select Muted Events, then
simplypr ess[Backspace] or [Delete] to delete (and clear away) the unwanted Events.
Bend Tool
In the Arrange view, the Bend tool is used to manipulate, add, and r emove Bend Markers. For more information on Bend Markers, refer to
the Transient Det ection and Editing section of this chapter.
Listen Tool
In the Arrange view, click and hold on anyTrack to instantlysolo the Trackand start playback from the position you clicked. Playback continues as long as the mouse clickisheld.When the mouse click is released, playback is stopped, and the related Trackisun-soloed.
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Clip Gain Envelopes
To view the Gain Envelope for the selected Audio Event, [Right]/[Ctrl]-clickand enable the Gain Envelope box in the menu. A white line
inside the Audio Event shows the current Gain Envelope. If a Gain Envelope does not already exist, the white line runs horizontally through
the zero point of the waveform.
Note that Clip Gain Envelopes are Clip-based. Any changesmade to an Audio Event willaffect all instances of that Audio Event everywhere it is used: on the curr ent Audio T rack, on other AudioTracks, and on other Songs.
Mouse Tool Access
To open the list of mouse tools when the Gain Envelope isalready visible, hover the cursor in an emptyspace above the zero line. When it
changes into the Trim Tool, use [Right]/[Ctrl]-clickto accessthe mouse tools.
Using the Arrow Tool
The Arrow tool can be used to add new points to a Gain Envelope, move existing points, and select points for deletion. Note that Gain Envelope points can also be selected using the left and right arrow keys. Multiple points can be selected at once by holding [Shift] or [Option] and
selecting the desired range, and then edited simultaneously as described in the following sections.
After the first point isadded, the gain of the entire Audio Event can be changed by dragging that point up or down.
To add a new point, clickanywhere on the current Gain Envelope. If other points exist, you can click-and-drag the new one to the desired
positionto create a new segment.
Move or Modify a Gain Envelope Point
To move a Gain Envelope point, click-and-drag the point up or down, left or right. Verticalchangesaffect the value; horizontalchanges
affect the timeline position. Moving a point below the center of the waveform reduces the gain; moving it above the center increases the
gain.
When moving an Envelope Gain point, the pop-up value indicator displays the position, current value, and the amount of change from the
previous value.
If Snap isengaged in the Arrange view, the point snaps to the grid when the cursor isreleased.
To enter a specific value for an existing Gain Envelope point, [Right]/[Ctrl]-clickon the pointand type a number into the Value field.
Another way to change a value isto float the Arrow tool over a point, hold [Alt]/[Option], and scroll the mouse wheel to move the point up or
down.
To fine-tune the value or location of a Gain Envelope point, hold down [Shift] while moving the point.
If you drag a Gain Envelope point beyond other points,those points are moved also. The original positions are remembered until the
cursor isr eleased, and then any duplicate points at that position are deleted. To restore the deleted points, undo the action.
Delete a Gain Envelope Point
To delete an existing point on a Gain Envelope using the Arrow tool, select the point and press [Delete], or [Right]/[Ctrl]-click on the point
and select Delete from the pop-up menu.
Change the Segment Curve
When you hover the cursor over a Gain Envelope segment a curvehandle appears on the white line. Click-and-drag the handle up or
down to shape the curve of that segment.
Using the Paint Tool
The Paint tool draws a series of Gain Envelope points with a singleaction. You can click-and-drag anywhere inside the Audio Event to add
new points;you don't have to click on the existing Gain Envelope first.
The menu arrow under the Paint tool icon revealsthe list of Paint tool shapes: Freehand, Line, Parabola, Square, Triangle, Saw, Sine, and
Transform.
To switch fr om the Paint tool to the Arrow tooltemporarily, hold [Alt] and then click-drag across the Audio Event.
Draw a Gain Envelope
Using the Paint tool, click-and-dr ag inside the Audio Event to dr aw a Gain Envelope. Note that drawing new Gain Envelope points overwrites any existing points.
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Draw with Shapes
With one of the Paint tool shapes selected, click-and-dr ag across the Audio Event to draw a new envelope.
When using the waveform shape tools, hold [Alt]while dragging to adjust the frequency of the drawn waveform, or hold [Ctrl] to varythe
amplitude and polarity of the waveform. Hold [Ctr l]/[Cmd]+[Alt] while drawing to movethe Gain Envelope shape left or right along the
timeline.
Transform a Gain Envelope Segment
The Transform tool can be used to alter existing Gain Envelope segments, or to add a new one. With the Transform tool selected, clickand-drag a selection box around any area of a Gain Envelope; then adjust the selection box by clicking-and-dragging one of eight handles
(four sides and four corners) to scale the selected Gain Envelope points.
Using the Range Tool
The Range tool can be used to trim selected areas of the Gain Envelope up or down in value. This can be done in two ways.
Trimming a Gain Envelope Segment
If you want to trim a single Gain Envelope segment, select the Range tool and hover the cursor in the upper half of the segment until the
cursor changesinto the T rim Tool. Click-and-drag up or down to change the selected Gain Envelope segment.
Trimming a Gain Envelope Range
If you want to trim several Gain Envelope segments at the same time, use the Range tool to select a range of the GainEnvelope. Then
hover the cursor in the upper half of the selected range until the cursor changes into the Trim Tool.Click-and-drag up or down to trim the
selected range of the Gain Envelope.
Reset the Gain Envelope
To remove all Gain Envelope segments from an Audio Event, [Right]/[Ctrl]-click the Event, scrolldown to the Audio Operations menu, and
select Reset Gain Envelope from the menu.
Have Gain Envelope, Will Travel
When an Audio Event is moved itsGain Envelope moveswith it, because Gain Envelopes are Clip-based. Thismeans the Gain Envelope
also moves when "slipping" the audio within an Event.
The Grid
The Arrangement grid iscomprised of the ticks in the timeline and the vertical lines extending from those ticksthrough the background of
the Arrangement. This grid usesthe Timebase setting as the basis for its display. The Timebase settings are Seconds, Samples, Bars,and
Frames, and theydetermine the behavior of Event and tool snapping. The Timebase can be changed at any time, without directly affecting
the arrangement.
Perhaps the most common Timebase setting is Bars,which display time ina musical format of barsand beats. With this Timebase setting,
the grid is determined by the settings in the Quantize panel.
Quantize Panel
The Quantize panel can be opened from the toolbar by clicking on the Quantize Panel button, or by selecting Quantize from the View/Ad-
ditionalViews menu. T he Quantize panel can be detached and freelyplaced on the screen. In this panel, you can edit all settings related to
the Quantize grid that are displayed in the Arrangement. From left to right in the panel, you can see areasfor Gridor Groove mode; notevalue selection; note grouping and Swing amount; Start, End, Velocity, and Range percentages; and preset management.
Note that independent Quantizepanels are also available for the Note Editor and the Audio Editor. Thisenables you to define the rhythmic
character of each aspect of the Song and perform those edits quicklywithout having to adjust the settings each time. You can show or hide
the Quantize panels for each of those by clicking the appropriate Quantize panel button. You can also close the Quantize panel for the currently selected view by navigating to View/Additional Views/Quantize.
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Rhythmic Values
With Grid mode selected, you can choose a note value between whole notes and 64th notes, and the following musical note groupings:
Straight ( with a Swing percentage setting), Triplet (3 notes in the space of 2), Quintuplet (5 notes in the space of 4), or Septuplet (7 notes in
the space of 8). These settings also determine the lookand behavior of the grid in the Arrange view. For information on the Groove mode
of the Quantize panel, refer to the Groove Extractio n and Quantize section.
Swing
Swing is a rhythmic style you can apply, in which off-beats are moved forward in time relative to on-beat notes, creating a relaxed, bouncy
feel. Thisoffset iscalculated based on the currently selected Quantizevalue. For example, at 100% Swing, with 16th-note quantize selected, a pattern of 16th notes play at a 2:1 ratio; On-beat notes play on beat, and offbeats play as though they were the final 16th-note triplet
in a group of three. You can set the amount of swing between 0%(straight timing)and 100% (fully swung).
Quantize Note Starts
The Start percentage defaults to 100%, which means that the start of a selected note, Event, or transient snaps to the grid if quantized.
This is effectivelya quantize-strength parameter, wher e anything less than 100% moves the note, Event, or transient a relative amount
closer to the grid, instead of all the way to the grid.
Quantize Note Ends
The End percentage only affects notes in Instrument Parts. The function is similar to the Start percentage, except that it affects the note
end, effectivelymaking quantized notes shorter or longer. The Velocity percentage also onlyaffectsnotes, and adjusts note velocity according to an extracted groove if the Quantize mode is set to Groove.
Velocity Sensitivity
The Velocity percentage lets you tie Quantize strength to note velocity, to the degree that you specify.
Quantize Range
The Range percentage sets the relative range from grid lines within which notes, Events,or tr ansientsare quantized. Notes, Events, or
transients beyond thisr elative range are not quantized. As there isno displayindicating the Range, quantizing several times while adjusting
this setting may lead to the bestresults.
The presets area of the Quantize panel allows you to quickly switch between up to five Quantize panelsettings, so that wor kingwith multiple complex quantization setups is very easy. You can also store and recall Quantize panel settings, just as you would store an effect or
instrument pr eset.
Common Editing Actions
Cut, Copy, and Paste
As with most software applications, Studio One supports cut, copy, and paste actions. Once you have selected an Event or a range of
Events, you can per form these actions:
Cut Press [Ctrl]/[Cmd]+[X] on the keyboard to cut the current selection.
Cop y Press [Ctrl]/[Cmd]+[C] on the keyboard to copythe current selection.
Paste Oncea selection iscut or copied, press [Ctrl]/[Cmd]+[P] on the keyboard to paste the selection. The Events are pasted on
the selected Track, at the current playbackcursor position. If you select and copy Events on multiple Tracks, then select another
timeline location on the firstTrack, and then paste, the copied Events are pasted inthe appropriate Tracksand locations, starting
with the first (selected) Track.
Paste at Original Positio n If you want to copy and paste an Event from one Song into another Song (or another version of the
Song), and want the Event to be placedat its original location in the timeline, copythe Event and paste by pressing [Ctrl]+[Shift]+
[V].
Audio Event Slip
Often, after an Audio Event has been sized to fit a particular region of time, the audio clip the Event containsneeds to be moved ahead or
behind in time without changing the Event’slength and volume envelope. T his action iscommonlycalled “slipping” or “slip,” and it is often
used alongside splitting, or splicing, to correct the timing of rhythm tracks. For instance, if one snare-drum hit isoff the beat by a little bit, you
could split the Event on either side of that section and then slip the audiointo perfect time.
To use Slip, select the Arrow tool, and then press and hold [Ctrl]/[Cmd]+[Alt] on the keyboard, while floating the mouse over an Audio
Event. The Slip tool icon appears.Click-and-drag on the Event to slip the audio left or right across the timeline. Multiple Audio Events can
be selected and slipped at once, even acrossmultiple Tracks.
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When slipping the audio in an Audio Event, note that all of the Event characteristicsremain unchanged, including the Event size, position,
Inspector par ameters, and volume envelope.
An Audio Event can be slipped only as far as the length of the audio clip it contains.
Audio Event Transpose and Tune
The ability to transpose and fine-tune audio adds a lot of flexibilitywhen working with audiofiles. For instance, if you have a keyboard loop
collection in which everyloop is in the keyof C, being able to transpose these loopsto any other key opens up many possibilities.
In Studio One, transposing and tuning are a par t of the same set of advanced algorithmsas timestretching, so the qualityisextremelyhigh.
To transpose any audioEvent, select it and open the Inspector by pressing [F4] on the keyboard or clicking on the Inspector button above
the Track Column. Then enter a value in the Transpose field, from -24 to +24 semitones.
Tuning issimilar to transposing but the pitch is changed in cents, rather than semitones. Enter a value fr om -100 to 100 cents in the Tune
field to fine-tune the audio Event.
Any number of Events can be selected and transposed or tuned simultaneously,but note that this change isnot relative to the current setting of each Event. All selected Events are transposed or tuned to the same chosen value.
Nudge
Nudging is an alternative to moving Events and notes across the timeline with the mouse. To Nudge anyEvent or note, select it and do one
of the following:
Nud gePress [Alt]+[Right Arrow] on the keyboard to move the Event or note forward in time by the current snap value in the
Arrangement or Editor. With Snap disabled, nudging adjusts in milliseconds.
Nud ge BackPress [Alt]+[Left Arrow] on the keyboard to move the Event or note backward in time.
Nud ge BarPress[Ctrl]/[Cmd]+ [Alt]+[Right Arrow] to move the Event or note forward by one bar.
Nud ge Bar Back Press [Ctrl]/[Cmd]+ [Alt]+[Left Arrow] to move the Event or note backward by one bar.
Any number of Events or notes can be selected and Nudged simultaneously.The Nudge commands are also available in the Edit menu.
Duplicate
The Duplicate action essentially combinesthe Copyand Paste actions and intelligently placesthe pasted selection based on the musical timing of the selection in the Song. Choose Duplicate in the Edit menu or pr ess[D] on the keyboard to duplicate the current selection. The
duplicated Event is always placed after the original Event, and it is automaticallyselected once duplicated. As with the other editing actions,
Duplicate can apply to any number of currently selected Events.
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A good use of the Duplicate command isto quickly create copiesof a loop across a region in a Song by selectingan Event and repeatedly
pressing [D] on the keyboard. Another interesting use involves selecting very short regions within a loop, using the Range tool, and duplicating them several times, consecutively, in order to create a stutter effectthat is popular in electronic music.
If you would like to duplicate an Event and push existing materialto the r ight across the timeline to make room for the duplicated Event,
press [Alt]+[D] on the keyboard to use the Duplicate and Insert command.
Duplicate Shared
When you duplicate an Event normally, each duplicate is treated as a separate Event, and edits made to one duplicate are not reflected in
the other copies. If you want to duplicate an Instrument Part and link the content of the duplicatesto that of the original Part, select the Part
and choose Duplicate Shar ed from the Editmenu, or press[Shift] +[D] on the keyboard. A ghost icon appears on the original Part and any
Shared duplicates, to alert you that those copies are now Shared. Anyedits made to the original Part or a Shared copy are applied to all
instancesof that Part.
If you later decide you wish to edit one of the Shared copies of a Part individually, select it and choose Separate Shared Copies from the
Event menu. The ghost icon disappears from that Part to alert you that the copyisno longer Shared, and can be edited without affecting
the other copies.
Explode Pitches to Tracks
It is sometimes helpful to explode existing pitches within an Instrument Part to new Tracks, placing each pitch within individualInstrument
Parts on separate Tracks. For instance, if you have a MIDI loop to use with a virtual drum instrument, you may want to have each pieceof
the drum kit on itsown Instrument Tr ack.
To do this, [Right]/[Ctrl]-click on an Instrument Part in the arrangement and select Explode Pitchesto Tr acksfrom the Instrument Parts
sub-menu.You can also accomplish this by selecting the Part, and choosingExplode Pitches to Tracks from the Events menu.
Strip Silence
It is quite common that, as the result of continuous recording, some Audio Events may have gaps of silence or relatively low levels between
performances. It may be helpful in these casesto remove the gaps and only keep the desired sections of the recorded Event. Studio One's
Strip Silence function, controlled fr om the Strip Silence panel, is designed to handle this task.
Open the Strip Silence panel by clicking on the Strip Silence button in the toolbar, or select Strip Silence from the View/Additional Views
menu. Select the Audio Events from which you wish to strip silence, make the desired settings, and then clickon [Apply]. Clickon the
[Default] button to return allsettingsin the panel to their defaults.
The result of the Strip Silence process is similar to using a gate processor to only allow the desired signal to be heard, except that the Event
is edited.
When the smalllight indicator next to the [Apply] button islit, this means that changing the Detection or Event options and then clicking
Apply automatically undos the previous operation, making it easier to find the right settings by viewing the result of the StripSilence process, then tweaking the settingsif needed without having to undo manually. Any change inselection (or other editing operation) ends this
automatic state, and the indicator isno longer lit.
The following describeseach setting:
Detection This determines how StudioOne identifiessilence in the areas you wishto process.
Material The first three options set the Open and Close Threshold for the gate algorithm automatically.
Lots of Silence Choose thisfor materialthat contains lots of silence and single hits—for instance,a clean, typical single-
drum recording (hat, kick).
Little Silence Choose thisfor materialthat has some action going on but stillhas some silence—for instance, minimal
techno/single drum loops, ride, or snare tracks.
Noise Floor Choose thisfor materialwhere there isalmostno realsilence—for instance, noisy drum recordings, over-
heads, drum mixes, and drum loops.
Manual Allows the Open and Close Threshold to be manually edited.
Open Threshold Set between -80 and 0.00 dB.
Threshold Link Engage to link the Close Threshold to the Open T hreshold.
Close Threshold Set between -80 and 0.00 dB.
Events This section determinesthe nature of the Events created after removing silence.
Minimum Length Determines the minimum length in seconds for any resulting Event.
Pre-Roll Determines the amount of time in seconds that should remain at the beginning of resulting Events from the time at which
the previously detected silence ends.
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Post-Roll Determinesthe amount of time insecondsthat should remain at the end of resulting Events from the time at which
newly detected silence begins.
Fade-In Determines the length in seconds of the linear fade-in applied to resulting Events.
Fade-Out Determinesthe length in seconds of the linear fade-out applied to resulting Events.
Link Enable this option to automatically set the Fade-In parameter to match the Pre-Rollsetting, and the Fade-Out parameter to
match the Post-Roll setting.
Audio Parts
It is often convenient to merge multiple separate Events into a single object in order to move them all together or simply to clean up the
Arrangement. Thisis accomplished with Audio Parts.
To create an Audio Part, select the Audio Events and then press[G] on the keyboard. Thismakesthe separate Events appear and function
as a single Event in the arrangement while also appear ing and functioning as separate Events in the Editor. It is then much simpler to, for
instance, duplicate a chorus in the arrangement and retain access to the individual Events for editing crossfades and other details.
Note that Audio Parts support shared, or ghost, copies, with the exception of any Event FX which are strictly per Event instance.
An Audio Part has two options in the Event Inspector:
Play mode
Normal plays only the topmost Events, and any overlaps are not played.
Overlaps allows any overlapping audio to playbackmixed, rather than cutting off at the end of each individualslice. This
often happens if individual slices are have been quantized but not timestretched.
Slices is optimized for REX and Audio Loop files, and adds short fades to slicesduring playback. Each slice is triggered
only once, and no overlaps are played.
Stretch Events timestretches Events inside the Audio Part to match the Song Tempo.
To dissolve an Audio Par t, [Right]/[Ctrl]-click on the Audio Part and choose Dissolve Audio Part from the contextual menu.
Editing Options
The following options are related to Editing workflow.
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Transport Options
Loop Follows Selection
With this option enabled, whenever you make an edit selection, the loop mar kers automaticallysnap to surr ound that selection. With Cycle
mode enabled, this allows for instant looping of a selection when editing, without fur ther mouse movements or keystrokes. To disengage
this new loop bracket, clickthe mouse outside the current selection in Arrange view. These actions can onlytakeplacewhen the Transport
is stopped.
To enable this behavior, select Transport/Options/Loop Follows Selection, or [Right]/[Ctr l]-click in the T ransport bar and choose Loop Fol-
lows Selection from the pop-up menu.You can also enable this option by pressing [Alt]/[Option]+[Ctrl]/[Cmd]+[P] on the keyboard.
Enable Play Start Marker
With this option enabled, the playback start marker is made separate from the edit selection, which it normallyfollows. Thisletsyou always
start playback from a chosen location as you're editing, no matter where the edit selection currently lies. The play start mar ker appears as a
triangular marker in the timeline. To move this marker (and set a new playback start position), click-and-drag the marker along the
timeline.
To enable this behavior, select Transport/Options/EnablePlayStart Mar ker, or [Right]/[Ctrl]-click in the Transport bar and choose Enable
Play Start Marker fr om the pop-up menu. You can also enable this option by pressing [Alt]/[Option]+[P]on the keyboard.
Return to Start Position on Stop
Many people prefer that when playbackisstopped, the playback cursor returns to the position from which it started. Thisallows fast auditioning of editsbyrepeatedly starting and stopping playback from a specificposition in the timeline.
To enable this behavior, select Transport/Options/Return to Start on Stop, or [Right]/[Ctrl]-clickin the Transport bar and choose Return to
Start onStop from the pop-up menu. You can also enable this option by pressing [Alt]/[Option]+[Num Pad 0] on the keyboard.
Locate to the Mouse Cursor
To quickly locate the playback position to the mouse-cursor position, press [Ctrl]/[Cmd]+[Space] on the keyboard. This is very useful when
you want to quicklynavigate to multiple edits for auditioning or further editing, without clicking in the Timeline.
Ripple Edit
In normal operation, if you delete a Part (or a section of a Part)from the timeline, all other Parts on the timeline remain in position, and a
space is left where the deleted Part was. If you'd like the Parts ahead of the deleted region to move backward to fillthat space, say, when
editing spoken word content where gaps are undesirable, enable Ripple Edit mode. To do so, press the Ripple Edit button in the toolbar,
which looks like this:
Apart from automatically filling in gaps when cutting or deleting content, Ripple Edit also introduces a sort of "displacement"behavior when
editing. If you copya Part and pasteit in the middleof another , instead of replacing (or overlapping)that section of the target Part, the target Part is splitat the edit point, and moved forward in the timeline, to make space for the pasted Part. If you move a Part to the start point of
another Part, instead of replacing or overlapping the content below, the two Parts simply switch places.
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Similarly, if you trim the end of a part to change its length, the Parts downstream move to maintain their relative position to the end of the
trimmed Part. Thisbehavior extends to other editing operations, such as Crop to Content and Nudge/Nudge Back.
Follow Song and Follow Edit Position
If you would like the Arrange view to follow the current playback-cursor position, engage Autoscroll in the toolbar, or press[F ] on the keyboard. This keeps all audible Events in view.
If you would like the playback cursor to follow the current edit position, engage Cursor Follows Edit Position, which is next to Follow Song in
the toolbar. With this engaged, the playback-cursor position jumps to the beginning of any Event or group of eventsyou select, anynote
being selected or moved, or to the position of any marker being moved.
Bar Offset
In some cases, such as working on a Song that contains introductory soundsbefore the first bar of musicstarts, or in some video post editing situations, it can be helpful to have your song start on a bar number rather than one. To do so, open the Song Setup window by navigating to Song/Song Setup, or to Studio One/Options(macOS:Preferences) and clicking the [Song Setup] button.
To start your Song at a negative bar number , enter a negativenumber into the Bar Offset field. To start your Song at a bar number greater
than one, enter a positive number.
Lock Tracks or Events
It can be a lifesaver to prevent a Trackor Event fr om being accidentallychanged, or worse, deleted. Once a Track or Event has r eached a
certain level of completion, you may want to lock it that way while working on something else. Thisissimple to do.
What Locking Does Not Do
There are some actions that are still allowed after a Track is locked. You are still able to Mute or Solo the Track, change itsorder in the
TrackList, change the color of the Track, and rename it. But everyaction that is not allowed willbe greyed out and inaccessible until the
Trackis unlocked again.
Locking an Event provides two options: Time Lockand Edit Lock. You can select one or both when locking an Event. Those options will be
described in the Event Lock section below.
Note that as with any other action, the processof locking a Trackor Event becomespart of the Undo/Redo history. It can be undone with
[Ctrl]/[Cmd]+Z. So you may want to use the Save New Version feature as an additional backup after an important Track or Event islocked.
Track Lock
The Lock Track option isavailable for Audio Tracks, Instrument Tracks, AutomationTracks, and Folder Tracks. To locka Track, locate its
name in the Track List, use [Right]/[Ctr l]-click, and select Lock Track from the menu. Use the same action to unlockthe Trackby selecting
Unlock Trackfr om the menu.
Locking a Trackprevents the additionor deletion of any of the Events it contains. It also will not allow any new Eventsto be recorded or pasted into the Track. A locked Trackcannot be removed from the Song. It also cannot be used by the Arranger Track.
Event Lock
To lock an Event, locate the desired Event and use [Right]/[Ctrl]-clickto open the menu. At the very top, under the Transpose and Velocity
fields,are two options:
Time Lo ck Select this option to keep the Event from being moved to a different time position within the Track. A smallcircle-slash
clock icon will appear in the lower left corner of the Event window to indicate the Time Lock status of the Event. When an Event is
Time-Locked data can be added, removed, or altered inside the Event. The Event can be copied and pasted to any time position
on any Track (even on top of itself). You can also Duplicate this Event by pressing [D] on the keyboard repeatedly. A time-locked
Event that has been pasted or duplicated will also be time-locked.
Note that the Arranger Track isalso not allowed to relocate an Event when the Time Lock option is active for that Event.
Edit Lock Select this option to prevent the contents of the Event fr om being altered in anyway. This also locksthe Transpose and
Velocity fields at the top of the menu. A small circle-slash pencil icon will appear in the lower left corner of the Event window to indicate the Edit Lock status of the Event.
Note that it is possible for both Time Lockand Event Lock to be active for an Event. When this is true a small lock icon willappear inthe
lower left corner of the Event window.
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Convert a Part into a Pattern
Instrument Parts wor k well for extended passages and recordings of live playing, for example. But for rapid construction of a song wher e a
brief passage plays many times in a row, such as a synth bassline, it can be veryusefulto switch to pattern-based editing. Studio One
provides the best of both worlds and allows you to travel instantlybetween them.
To convert an existing Part into a Patter n, [Right]/[Ctrl]-click on the desired Par t and select Convert Part to Pattern from the Instrument
Parts menu. This operation is also found in the Event menu. Studio One determines whether the Pattern shoulduse Melodic Mode or
Drum Mode based on the Instrument, and the Part becomes a Pattern at that spot in the timeline. The maximum Pattern length is 64
Steps, so anything beyond that is truncated during the conversion.
After editing the Pattern as described in the Patterns section, you can convert it back into a Part using the same method: [Right]/[Ctrl]-click
the Patter n in the timeline and select Convert Pattern to Part, or select the operation from the Event menu.
Audio Loops and Music Loops
Studio One features two proprietary file formats, Audio Loop (.audioloop) and MusicLoop (.musicloop), that greatly enhance your ability to
create and re-use original materialin your productions and to share your material with other Studio One users. The following describes
these formats and how to use them.
Audio Loops
Audio Loops ar e essentially Audio Parts tagged with a tempo and r endered with lossless compression. To create an Audio Loop, drag any
Audio Part to the File Browser. You can then see the Audio Loop listed, along with a drop-down arrow inthe Browser that, when clicked,
reveals the Slicesthat the Audio Loop contains.
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Audio Loops allow fast creation of flexible audio loops from any source. For instance, you might take part of a drum recording you just
made and turn it into a loop by doing the following:
Export a stem for the drum bus for the desired range to a new stereo T rack.
Detect transientson the new Track and then apply the Slice action, with the Merge option checked in the Audio Bend panel.
Drag the Audio Part to Browser to export an Audio Loop you can use in any Song and can share with other Studio One users.
Alternatively, use the stem before slicing and drag the Audio Event to the Browser to export an Audio Loop that stretches to the
song tempo.
Music Loops
A Music Loop consistsof everything required to recreate a musical performance, including the virtual instrument preset, multichannel FX
chain presets for the virtual instrument outputs, the music-performance file,and an audio loop. Music Loops can be dragged in from the
Browser, just like a MIDI file, but they are much more powerful in that they can re-create the exact setup used to make the original performance.
To create a MusicLoop, drag any Instrument Part into the Browser. You can see a pop-up displayindicating whether you are exportinga
MusicLoop or a MIDI file. By default, MusicLoop is selected. To change this selection, press [Alt]/[Option] on the keyboard. Once exported,
you can see the .musicloop file in the Browser.
You can now drag this Music Loop into any Song to instantlyr e-create that per formance, including creating the Instrument Track, loading
the virtual instrument, and loading anyeffects on the virtual instrument outputs. A Music Loop can be previewed in the Browser, just like
audio; the Browser playsthe rendered audio file.
To see the contents of the MusicLoop, [Right]/[Ctr l]-click on the MusicLoop and choose Show Package Contents. You can now see a
drop-down arrow that, when clicked, reveals the elements described above. Eachelement can be dragged in separately; for instance, if
you just wanted to load the instrument preset fr om the MusicLoop. Another nice benefit of MusicLoops is that the render ed audio can be
used even if the instrument and effects used to create the Music Loop are not installed.
Note that when creating Music Loops, the related channel volume, pan, send, and busing details are not a part of the rendered audio or
stored preset.
MusicLoops are an excellent way to store a personal libraryof original mater ialvery easilyand to share that material with others without
worr yingabout what instruments or effects they have.
Edit Groups
It can be useful to group multiple Trackstogether so that any editsdone to an Event on one T rack in the Group ar e automaticallydone to all
Events for each Trackinthe Group. For instance, you may wish to group all of your drum Tracks together so that when the Events are cut
and moved, the relative timing between the Tracks remainsintact.
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Creating Edit Groups
There are two ways to create a new Edit Group:
Select the Tracksyou wish to group.
[Right]/[Ctrl]-clickon any currently selected Track.
Choose Group Selected Tracksfrom the pop-up menu.
You can also use [Ctrl]/[Cmd]+G after selecting the tr acksto create a Group.
Whichever way is used, allTracks that were selected are now a part of the new Edit Group. A name willbe suggested for the Edit Group
based on the selected Tr acks. If their namesare similar, such as Snar e 1 and Snare 2, the suggested name for the Group willbe "Snare".
If the Tracknames are nothing alike, new Groups will be named in the order in which they are created (Group 1, Group 2, and so on). The
name of the new Edit Group is shown in the Edit Group selector box under the input selector on all Tracksinthe Group. You can rename an
Edit Group by clicking inthe Group selection box on any Track in the Group and selecting Rename Group.
There are two ways to add a Track to an existing Edit Group.
Clickon the Edit Group box (under the input selector) on the desired Track in the Arrange view.
In the pop-up menu, choose the Edit Group to which you wish to add the Track.
The second way is to [Right]/[Ctrl]-clickthe desired Track and select Group Assignment from the menu. A check mark by a Group name
indicates the current Group for that Track. To change its Group assignment, select a different Group name.
When a Trackis included in an Edit Group, selecting the Track selects all Tracks in the Group. Editactionsperformed on anyEvent for any
Trackin the Group are performed on allEvents for each Track in the Group. Selecting a new color for anyTrack in the Group selects that
color for the entire Group.
Edit Groups also gr oup the faders and several other featuresfor the related Channels in the Group. Thistopicisdiscussed further in the
Groups section of the Mixing chapter. Note that it is also possible to create an Edit Group from a F older T rack.
If a Track is in an Edit Group, and an Event from the T rack is viewed in the Edit view, the Group icon appears at the top left of the Edit view,
indicating that any edits performed on the Event in view affect other Events.
Dissolving Edit Groups
To dissolve (ungroup) an Edit Group, [Right]/[Ctrl]-clickon any Track in the Group in the Arrange view. Then select Dissolve Group (1, 2,
3…), and the Group isdissolved. Grouping and dissolving actions can be undone and redone, as with most user actions.
Temporarily Suspending Edit Groups
Certainactions—such as moving a fader, muting, and soloing—can be performed on a Track within an Edit Group, without affecting the
Group as a whole, by temporarilysuspending the Group. To do this, hold [Alt]/[Option] on the keyboard while performing an action on a
Track.
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You can suspend an entire Group temporarily if many changes need to be made, and then reactivate the group with the same command.
To do this, hold [Shift]+G and type the first letter of the Group name into the smallwindow that appears, or enter the Group number.
There is more information about this topic in the Groups section of the Mixing chapter.
Timestretching
It is possible to stretch an Audio Event to fit a tempo other than itsoriginal tempo, without changing the pitch. This is called Timestretching,
and it can be used to effectivelyslow down or speed up an Audio Event. For instance, a one-bar dr um loop recorded at 120 bpm (beats per
minute) can be stretched to fit into one bar at 100 or 140 bpm without significantly changing the pitch and overallsound of the original
audio.
Timestretching and defining a file tempo are nondestructive, so they can be undone and r edone. It is also possible to switch T empo modes
for any Audio Tr ack, on the fly.For example, switching to Follow or Don’t Follow from Timestretch returns any timestretched Audio Event
that T rack contains back to its original state.
When timestretching, ifthe tempo is drastically changed (by about 30 bpm or mor e), the audio can become slightly distorted. While thiscan
lead to interesting effects, you should be aware of the limitation of this technology.
In Studio One, timestretching can occur automatically or manually.The following describes these functions.
Manual Timestretching
With manual timestretching, you can stretch an Audio Event independently of the Song tempo or audio file tempo.
To manuallystretch an Audio Event with the Arrow tool, float the mouse cursor to the edge of the target Audio Event and hold [Alt]/[Option]
on the keyboard. The Timestretch tool appears, allowing you to click on the edge of the Event and drag left or right to timestretchthe Event,
making it shorter or longer. In this case the length of the Event changes, using the Speedup factor, but the pitch of the audio the Event contains remains the same. Only the Event that you selected for timestretching is affected.
Speedup factor is a timestretching function for making an audio clip shorter or longer while maintaining its pitch. Thisis used to stretch
Audio Events when you do not wish to define a tempo for the or iginalaudio clip, which would affect all Events associated with that clip. The
Speedup factor value changes during manual timestretching, and it also can be entered manually in the Event Inspector. Values greater
than 1 decrease the length of the clip, while values lessthan 1 make the clip longer.
Note that manual timestretching can not be used on an Audio Event containing a sliced loop.
Automatic Timestretching
Automatic timestretching is based on the relationship between the Song tempo and the audio file’stempo.
Each Audio Track has a Tempo mode that controls the behavior of the Eventson the Track, based on the Song tempo. The Tempo mode
can be selected in the TrackInspector. The following modes are available:
Don ’t Follow Events on this Trackare independent of the Song tempo. They are never moved or stretched automatically.
Follow The start positions of Events on this Trackare tied to the musical grid. Thus, the Eventsmove when the Song tempo
changes but they are not stretched.
Timestretch Event start positions follow the Song tempo, as in Follow mode. In addition, the Events are stretched to fit the Song
tempo.
Audio File Tempo Information
For automatic timestretching to work as described, Studio One needs to know the original tempo of an audio file. The software can then calculate how to stretch the file to fit the Song tempo. Manyaudio loops have this information encoded.
Files without tempo information are not timestretched, even if the Track’stempo mode isset to Timestretch.
Studio One offers two ways to define or change the originaltempo information of an audio file.
If the original tempo for an Audio Event is unknown, the Arrow tool Timestretch function can be used to manually fit the Audio Event to a
specific length of time (bars and beats, etc). T o do this,set the T empo mode of the Trackto “Timestretch.” Float the mousecursor to the
edge of the tar get Audio Event and hold [Ctrl]/[Cmd]+[Alt]/[Option] on the keyboard. T he Define Tempo tool appears, allowing you to click
on the edge of the Event and drag left or right to stretch it. In this case, the tempo for the original clip is set based on the musical length to
which the Event isstretched, and allEventsin the Song that use thisoriginalclip are updated.
If the original tempo for an Audio Event is known but is not encoded in the original file that the Event references, you can easily set the file
tempo for the Event in the Inspector. Click in the File Tempo box, type in a new value and press[Enter] on the keyboard to enter a new file
tempo. If the corresponding Audio T rack’sTempo mode is set to Timestretch, entering a new value in File Tempo stretchesallEvents in
the Song that use thisoriginal clip, based on the entered tempo value.
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Tap Tempo
You can use the Tap Tempo function to set the current Song tempo to the tempo that you hear in your Audio Events. To do this, repeatedly
click on the word “Tempo” in the Transport, clicking once on every beat you hear. Studio One determines the Audio Event tempo based on
the timing of your clicksand sets the tempo for the Song accordingly. Be sure that the T empo mode for the Audio T rack is set to Don’t Follow; other wise, the Events ar e stretched or moved while you are using the Tap T empo function, making it impossible to find a consistent
tempo.
Timestretching Material Modes
Studio One features several optimized timestretching modes that may yield better results with certain types of audio material. To access
these modes, open the Inspector by pr essing [F 4] on the keyboard and clickthe Timestretch menu. Click on any mode to select it for the
currently selected Track. The modes are:
Drums Use this optimized mode on any percussion track to achieve the best results when stretching percussive audio. This mode
uses the Elastique Direct algorithm.
Soun d Use this generalmode on any other type of track. This mode uses the Elastique DirectFormant algorithm.
Solo Use this optimized mode on any solo instrument or vocaltrack to achieve the best results. This mode uses the Elastique Pro
Monophonic Formant algorithm.
Tape In thismode the track audio follows the song tempo by changing the sampleplayback rate. This results in the pitch moving
up or down when the tempo changes, sort of likechanging the speed control on a tape deck. Try thiswith drum loops or other
samples when the pitch doesn't need to be exact.
Note: Some timestretch modes do not support precision timing changes. If you manipulate Bend Markers in an Event set to one of those
modes, Studio One automatically slices and repositionsthe sections of your audio (rather than timestretching them into place) for the best
results.
Using Timestretch Cache
The Use Cache for T imestretched Audio Files setting is engaged by default. T his option also can be selected in the Studio One/Op-
tions/Advanced/Audio Engine menu (Mac: Preferences/Advanced/Audio Engine). T imestretch Cache creates a cache file at the correct
tempo for any files that need timestretching, based on what is currently being stretched in your Song. Thisimproves Studio One’s performance, as the timestretchprocess no longer needs to occur duringplayback. Studio One alsocan use a higher-quality timestretch setting when it creates the cache file.
Using Timestretch Cache requires a certainamount of available space on your hard drive. If you know that space is relativelylimited on
your hard drive, or if performance issues arise, disable this feature. When Use Cache for Timestretched Audio Files is deselected, Studio
One timestretches the file in real time during playback, as the fileisbeing read from the computer hard drive.
Default Tempo Mode for New Tracks
When creating a New Song, notice that the New Song setup menu includes a Stretch Audio F ilesto Song Tempo checkbox. With this
option engaged, any new Trackthat is created in this Song has the Tempo mode set to Timestretch, and the software automatically
attempts to stretch audio files to the current Song tempo when they are imported into the Song. Otherwise, the default Tempo mode for
new Tracks is Follow.
Comping
Comping is the process of piecing together multiple performances into a single, continuous performance. F or instance, you might record
the vocals for a verse a number of times, then edit the best partsof each passinto a single, hybrid performance that, ideally, sounds as
though itwas performed in one pass. Comping and related information are covered in the following sections.
Takes and Layers
The most common comping scenario involves recording multiple takes of audio and then editing those takes. In Studio One, each successive recorded take can be placed in its own layer, by enabling the Record Takes To Layers option in the Record panel, opened with
[Shift]+[Alt]/[Option]+[R], or by using the View menu. With the Record T akes To Layers option engaged, all recordings are placed on layers, with one layer per take, and the layers are shown as soon as recording isstopped. The last recorded take is placed on the Track automatically. Note that this option alsoapplieswhen recording Instrument Parts if the Record Takes option isengaged in the Record panel.
By [Right]/[Ctrl]-clicking on a Track, you can choose Add Layer to manually add a Layer at any time. You can then drag audio or MIDI to the
Layer just asyou would drag it to the Track. This allows some very interesting creative comping possibilitiesbeyond simplyrecording and
editing. Note that once an Event has been dragged to a layer, it cannot be moved or copied to another location, so be sure to retain a copy
if you plan to use it elsewhere.
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To rename an Event within a layer, [Right]/[Ctrl]-click on it and double-clickon the name to enter text (e.g., “great,” “not good,” “br illiant,”
and so on). T hisisvery helpful when organizing takes to be comped. Layers are displayed as lanes directly under the Track to which they
belong.
To hide or show layers, clickthe Expand Layers button on a Track (which looks like this ), or [Right]/[Ctrl]-click on the Track, and then
choose Expand Layers from the pop-up menu. Layers have their own Track controls, including Solo, Activate, Duplicate, and Remove.
Clickon the layer’s Solo button to solo the layer on the Track. Clicking on the Activate button places that layer on the Track,and the current
contents of the Tracktake the place of that layer on a new layer located under the Track. Duplicate creates a duplicate of the layer on a
new layer. Remove removes the layer from the Track.
If you would like layers to follow the TrackEvent in the arrangement—for instance, when moved or duplicated—engage the Layers Follow
Events option in the Inspector for the Track.
Auditioning Takes
When comping, it ishelpfulto be able to quicklyaudition the various takes to determine the desired parts of each take. The Listen tool is well
suited to auditioning takes on layers. When floating the mouse over any layer, hold[Alt]/[Option] and click anywhere on anylayer to instantly
hear it, starting from the point in time where you clicked. Alternatively, hold [Shift]+[Alt]/[Option] and clickon a selected range on any layer to
solo the layer; looping isautomatically engaged around the selected range for playback.
It is also possible to solo entire layers to quicklyswitch between takes, as only one layer of a Tr ack may be soloed at a time. To do this, click
on the Solo button on any layer, or select the layer and press [S] on the keyboard. Note that Tr ackSolo is independent of this, so you can
solo the Track or not, depending on whether you would like to hear the performancesyou are comping in the contextof the other Tracks in
your Song.
Copying Layer Ranges to the Track
Studio One makesthe comping process very simple. With the Arrow tool selected, floating the mouse over any layer switches to a special
Range tool, indicated with the Range cursor icon. Click-and-drag with this tool to instantlypromote any range of a take to the Track.
Once a range has been copied to the Tr ack, it is highlighted in the Track color so that you can always be sure where materialon the Track is
coming from. Where a newly copied r ange overlaps with an existing range on the Track, an automatic crossfade is applied to help avoid
clicksor other undesirable artifacts.This crossfade can be edited, just like any other, and it can be removed.
Any selected range on a layer can be sized left or right by floating the mouse cursor to the edge of the range and clicking and dragging,
which alters the Trackaccordingly.
Comping with the RangeTool
You can use the Range tool to select ar eas and ranges within layers, without automaticallypromoting the selected layer range to the main
track. Thiscancome in especially handy when using the techniques outlined in Comping Keyboard Navig ation. Once you have a
chosen range selected within a layer, you can pressthe Copy Ranges to Track arrow inthe controls for that layer, promoting the selected
range to the main track.
Comping Keyboard Navigation
Given that you can select a range within a layer, it can be very usefulto be ableto quicklymove that selection around within the available
layer content, especiallywhen comping tr ackswith many takes. You can use the following keyboard commands to quickly move and rerange your selection within the layers in a track.:
[Arrow Up/Down] Navigates verticallythrough the stack of layers.
[Arrow Left/Right] Moves the Range tool selection to the previous or following range, as determined by the chosen Event ranges
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on the main track.
[Shift] + [Arrow Left/Right] Extends the Range selection left or right.
The selection you end up with after extending or contracting an existing Range selection with [Arrow Left/Right] can be moved with the
arrow keys just like the original selection.
Quick-Switching Content on the MainTrack
Once you've done some comping, you'll notice that the comped sections in the main track have a menu button at the bottom. Clickthisbutton to open a pop-up menu that lets you choose between all availablelayers for that section of the main track. You can switch between
takes even more quickly by hovering the mouse pointer over the section of your choice, then pressing and holding [Alt] on the keyboard as
you move the mousewheel or press[G] (for up) or [D] (for down).
Comping With Groups
If one or more Tracks are in a Group, and comping isperformed on anyof those T racks, identicaleditsare performed on the other Tracks
in the Group. For instance, comping can be performed on a single Track within a drum Group, and those identicaleditsare performed
across the other Tracksin the Group. This applies to soloing, activating, and removing layers, as well.
While it may be best to avoid the scenario, comping can be performed across grouped Trackswith a differing number of layers; layer positionsunder the Tracksdetermine the behavior of the edits.
Layer Naming
By default, layers in a Trackare given namesin ascending order from top to bottom— Layer 1, Layer 2, and so on. Even if you re-order layers within the stack,their original names staythe same, to avoid confusion. You can rename a whole layer by double-clicking its name. You
can rename content within a layer by [Right]/[Ctrl]-clicking the content, and double-clicking the name shown in the pop-up menu. Aslayer
content is added to the main track, you'll see that those Events are named with the track name and layer name, or layer number, if you
have not assigned a custom name.
Color-Coding Layers
Much like you can with Audio and Instrument Tracks, you can assign colors to layers withina track. Thiscan be helpful when establishing a
color code for take quality, or simplyto give more clarityto which layer isused in a given section of the main track. To set the color for a
layer, click the color picker, next to the layer's solo button, and choose a color from the pop-up selector.
What Next?
After comping on an Audio Track, it iscommon to consolidate, or bounce, separate Audio Events into a single, continuous Event. You can
do this quicklyby selecting the Audio Events on the Trackand pressing [Ctrl]+[B] on the keyboard. Thisrenders a new audio file and Event,
and places it on the Track at the correct position.
A more flexible way isto merge the separate Audio Eventsinto an Audio Par t by selecting the Audio Events and then pressing [G] on the
keyboard. Any comping performed under the range of the Audio part results in the comps being copied directly into the Audio part.
Transient Detection and Editing
Transient Detection isthe process of determining the location of transients within audio material, which can then be used as the basisfor
editing. A transient can be defined as a short-duration signal that representsa non-harmonic attack phase of a musical sound or spoken
word. It contains a high degree of non-periodic components and a higher magnitude of high frequenciesthan the harmonic content of that
sound. When looking at the waveform of a recorded snare drum hit, the first part of the hit—the attack—looks distinctly louder than the r est
of the signal;the “louder” part is the tr ansient, and the rest of the signal is commonly called the “tail.”
Transients usually indicate rhythm in musical material, so that when the positions of transientsare known, it becomes possible to quantize,
or correct the timing of, recorded audio. For instance, if a drummer was earlyon the downbeat after a killer fill, you could fix it so that it is perfectlyin time. In fact, it is possible to alter the entire feel of a performance and even extract the feel of one recorded performance and apply
it to another.
Detect Transients
To detect transients in anyaudio in an arrangement, select an Audio Event and open the Bend panel from the top toolbar, then choose
Analyze fr om the Detection area. Alternatively,[Right]/[Ctrl]-clickon an Audio Event and choose Detect Transientsfrom the Audio/Audio
Bend contextual menu. You can also open the Bend panel by clicking Audio Bend in the View/Additional Views menu.
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The original audio clip that the Event uses is then analyzed, as indicated in the lower left of the Event with a “per centage complete” display.
After detection, the Event becomes slightly translucent, and blue Bend Markers—vertical linesthe height of the Event—are placed at every
transient.
Two modes can be used for transient detection: Standard and Sensitive. These modes are accessed in the Bend panel.
If you intend to quantize or slice the Audio Event, you don’t need to detect transientsfirst; you can go straight to the Action area of the Audio
Bend panel. Any appliedaction detects transients.
Tab to Transient
It is possible to tab to transients in both the Arrange view and Audio Editor by pressing [Tab] on the keyboard, even if transients have not
yet been detected for the Event. This moves the playback cursor to the next transient in the Event. T he following keyboard shortcuts are
also available when working with Tab to Transient:
[Ctrl/Cmd] + [Backspace] Moves the cursor to the previous transient.
[Shift] + [Tab] Creates or expands a range selection between transients.
[Shift] + [Ctrl/Cmd] +[Backspace] Shortensthe range selection.
Bend Markers
Bend Mar kers are used in Studio One to stretchaudio inside an Audio Event, without the need for slicing the Event into multiple pieces.
They are added to an Audio Event when detecting transients from the Bend Panel, and can also be manuallyadded. When detecting transients,the default Threshold used to place Bend Markers at transients is 80%, which can be adjusted at the top of the Event contextual
menu or in the Inspector, so that Bend Markers ar e placed only at the transients with whichyou want to wor k. It is also possible to manually
insert Bend Markers, before or after detecting transients.
While it is possible to insert and edit Bend Mar kers with Bend Markershidden, you may want them to be shown while editing. Checkthe
Show Bend Markersbox in the Bend panel or Event contextual menu to show or hide Bend Markers.
If Bend Markers have been inserted as the result of tr ansient detection, a very short, highlighted range—visible if zoomed in far enough—
precedes the Bend Mar ker. Thisrange r epresents the distance between the onset and the peak of the transient, and it isimportant when
Studio One quantizes audio based on Bend Markers. When cutting, the onset of the transient is used, so as to encompassthe whole transient. When quantizing or snapping a Bend Marker, the peaksof the transient are referenced, for better rhythmic accuracy.
Note that Bend Markers are properties of the audio clip that an Event references, meaning that multiple Events referencing the same
audio clip in the Pool (for example, a drum loop duplicated several times) share the same Bend Markers, and are effected by anyBend
Marker editing. If you want to process duplicated Events differently, for instance to provide rhythmic variation with a duplicated drum loop,
then bounce the Event to a new file prior to editing.
Editing Bend Markers
To manuallyinsert Bend Markers, switch to the Bend tool, then float the mouse over any Audio Event and click wher e you would like to
insert the Bend Marker. Double-clickon any Bend Marker with the Bend tool to remove it; any effect the Marker had on the audio is
undone.
With the Bend tool selected, click-and-drag on any Bend Marker to manually manipulate the audio left or right on the timeline. Doing so
stretches or compresses the audiosurrounding the Bend Marker, and the Bend Marker displays a left- or right-facing flag at the bottom,
indicating the direction in which it has been moved. If the audio is stretched, the waveform is colored red, with the intensityof the color
increasing the mor e the audio is stretched. If the audio iscompressed, the waveform is colored green.
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Like many other editing operations,when moving a Bend marker with Snap enabled, the marker snaps to the nearest interval dictated by
the current Snap setting. Hold [Shift] while moving a mar ker to temporarily disable Snap for finer control, or to enable snapping if it's currently disabled.
If you wish to relocate a Bend mar ker (without timestretching the surrounding audio), hold [Alt] and click-and-drag the Bend marker to the
desired position.
Note that for audio to be stretched or compressed by manipulating a Bend Marker, at least one other Bend Mar ker should exist to the left
or right of the one being manipulated, to be used as the basis for stretching or compressing. If no other Bend Marker exists, the beginning
and end of the audio clip for the Event ar e used. For instance, if you want to change the rhythmic phrasing of a word in a vocalpart, add a
Bend Mar ker to the left and right of the word you want to alter before attempting to move the word itself.
Multiple Bend Markers can be selected for simultaneous editing with the Bend toolby holding [Shift] and clicking on the desired markers, or
selecting a group of markers while holding [Alt].
You can reset a Bend Marker to its originalposition by [Right]/[Ctrl]-clicking on it and selecting Reset Bend Marker. Multiple selected Bend
Markers can be reset at once, making it possible to easilyrestore the original timing if editing produced undesirable results.
Use The Bend Panel
When working with Bend Markers, you may find it usefulto have the Bend paneldisplayed, as this is where the most common Bend
Marker- related actions are found. To open the Bend panel, clickon the Bend Panel button in the toolbar or select Bend from the View/Ad-
ditionalViews menu. T he Bend panel can also be detached and freely placed onscreen.
In the Detection section, you can change the transient-detection mode, which is set to Standard bydefault. If thismode does not accurately
locate transients to your liking, switch the mode to Sensitive and analyze the audio again.
In the Bend Mar ker section, you can remove all Bend Markers or Restore all Bend Markers in the selected Event by clicking on the respective buttons. You can also adjust the Bend Marker Threshold, using the slider.
In the Tracksection, you can set the T imestretch mode for the Trackon which the selected Event resides and can select Guide Tracksif
that T rack is in a Group.
Quantizing vs. Slicing
In the Action section, Quantize is selected by default, and a Strength percentage slider is displayed. Clickon Apply to quantize anyselected
Event. The Strength setting alters the Start percentage in the Quantize panel, providing a simple way to alter the strength of the quantize
process.
Alternatively, you can choose the Slice action, which slicesthe selected Event into multiple Events, using the Bend Markers as a basis.
This brings differingresults, depending on the selected options:
Check Autofades if you want the resulting individual slices to each have a short fade-out in order to avoid audible clicking.
Check Autofill to fill the spaces between sliced Events that are moved apart with realistic-sounding "tails," emulating the natural
decay between notes. Thishelpsto keep things sounding fluid and avoid a "choppy" sound. Enabling this option also silencesthe
overlapping ends of Events.
Check Merge if you would like the individual slices to be merged into an Audio Part after processing.
Check Quantize if you would like to quantize the resulting individual Events, and set the Strength using the percentage field. Note
that in thisprocess, no timestretching occurs; instead, a single continuous Event is sliced at itsdetected transients, and the resulting multiple Events themselvesare quantized acrossthe timeline.
As with the Strip Silence panel, when the smalllight indicator next to the [Apply] button islit, this meansthat changing certain Detection,
Bend Mar ker, Track, or Action optionsand then clicking Apply automaticallyundoes the previousoperation, making it easier to find the right
settings by viewing the result of the Bend Panel pr ocess, then tweaking the settingsif needed without having to undo manually.Any
change in selection (or other editing operations) ends this automaticstate, and the indicator is not lit.
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Quantize Audio
It is very simple to quantize audio in Studio One. Select the Audio Event, then press[Q] on the keyboard to quantize. Transientsare detected for the selected Event, the audio instantly snaps to the current quantize grid, the Bend Markers indicate they have been moved left or
right, and the waveforms are appropriatelycolored as described in the Editing Bend Markers section.
The same quantize commands are available for transient-detected audio as for Instrument Parts. [Q] quantizes the selected Events, [Alt]/
[Option]+[Q] quantizesat 50% strength, and [Shift]+[Q] restores the originaltiming.
Note that the Quantize panelfor the Audio Editor isindependent from the Note Editor and the Arrangement. Thisenablesyou to per fect
the rhythmiccharacter of each aspect of the Song and perform those edits quickly without having to adjust the settings each time. You can
show or hide the Quantize panel for the Audio Editor by clicking its Quantize panel button. You can also close the Quantizepanel for the currently selected view by navigating to View/Additional Views/Quantize.
Elastique Pro
Studio One uses the Elastique Pro time-stretching engine from Zplane, for high-quality time-stretching. When quantizing an Audio Event,
Elastique Pro is used to stretch each r egion of audio between the Bend Markers.
Phase-Coherent Multitrack Quantization
When multiple microphones are used to record the same instrument onto multiple Tracks, as with as a drum set, it is very important that the
phase relationships across the multitrack audio r emain unaltered. You can thinkof phase relationships as the time it takes sound to reach
each microphone from the source, such as a snare drum. How the waveformsalign acrosseach Trackis criticallyimportant to the sound
achieved; if a snare hit is moved in time on one Trackand not the others, the resulting collective sound of the snare hit can be drastically
altered.
Therefore, when quantizing or slicing multitrack audio, it is important that alleditsare performed acrossevery Trackin a waythat preserves the phase relationships. T hisisreferred to as phase-coherent editing. In Studio One, all that is required to ensure thishappens is for
the Tracks to be grouped. Once the Tracksare grouped, Studio One takes care of phase coherence for you.
For instance, let us consider a scenario with four Tracksof drums: kick, snare, and left and right overheads. Prior to editing on any Tr ack
individually, you would Group the Tracksby selecting them and pressing [Ctrl]/[Cmd]+[G] on the keyboard. If you then quantize audio on
any Tr ackin the Group, Studio One determines the phase relationships between the Tracksand then quantizesor slicesthe audio across
all Tracks based on transients on the individual Tracks. F or instance, where ther e is a snare hit, thefirst transient found (within the range of
the snare hit) inthe Tracksfrom top to bottom is used as the basisfor quantization for all four Tracks; the other Tracks simplymaintain their
existing phase relationships to the quantized T rack, and thus are quantized in a phase-coherent manner.
In the above scenario, you can checkexactly what Studio One has done by zooming inon any Bend Marker. You can see that the Bend
Marker Range on each T rack has been adjusted to a common start time, with the Bend Marker used as the basis for quantization. Manual
Bend Mar ker edits on grouped Tracks perfor ms the same process.
It is also possible to exclude any Tracksin a Group from transient analysisand therefore not use them as a reference in the quantizing or slicing process. When Events are selected that are contained on a Track in a Group, a Group selection box appears in the Track area of the
Bend panel, along with a Guides-selection drop-down menu that contains all Tracksin the Group. To exclude T racks from analysis, simply
uncheck them. As an example, you mayonlywant to use the kick and snare Tracks as the basisfor quantization or slicing of the Group, in
which case you would uncheckallTracks except the kick and snare and then apply the desired action from the Bend panel.
Groove Extraction and Quantize
Groove Extraction is an extremely powerful, yet simple, feature. Let us consider the scenario in which you want a poorlyplayed basspart to
closely follow the kick drum. To make this happen, open the Quantizepanel and switch to Groove mode. Next, drag the kick drum Event
into the Groove panel, and then quantize the bass Event. In those few moves you have effectivelydetected all necessary transients, extracted the kick drum groove, and quantized the bass to that groove.
Similarly, you could drag an Instrument Part into the Groove panel to extract the groove and then quantize audio to that groove. When you
extract the groove fr om an Audio Event or Instrument Part, the grid in the arrangement isthen based on that groove, and anything in the
arrangement can be quantized to that grid.
This is extremely useful for cleaning up multi-instrument performances, and it’s equally useful for creative purposes, such as extracting a
great groove fr om a funk loop and applying itto a straight-eighth drum loop.
You can also drag the groove itself to an Instrument Track, which renders the groove asa series of notes, one for eachhit in the groove,
even tweaking note velocity according to the relative level of the hits. This allows you to instantlybuild a virtual instrument bass part, for
instance, that exactly match a drum performance.Just drag the drum performance into the Groove area, then drag it out to the bass
Track, and change the notes to the pattern you want.
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Or, you might prefer to drag inan audio Event, drag it to an Instrument T rack to tweak the groove musically, then drag that Instrument Part
in, and quantize the original audio Event to that. The possibilities are endless!
Track Transform
Audio Track Transform
Audio Tracksalways have a directly related Channel in the Console on which Insert effectscan be configured. In the editing and ar ranging
process, it is sometimes necessary to render an Audio T rack so that the Insert effects and automation moves become a part of the audio
waveform on the Track. You might do thisfor creative purposesor simply to enable you to remove the Insert effectsin order to save CPU
power.
Studio One makesthisincredibly simple with the TrackT ransform feature. With any Audio T rack that has effects inserted on its corresponding Channel selected, [Right]/[Ctrl]-clickon the Track and selectTransform to Rendered Audio from the contextual menu.
Check PreserveRealtime State if you would like to be able to transform back to the original Track.It is then possible to switch between Automatic Tail Detection, with a Max Length property, and a fixed tail of a given length by toggling the Auto Tail option. Auto Tail is useful if there
is a reverb or other effect that you want to render beyond the Event length on the Track. Note that Auto Tail may not work well with lengthy
delaysor extremelylong reverbs, as it worksbydetecting a range of silence at which to cut off and fade out the transformed audio. In that
case, setting a fixed tailis the best option.
ClickOK, and the Audio Trackisbounced with its Insert effects and mixautomation applied; then the original Audio Track is replaced with
the newlybounced audio on a new Audio Track with the same name. If Auto Tail was engaged, or a Tailamount was specified, fade-outs
are applied automatically across the specified Tailduration for each Event. T he Insert effects are not inserted on the new Track, as they
have been rendered into the audio on the Track.
If you check Preserve OriginalTrack State, it is possible to transform back to the original Track, with effects inserted on the corresponding
Channel, by[Right]/[Option]-clickingon the Track and selecting Transform to Realtime Audio from the contextual menu.
The effects of Volume and Pan settings (including automation)are applied to the Track as it isbounced to audio, so the value of those settings and their automation data is set to itsdefaults in the r esulting bounced Track. If you wish to edit those parameters later, be sure to
checkthe Preserve Realtime State option when Transforming the Track. This allows you to revert the T rack back to its or iginalstate, with
original settings and automation data intact. Note that send levels,bus assignments, and other mix parameters retain their settings as normal after Transforming a Track.
Every TrackTransform operation creates bounced audio filesthat are placed into the Pool for the curr ent Song. These files remain in the
Pool (for later access or reference) until you decide to clear them out. As mentioned in the Pool Command s section, you can delete a file
from the Pool view in the Browser by [Right]/[Ctrl]-clicking the file and choosing Remove From Pool(which removesthe file from the Pool
but retains it on disk)or Delete File Permanently (which r emoves the file from the Pool and deletesitfrom disk). You can also automatically
remove allunused copiesof files from the Pool by [Right]/[Ctrl]-clicking in the Pool and choosing Remove Unused Files.
Note that it is possible to Transform multiple Audio Tracks at once,in which case they are all rendered simultaneously,which can be a huge
time saver.
Instrument Track Transform
Instrument Tracks contain MIDI musicperformancesthat control virtual instruments. The virtual instrumentsoutput to one or more Audio
Channels in the Console, and you can configure Inserts, Sends, and Output routings for the Channels. With this approach, it can be difficult
to render Instrument Tracks to audio correctly.
Studio One makesit simple by transforming Instrument Tracksinto Audio Tracks in one step. [Right]/[Ctrl]-click on any Instrument Track
and select Transform to Audio Track from the contextual menu. You can then see several optionsin the pop-up menu:
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Rend er All Ch annels If the connected Instrument has more than one audio output engaged, this option appears. If this option is
disengaged, only the Channel related to the selected Trackis rendered, as specified in the TrackInspector.
Rend er Inserts If you would like to render the Insert effects (as well as Volume and Pan settingsand automation) on the related
virtual instrument’s Output Channel, check thisoption.
Preserve Instrument Track State If you would like to be able to transform from the new Audio Trackbackto the originalInstru-
ment T rack, check this option.
Remove Instrument If you would like to remove the virtual instrument in order to save CPU power after rendering audioand cre-
ating the new Audio Track, check this option.
Auto Tail Choose between automatictaildetection and a fixed tail of a given length, as described in Audio Track Transform.
ClickOK, and all of the partson the Instrument Track are render ed to audio and placed on a new Audio Track.
If a Tail amount was specified, fade-outs are applied automaticallyacrossthe specified Tail duration for each Event. Also, the send configuration and output routing of the new Audio Track isidentical to the original Instrument Track.
As with Audio Tracks, it is possible to Transform multiple selected Instrument Tracks at once, in which case they are all rendered simultaneously, which can be a huge time saver.
Every TrackTransform operation creates bounced audio filesthat are placed into the Pool for the curr ent Song. These files remain in the
Pool (for later access or reference) until you decide to clear them out. As mentioned in the Pool Command s section, you can delete a file
from the Pool view in the Browser by [Right]/[Ctrl]-clicking the file and choosing Remove From Pool(which removesthe file from the Pool
but retains it on disk)or Delete File Permanently (which r emoves the file from the Pool and deletesitfrom disk). You can also automatically
remove allunused copiesof files from the Pool by [Right]/[Ctrl]-clicking in the Pool and choosing Remove Unused Files.
Quick-Convert Instrument Parts to Audio
When working with a virtual instrument, you can drag Instrument Parts directly from the related Instrument Trackonto any Audio T rack in
your song. The Instrument Par t is rendered to audio, and placed in the location you've chosen.
Track and Event Inspectors
The Track Inspector and Event Inspector views offer you fast access to a variety of important per-Trackand per- Event parameters and
functions. To show or hide the Inspectors, press [F4] on the keyboard, or the "i" button, located above the Arrange view. Once the Inspectors are visible, clicking on a Trackor Event brings that element into focus in the appropr iate Inspector. You'llsee differing sets of controls,
depending on if the Track or Event is audio-based or instrument-oriented.
There's also an Inspector for the Marker Track,which is described here.
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Track Inspector
Clickon your audio Trackof choice to give access to the following parameter s in the Track Inspector:
Tempo (Mo de) Lets you choose how playback of the current Track relates to Song tempo. For more details, see the Aut omatic
Timestretching section.
Timestretch (Mo de) Lets you choose the optimal timestretching algorithm for the Track. For more details, see the Timestretch-
ing Material Modes section.
Group Lets you assign the current Track to an existing TrackGroup. For more information, see the Grou ps section.
Layers Letsyou Add, Duplicate, Rename, or Remove a layer from the Track, as wellas set which layer iscurrently chosen for
playback. For more information, see the Track Layers section.
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Layers F ollow Events Enablethisparameter to make audio on underlying layers follow the related Event above when you
move it along the timeline. When thisparameter is disabled, moving an Event with one or mor e Layers beneath it detachesthat
Event from the layers below, making it a permanent part of the primary Layer.
Play Overlaps Enable this option to allow any overlapping audio on the current Track to play back simultaneously, rather than cut-
ting off at the beginning of the next Event.
Delay Letsyou apply a positive or negative time delay to the current Tr ack, to help align it with other elements. Range of -100 to
100 ms.
Follow Cho rds Use this menu to specifythe Follow Cho rds mode for the Track. This defines how the Track interactswith the
Cho rd Track.
Tune Mod e Thissetting applies to audio tracks only. With it you can choose the algorithm that bestsuits the audio material. It is
described in the Tun e Modes section.
Automation Lets you choose the Automation mode for each of the automated par ameters associated with the Track, as wellas
quickly view and enable or disable the automation for a given parameter. For more information, see the Automation Modes section.
Edit Not e Click the pencil-and-paper icon to open the TrackNotes window.
Rou ting and Mix Controls Thisarea is a duplicate of the par ameters you see when viewing a Channel in the Console. Input
and Output routing, Track Volume, Pan, status, effects Inserts and Sends are all available. F or more information, see The Con-
sole.
Clickon the Instrument Track of your choice to access the following parameters in the Tr ack Inspector:
Timebase Lets you set the Timebase format for the current Track, in Beats or Seconds. Set to Beats, the Events on the Track
change their position intime and speed to follow tempo changes in the Song. Set to Seconds, Eventsstayinplace and maintain
their playback speed untilyou change them intentionally.This can be useful, for example, in film audio, in which certain sounds
must remain at certain absolute positions in time, to maintain synchronization with the visuals.
Group Lets you assign the current Track to a existing TrackGroup. For more information, see the Grou ps section.
Layers Letsyou Add, Duplicate, Rename, or Remove a layer from the Track, as wellas set which layer iscurrently chosen for
playback. For more information, see the Track Layers section.
Delay Letsyou apply a positive or negative time delay to the current Tr ackto help align it in time. Range of -100 to 100 ms.
Transpose Letsyou change the pitch of all notes on the current Track, in a range between -64 and +64 semitones.
Velocity Lets you boost or attenuate incoming note Velocity, before it arrives at the current instrument or external MIDI
device.Settings between -100% and -1% attenuate velocity. Settings between 1% and 100% boost velocity.At 0%, velocityis
unchanged.
Layers F ollow Events Enablethisparameter to make instrument data on underlying layers follow the related Event above
when you move it along the timeline. When thisparameter is disabled, moving an Event with one or mor e Layers beneath it
detaches that Event from the layers below, making it a permanent part of the primary Layer.
Automation Lets you choose the Automation mode for each of the automated par ameters associated with the Track, as wellas
quickly view and enable or disable the automation for a given parameter. For more information, see the Automation Modes section.
Program Letsyou selecta MIDIprogram number (and in some cases, a bank number) to associate with the current Instrument
Track. Thisprogram change value is transmitted to the instrument, ensuring that the correct preset isloaded when you open a
Song.
Note FX Lets you choose and apply real-time Note FX processing to the note data of the current Track. For more information,
see Note FX.
Rou ting and Mix Controls Thisarea is a miniature duplicate of the parameters you see when viewing a Trackin the Mix view.
AllInstrument T racks display input and output routing optionsand Mute/Solo/Record/Monitor status toggles. If the T rack is hosting a virtual instrument, TrackVolume, Pan, effectsInserts and Sends are displayed. For more information, see The Console.
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Event Inspector
Clickon the Audio Event of your choice to accessthe following parameters in the Event Inspector:
Event FX This lets you assign effects to individualAudio Events, rather than to a Track as a whole. F or more information, see the
Event Effects section.
Start and End Lets you specify the start and end times for the current Event.
File T empo If you know the tempo of the audio file associated with the current Event, you can specify it here. This gives Studio
One a tempo reference to work from when timestretching an Event to matchSong Tempo.
Speedup Letsyou speed up or slow down the tempo of the current Event, independent of other tempo settings. For more inform-
ation, see the Manu al Timestretching section.
Transpose Letsyou shift the pitch of the current Event up or down, in a range of - 24 to +24 semitones.
Tune Lets you fine-tune the pitch of the current Event up or down, in a range of -100 to +100 cents.
Normalize Lets you boost the volume of the current Event, so that the highest peak in the audio reaches0 dBFS.
Gain Lets you adjust the overalllevel of the current Event, in a range of -40 to +24 dB.
Fade-In Lets you specify the length of the fade at the beginning of the current Event. At a setting of 0 ms,no fade isapplied.
Fade-Out Lets you specify the length of the fade at the end of the current Event. At a setting of 0 ms, no fade is applied.
Bend Marker Engage this to view the Ben d Markers for the selected Audio Event.
Threshold This field is only active when Bend Markers are visible. Use it to adjust the threshold for placing Bend Markers inthe
Audio Event. The range is 0-100%, with a defaultvalue of 80%.
Clickon the Instrument Part of your choice to access the following par ameters inthe Event Inspector:
Start and End Lets you specify the start and end times for the current Event.
Transpose Letsyou shift the note pitch of the current Event up or down, in a range of -24 to +24 semitones
Velocity Lets you scale the effect of note Velocity, before it arrivesat the current instrument or External MIDI device. At 0%, all
notes play at fullvelocity. At 100%, the full range of note velocity is sent.
Event Effects
It is possible to insert effectsdirectlyon an Audio Event in the arrangement, as opposed to inserting effectson the entire Audio Channel for
the related Track,thereby affecting all Events on the Track. Event Effects are commonly used to add variety to the arrangement or to insert
utility effects, such as pitch correction, into specificEvents.
Insert Event Effects
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To insert an effect on an Event, selectthe Event and open the Inspector by pressing [F4] on the keyboard. In the Event Inspector area of
the Inspector, you can see an Event FX tab with an [Enable] button. Click on Enable, and an Insert Device Rack opens.
Insert effectsor FX Chains here, as you normallywould, and the Event ispr ocessed accordingly, in realtime, during playback. The resulting sound is exactlyas if you had inserted the effect on the Track: You can hear all other Tr acksplayand can make effectsparameter
changes while hearing the resultsin context with the rest of the mix.
As Event Effects may alter the relative volume of an Event, thereby skewing existing volume fade envelopes, an option has been provided
to processvolume envelopesafter Event Effects. Click on the Tail check box, in the area above the Insert Device Rack, to enable this
option.
Add Effects to Multiple Events
You can add Effects by dragging them from the Browser onto allselected Events.
Rend er Event Effects
Once the intended sound is achieved via an Event Effect, it is likely a good idea to render the audio in order to conserve CPU resources. Studio One providesa very flexible way to do this that allows you to revert to real-time processing at any time in order to make changes.
To render any Audio Event with inserted Event Effects,clickon Render above the Event FX Insert Device Rack. The Insert Device Rack collapses,a new Audio Event with the rendered audio replaces the originalEvent in the arrangement, and the [Render] button islabeled
[Restore]. At any time, click on Restore to replace the r endered Event with the original and restore any inserted effects to their pr erendered states.
When rendering Event FX, note that the Tail setting above the Insert Device Rack allows you to specify a length to render beyond the end
of the Audio Event. Thisiscritical to properly capturing r everb tails, delay lines, and other similar audio tails caused by inserted effects.
When a Tail value is given, a volume fade is applied across the entire length of that tailon the rendered Event after rendering to ensure
smooth-sounding results. Thisfade envelope can then be modified, as usual.
Rendering Event FX creates bounced audio filesthat are placed into the Pool for the current Song.
Edit View Event Editing
In manycases, editing actions require a close look at the Events being edited. To perform these edits in the Arrange view would r equire
zooming in to a level that would make it difficult to retain your sense of the overallSong structure, then zooming backout after the edits ar e
performed. Edit views allow you to avoid this inefficiency. To open the Edit view for the selected Event, clickon the [Edit] button, press [F2]
on the keyboard, or double-clickon any Event. You can also open the Editor by selecting Editor from the View menu. While ther e is a common Edit view, Audio Events open in the Audio Editor, and Instrument Parts open in the Note Editor.
The Edit view displays the currently selected Event on a timeline that isindependent of the Arrange view timeline. By default,the Edit view
timeline iszoomed in further than the default Arrange view timeline. While the Edit view isopen, [Alt]/[Option] + double-clickan Event in the
Arrange view to zoom the Editor so it contains the fullEvent. Note that the [SynchronizeEditor to Arrangement] button must be disengaged to use this command.
The Editor can be detached to its own sizable window by clicking on the Detach button at the upper right of the Editor. The window can
then be pinned to the new location by clicking the Pin icon in the upper right corner of the window. Thisallows you to view the same or different contents in multiple edit windowsside-by-side. Any Track can then be selected from the Track drop-down selector to the upper left
of the Editor window, under the toolbar.
The [Action] button (available in both the Audio and Note Editors) gives you quick accessto functions you might normallyaccess by [Right]/
[Ctrl]-clicking on an Event and exploring the Audio or Musical Functions sub-menus.
Audio Editor
The Audio Editor display operatesindependently of the Arrange view and has an independent Timebase setting. Most options that appear
in the Editor are the same as in the Arrange view and affect tools and Events in the same way. Note that the Snap and Timebase settings
are not shared between the Arrange view and Editor; they remain independent. A Snap to Event Hotspots option is found in the Editor
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Snap dropdown menu; it allows tool and Event snapping to hotspots such as Bend Markers. The dr opdown menu also includes a Snap to
Zero Crossings option, which will help avoid an unnaturalclickat the beginning of the audio data when the Event is moved or split.
The displayed level scale to the left of the waveform lane in the Audio Editor can be adjusted by clicking on it and dragging left or right. This
effectively zooms the waveform amplitude, which may be useful when editing audio with relatively low levels. [Right]/[Ctrl]-clicking in this
area allowsthe selection of a percentage- or dB-based scale. You can also adjust this zoom level by manipulating the Data Zoom parameter, found to the r ight of the Time Zoom slider control.
Tools
Most of the tools in the Arrange view are available in the Audio Editor and function ther e exactly as they do in the Arrange view. (Onlythe
Paint tool is not available in the Audio Editor.)
Note Editor
Instrument Parts contain notes, which represent musicalperformance data and are a type of Event. Notes can be moved, cut, copied, pasted, duplicated, and drawn using mouse tools, key commands, and certain Event menu commands. Multiple notes can be selected and
edited together, as with other Events.
For quick editing of all notes in a Part or on the Track, use [Ctrl]/[Cmd]+[A] to select all of the notes in the focused Part in the Note Editor, or
[Ctrl]/[Cmd]+[Shift]+[A] to select all notes in allParts on the Tr ack. You can also access the full set of selection actions by navigating to the
Select section of the Edit menu.
The View buttons on the left side of the Note Editor toolbar provide two three different ways of viewing, entering, and editing note
data:Piano view and Drum view.Piano view, Drum view, and Score view.
Piano View displaysthe note data in "piano roll" style. A vertical keyboard graphic helps visualize notes and scales, and can be
used to trigger the notes.
Drum View removesthe vertical keyboard and allows more room to display sample names horizontally for each vertical note position.
Score View showsthe note data on a musical staff, wher e you can add musical symbols for dynamicsand articulations that also
enhance playback.
We'lldescribe the following features as they applyto the Piano and Drum views. For details about Score view, see the Score Edito r
chapter.
Zoom and Synchronize
You can zoom in or out hor izontally in the Piano and Drum views by moving the Time Zoom control, and zoom vertically with the Data
Zoom control. In Score view the Time Z oom controlzooms both verticallyand horizontally, as does a scrollwheel.
The horizontal zoom and timeline of the Note Editor and Arrange View can be linked. To do this, engage the [Synchronize Editor to
Arrangement] button on the right side of the Note Editor toolbar.
Timebase, Quantize, and Scale
The Note Editor has independent settingssimilar to those in the Audio Editor. While Quantize affects the horizontal time-value snapping,
the Note Editor also features Scale (vertical note-value) snapping. The Scale settingsallow snapping to specificnote values within different
musicalscales.
The Scale function mustbe enabled in Piano view. First clickitstoggle switch, then select a scale by choosing the starting note and the
musicalscale in the respective selectors. The notes contained in the selected scale are marked on the Note Editor's keyboard display, as
well as in the single-octavekeyboard displayabove the Scale selector.
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If you want existing notes to conform to a scale you have just selected, first select the notes, then select Apply Scale from the Action menu in
the Note Editor toolbar. Thiscan be done in Piano view or Drum view, and the change is applied instantlyin Score view.
Arrow Tool
The Arrow tool in the Note Editor is used with notes in essentially the same way asthe Arrow tool in the Arrange view isused with Events.
Multiple notes can be selected and edited together in the same way as Events.
Moving Notes
To move a note using the Arrow tool, click anywhere on the note and drag left, right, up, or down. Dragging the note left or right moves it
backward and forward in time, relative to the current Edit view timebase and timeline zoom. Dragging the note up or down transposes
(changes the pitch of) the note. In Piano view the transposition interval can be determined by using the vertical keyboard display to the left
of the Note Editor.
Creating Notes
To create a note using the Arrow tool, double-clickin any empty space in the Edit view. A note is created at the location you've specified, its
length determined by the currently selected Quantize value. Double-clicka note with the Arrow tool to delete it.
Resizing Notes (Piano View)
To size any note using the Arrow tool, float the mouse to the left or right edge of the note to reveal the Sizing tool. When thistool appears,
click-and-drag left or right to size the note. As with Events, notescan be sized and resized any number of times.A Part can also be sized in
this way, by floating the cursor near the top of the Part's beginning or end, revealing the Sizing tool.
To change the length of a note while simultaneouslyresizing the previous or following note to match, hover your cursor near the beginning
or end of a note, press and hold [Alt]/[Option] to enable Resize Adjacent Notes mode, and click and drag the note to resize.
When sizing multipleselected notesin the Note Editor with the Arrow tool, three additional behaviors are possible using modifier keys.
Select multiplenotes, then clickon the end of one note and drag it to the right just a small amount. While still dragging that note, if you press
certain keys on your computer keyboard the following willhappen:
[Ctrl]/[Cmd] + drag will snap the length of allnotes to match the length of the clicked note.
[Alt] + drag will stretch the notes across the time grid. If the outer edge of either of the outermost notes is dragged, the stretching
can go on indefinitely. If an inner edge of any note isdragged, the middle noteswilleventually end up on top of the outermost
notes.
[Alt] + [Ctrl]/[Cmd] + drag the right edge of one note makes all of the notes end at the same time. [Alt] + [Ctrl]/[Cmd] + drag the left
edge of one note makes all of the notes start at the same time.
Duplicating Notes
To duplicate selected notes using the Arrow tool, hold[Alt]/[Option] on the keyboard, click on the selection, and drag left or right. Release
the mouse button when the desired positionisreached, and the selection is duplicated to this position.
More Arrow Tool Tips
To switch temporarily to the Paint tool while the Arrow tool is selected, pressand hold [Ctrl]/[Cmd].
When multiple Partsare visiblein the Editor, only one is activelyavailable for editing at a time. For example, when doing a Select Alloperation, only notes inthe currentlyactive Part are selected. To activate a Part, clickon any note or empty space within it.
Split Tool
In Piano view, the Split tool allows you to split notes so that they become two separate notes. Clicking on any note directlysplits the note at
that position, while selecting multiple notes and then splitting, splits all selected notes. Holding [Alt] when clicking with this tool performs a
split of any selected notes, as wellas a split of the part itself,so that one part becomes two.
To switch temporarily to the Arrow tool while the Split tool is selected, hold [Ctrl]/[Cmd].
Split at Grid
It is possible in the Piano and Dr um views to split a single note into multiple notes based on the current Quantize setting. Select any number
of notesand choose Split at Grid from the Musical Functions menu. Notes are split based on their position relative to the bar line, with splitting occurring onlyup to the next bar line after the note start time.
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The Split at Grid function can also be applied to whole Instrument Parts and Audio Events.
Paint Tool
The Paint tool in the Note Editor is used to draw notes in an Instrument Part. T o draw a note, click at the desired position. If you click once,
the new note has a length equal to the time value of the current Quantize setting. Click the note again to delete it.
To momentarily select the Arrow toolwhile using the Paint tool, hold [Ctr l]/[Cmd] on the keyboard.
Creating a New Part
To create a new Par t in the Edit view with the Paint tool, clickand drag in any open area in the Editor timeline. You can resize Parts while
the Paint tool is selected, byfloating the cursor near the top of the start or end of the Part, whichreveals the Sizing tool.
Painting in Piano View
When drawing in Piano view, the Paint tool snapsto certain vertical and horizontal positionsbased on the Quantize and Scale settings.
When the cursor hovers over the Note Editor, the note value for the current cursor position is highlighted on the vertical keyboard.
As you enter new notes, click-and-drag to the right to makethe note any length you want. T o edit the velocity of a note as it is being drawn,
drag up and down after you clickto draw the note.
To modify the length of an existing note, hover the cursor at the edge of the note to reveal the Sizing tool, then click-and-drag.
Painting in Drum View
When drawing in Drum view, the Paint tool snapsto specific horizontal positions based on the Quantize setting. When the cursor hovers
over the Note Editor, the Pitch name and note number are highlighted in the Pitch Names list.
Hold [Alt] and then click-and-drag to draw a line of notes at the current Quantize value.
Adjusting Velocity Values
To edit the velocity of an existing note in Piano or Drum views, hold [Alt]/[Option] on the keyboard and click-and-drag up or down on the
desired note.
You can also edit the velocities of notes in the Part Automation lane of the Note Editor, which is discussed in the Instrument Part Auto-
mation section of the Automation chapter.
Line Drawing Mode
Press and hold [Alt] on the keyboard with the Paint tool selected to enter Line Drawing mode. In thismode, you can draw a line of note
Events in the Note Editor, and you can draw linesin automation envelopes, as discussed later in thismanual. This function also works when
the Paint tool has been temporarily invoked by pressing [Ctrl]/Cmd].
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Transform Tool for Note Velocity
If you want to edit velocity for many notes at once, you'll find the Transform Tool very useful. Similar to the way the Transform To ol in
Arrange view is used for scaling and shaping automation curves, the Transform tool in the Note Editor lets you scale and shape note velo-
citydata.
To use the T ransform Tool, clickthe triangle at the edge of the Paint tool in the Note Editor, and choose "Transform Tool"from the pop-up
list. With thistool, select a range of velocityvalues in the Velocity displaybelow your chosen notes. The selected valuescan then be scaled
smoothly up or down by dragging the handles at the top or bottom of the selection.
You can also drag the handles at the corners of the Transform selection, to scalethe selected velocities with a sloping action, as shown
above. Thismakesit easy to create smooth changes in velocity across a range of notes.
Eraser Tool
The Eraser tool in the Note Editor isused to delete notes. With the Eraser tool selected, click directlyon any note to delete it. When multiple
notes are selected, clicking any one of them with the Eraser tool deletes all selected notes. Click and drag with the Eraser tool (starting in
empty space) to delete all notesyou touch.
You can temporarily switch to the Arrow tool whilethe Eraser tool is selected by holding [Ctr l]/[Cmd].
Mute Tool
The Mute tool isused in the Note Editor much as it is used in the Arrange view. With the Mute tool selected, click on any note to mute it, and
click on any muted note to unmute it. Click and drag with the Mute tool to mute all notes that fall within your selection.
Listen Tool
The Listen tool is a quick way to audition a section of a Track while editing. With the Listen tool selected, click and hold inside the Editor window to solo the Track and start playback from that position. Playback continuesuntilthe cursor is released; then playbackstops and the
Trackis un- soloed.
Cut, Copy, Paste, and Duplicate Notes
You can cut, copy, paste, and duplicate notes exactly as you can with Events in the Arrange view, as described in the Common Editing
Actio ns section of thischapter. It is also possible to cut or copynotes and then paste them (or simplydrag-and-drop them) directlyinto the
Arrangement onto a selected Instrument Track. Doing this creates a new Instrument Part containing the selected notes.
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